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Journal articles on the topic 'Art museum curators – interviews'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

KIM, Minjeong, and Sunah KIM. "A Narrative Inquiry on the Cultural Enjoyment of Curator : Focused on Pierre Bourdieu’s Cultural Capital Theory." Society for Art Education of Korea 92 (December 1, 2024): 1–25. https://doi.org/10.25297/aer.2024.92.1.

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This study focused on curator, judged that it was necessary as a qualitative study because there was a lack of research on curators, who are professionals in the museum. Therefore, the study was started from the perspective of reflective thinking to explore the meaning of cultural enjoyment of curators. In this study, preliminary research and in-depth interviews were conducted with two curators with more than 10 years of practical experience in museums and art galleries. The stories of the study participants were divided into temporal, spatial, and personal/social dimensions, and through inter

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Aldes, Liora, and Tally Katz-Gerro. "Contextualizing the Artistic Repertoire in Museums." Museum Worlds 10, no. 1 (2022): 93–111. http://dx.doi.org/10.3167/armw.2022.100108.

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To remain financially sustainable while promoting cultural activity and operating within artistic, symbolic, and cultural norms, museums must consider a multitude of commercial and organizational elements. This article examines the impact of economic, organizational, and structural characteristics of art museums on the repertoire of art they exhibit. Using a mixed-methods approach, we draw on data pertaining to 11 art museums in Israel that are supported by the Ministry of Culture, analyzing administrative data collected yearly from the museums from 2000 to 2014. Next, we analyze 20 interviews

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Akpomuje, Paul Young. "Learning in Museums and Art Galleries in Nigeria: Exploring Arts-Based Adult Learning through Collections." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (2019): 42–61. http://dx.doi.org/10.1177/1550190619832379.

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The importance of arts-based adult education in today’s culturally diverse world cannot be overemphasized. Arts-based adult learning provides some of the important cultural contexts for informal learning. Other forms of adult learning—formal and nonformal—have also been immensely enriched by this form of adult education. Museums and art galleries are at the heart of arts-based learning. Whereas learning in the museum has gained attention in western climes, adult education researchers in Nigeria are yet to focus attention on this area of research. The aim of this study was to explore how collec

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Kosiewski, Piotr. "CONTINUE LISTENING, PLEASE." Muzealnictwo 64 (October 24, 2023): 159–62. http://dx.doi.org/10.5604/01.3001.0053.9527.

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The book published by the Museum of Artin Lodz <i>Continue Listening, Please</i> is the result of a numberof interviews with current and former staff, and alsowith artists affiliated to the Museum, conducted in thecourse of the ‘Tell the Museum’ Project implemented in2018–2022. Their authors methodically applied oral historyto investigate the Museum’s history, following which theycommissioned a non-Museum affiliate to prepare texts onthe grounds of the conversations. The selection of interviewees,encompassing curators, conservators, individualsresponsible for education, or administ

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Balashova, Olga, Halyna Hleba, Tetiana Lysun, Valeriia Klochko, and Illia Levchenko. "THE WAR TIME ART ARCHIVE." Text and Image: Essential Problems in Art History, no. 1 (2023): 60–70. http://dx.doi.org/10.17721/2519-4801.2023.1.04.

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With the beginning of the full-scale invasion of Russia (February 24, 2022), the NGO «Museum of Modern Art» started the project «The Wartime Art Archive». As part of the project, co-curators collect artists' works from open sources. The researchers observe the artists and record their reactions to the war. This initiative aims to create an archive of martial art for its preservation and further research. In an interview with the co-curators of the archive, Olga Balashova, Tetiana Lysun, and Halyna Hleba, we talked about the history of the creation of the archive, its prospects, retraumatizatio

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Uno, Kei. "Consuming the Tower of Babel and Japanese Public Art Museums—The Exhibition of Bruegel’s “The Tower of Babel” and the Babel-mori Project." Religions 10, no. 3 (2019): 158. http://dx.doi.org/10.3390/rel10030158.

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Two Japanese public art museums, the Tokyo Metropolitan Art Gallery and the National Art Museum of Osaka, hosted Project Babel, which included the Babel-mori (Heaping plate of food items imitating the Tower of Babel) project. This was part of an advertising campaign for the traveling exhibition “BABEL Collection of Museum Boijmans Van Beuningen: Bruegel’s ‘The Tower of Babel’ and Great 16th Century Masters” in 2017. However, Babel-mori completely misconstrued the meaning of the Tower of Babel in Genesis 11:1–9. I explore the opinions of the curators at the art museums who hosted it and the uni

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Springinzeisz, Kata, and Daniela Cobos Bustamante. "Concepto de inclusión social en museos de arte en Chile." Revista de Investigación Educativa 42, no. 1 (2024): 95–113. http://dx.doi.org/10.6018/rie.566461.

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Social inclusion in the context of art museums is often understood as the process whereby an art institution provides individuals with special attention from the staff and with adapted educational practices to attract and support a more diverse public. With this definition in mind, the present study aims to shed light onto how social inclusion is conceived and implemented in nine art museums in Chile, generating critical reflection through the analysis of data gathered from interviews with their educators, curators, and directors. To do so, this research applies a qualitative approach based on

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Rentschler, Ruth, Kerrie Bridson, and Jody Evans. "Exhibitions as sub-brands: an exploratory study." Arts Marketing: An International Journal 4, no. 1/2 (2014): 45–66. http://dx.doi.org/10.1108/am-07-2014-0023.

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Purpose – The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characterist

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Hudimov, Pavlo, and Serhii Rudenko. "Conceptualization of Pavlo Hudimov's Curatorial Methods (Professional and Academic Interview)." Bulletin of Kyiv National University of Culture and Arts. Series in Museology and Monumental Studies 2, no. 1 (2019): 37–49. https://doi.org/10.31866/2617-7943.2.1.2019.172517.

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Purpose of the article. To find the most effective methods of curatorship, based on P. Hudimov’s (famous Ukrainian curator) experience. Methodology. Conceptualization of experience, skeptical empiricism, scientific criticism are used. Scientific novelty. This research is the first attempt at a scientific conceptualization of a professional interview. It is shown that the essence of curatorial practice is not visualization of popular narratives, but in specific research work that creates new meanings. According to P. Hudimov, curatorial practice can be considered

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Britto, Rosangela Marques de, Marisa De Oliveira Mokarzel, and Werne Souza Oliveira. "Mirante e Desapego: Obra em Deslocamento, Diferentes Lugares e um só Museu." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 10 (2021): 141. http://dx.doi.org/10.18542/arteriais.v6i10.10582.

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ResumoOs inúmeros deslocamentos de uma obra do artista paraense Armando Queiroz, localizada no Jardim de Esculturas do MUFPA e seu posterior desaparecimento do ângulo de visão, nos instigou a refletir acerca dos processos de salvaguarda e comunicação museológica de uma obra de arte conceitual e seus modos de aparição e desaparição em um museu universitário voltado às artes visuais. Tecemos algumas reflexões acerca da dificuldade de realização de pesquisas e da documentação museológica de duas obras de arte conceitual do artista, intituladas de Mirante (escultura em madeira/módulos de 2006) e D

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Ruggiero, Amanda Saba, and Luis Michal. "MoMA A&D talks: on curating architecture and design (Second part)." Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online) 17, no. 2 (2019): 129–30. http://dx.doi.org/10.11606/issn.1984-4506.v17i2p129-130.

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During Fall 2016 we had the unique opportunity to participate in the regular internship program of the Museum of Modern Art in New York and assist with ongoing exhibition projects in the Architecture and Design Department (A&D). This Department was established in 1932 as the first curatorial department dedicated to architecture and design and built on an ambitious collection covering major figures and movement of architectural culture from mid-19th century to the present. With looking back on a rich history of influential exhibitions such as Modern Architecture: International Exhibition (1

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Oyinloye, Micheal Abiodun. "Challenges in Conserving Soapstones in the National Museum, Esie, Nigeria." Àgídìgbo: ABUAD Journal of the Humanities 2, no. 2 (2014): 206–13. http://dx.doi.org/10.53982/agidigbo.2014.0202.08-j.

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Esie Museum in Kwara State is the oldest national museum in Nigeria and it is reputed to have the largest collection of soapstone images across Africa. The soapstone images and other materials in the museum stand out as a unique art tradition of Nigeria that must be preserved against deterioration or total breakdown so that ancient civilization would not be forgotten. In order to preserve these cultural objects, proper caring methods and techniques must be followed to guarantee the long lifespan of the collections. It is against this background that the study examines the essence of conservati

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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.

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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in

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Dunaway, Judy. "The Forgotten 1979 MoMA Sound Art Exhibition." Resonance 1, no. 1 (2020): 25–46. http://dx.doi.org/10.1525/res.2020.1.1.25.

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Over the past 40 years “sound art” has been hailed as a new artistic category in numerous writings, yet one of its first significant exhibitions is mentioned only in passing, if at all. The first instance of the hybrid term sound art used as the title of an exhibition at a major museum was Sound Art at the Museum of Modern Art in New York (MoMA), shown from 25 June to 5 August 1979. Although this was not marketed as a feminist exhibition, curator Barbara London selected three women to exemplify the new form. Maggi Payne created multi-speaker works that utilized space in a sculptural fashion; C

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Ogrodnik, Benjamin. "Today's Cutting Edge is Tomorrow’s Obsolete: An Interview with Cory Arcangel and Tina Kukielski." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 184–92. http://dx.doi.org/10.5195/contemp.2014.101.

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Exhibited at the Carnegie Museum of Art, Pittsburgh from November 3, 2012 to January 27, 2013, Cory Arcangel: Masters was a wide-ranging, multi-sensory survey of the artist’s major works to date. The following interviews with Arcangel and the exhibition’s curator Tina Kukielski were conducted in February 2013, and discuss the conceptual, curatorial, and aesthetic issues raised by the exhibition.

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Boscaino, Mattia. "Developing a Qualitative Approach to the Study of the Street Art World." Street Art & Urban Creativity 7, no. 2 (2021): 8–25. https://doi.org/10.25765/sauc.v7i2.473.

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Street art is a complex social phenomenon where many actors contribute to determining the value of creativities. Street artists, curators, bloggers, photographers, museums, galleries, the public, and other actors interact with street artworks and influence the way they are perceived. In this context, it is clear that both the value and meaning of street art is not exclusively dependent on the intentions of the authors but changes according to who views and uses the artwork for their purposes. Although diversity is interesting for the sake of research, finding a research methodology able to com

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Ribeiro, Carla Brito Sousa. "METALINGUAGEM NO MUSEU AFRO BRASIL: PONTES ENTRE CURADORIA E O FAZER ARTÍSTICO." Cadernos de Campo: Revista de Ciências Sociais, no. 29 (March 12, 2021): 173–90. http://dx.doi.org/10.47284/2359-2419.2020.29.173190.

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I propound that the collection exhibition of Afro Brasil Museum located in São Paulo, Brazil, features characteristics that well represent intersections between art creation and curatorial work, besides its dealt with institutional memory through less conventional exhibit designs. Thus, I seek a reflection about the interchange between curatorial work, art making and metalanguage arrangements within this museum. I introduce this exhibition as an institutional memorial – based on conversations and interviews with the museum staff, “absent dialogues” with its curator-director-artist and by the a

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Marstine, Janet. "Cultural Collisions in Socially Engaged Artistic Practice." Museum Worlds 1, no. 1 (2013): 153–78. http://dx.doi.org/10.3167/armw.2013.010110.

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In this article I explore how socially engaged artistic practice draws upon hybridity as a methodological approach advancing social justice. Through the case study of Theaster Gates’s To Speculate Darkly (2010), a project commissioned by the Chipstone Foundation of Milwaukee, Wisconsin, and shown at the Milwaukee Art Museum, I consider how socially engaged practice mobilizes continually shifting notions of postcolonial hybridity to help museums make meaningful symbolic reparations toward equality and inclusivity. The research is based on interviews I conducted with Gates and with the director

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Córdova, Kim. "Art Communities at Risk: Tbilisi." October, no. 190 (2024): 134–52. https://doi.org/10.1162/octo_a_00540.

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Abstract This article examines the precarious state of art communities in Tbilisi, Georgia, amid mounting political, economic, and security pressures. Through extensive interviews with artists, curators, educators, and cultural administrators, Córdova documents how Georgian artists face three primary threats: repressive legislation by the ruling Georgian Dream party, economic instability, and security threats from Russia. The article analyzes how recent laws targeting foreign-funded organizations and LGBTQ+ expression, combined with the Ministry of Culture's systematic defunding of museums and

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Ren, Zhihan, and Ruiting Niu. "Curatorial practices in cross-cultural contexts: visual narratives and cultural translation mechanisms in Sino-Western artistic exchange." Advances in Humanities Research 12, no. 3 (2025): 53–57. https://doi.org/10.54254/2753-7080/2025.24622.

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This study analyzes the curatorial translation mechanism of the Sino-Western Art Dialogue exhibition, and based on five exhibition cases such as the Asian Art Museum and the Tate Modern from 2020 to 2024, reveals the visual grammar of cultural mediators. Through in-depth interviews with curators, analysis of audience behavior data and visual symbols, six fundamental translation strategies were distilled: symbol anchoring, narrative rhythm, context correction, semantic layering, sensory enhancement and participatory framework. Take a contemporary ink painting exhibition as an example. The curat

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Sanesi, Irene. "Visibility in the Italian Art World: How Far Along We Are." International Journal of Economics, Finance and Management Sciences 12, no. 5 (2024): 284–92. http://dx.doi.org/10.11648/j.ijefm.20241205.16.

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Even though the concept of “nationality” when we talk about an internationally acclaimed artists is more and more blurred and has little to do with the importance of the artworks, it is evident how small the Italian art presence in great international art manifestations is, sometimes almost negligible. It is then necessary to understand the causes of this situation, to draw a map of the current state of the contemporary Italian scene and state some resolutions from it. The first 2022 Report “How (well) known is Italian art abroad?” by BBS-Lombard Benefit Corporation, together with Arte General

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Józsa, László, and Rita Balla. "The role of AI and new forms of artistic expression in shaping the art market." Journal of Infrastructure, Policy and Development 8, no. 16 (2024): 9760. https://doi.org/10.24294/jipd9760.

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The aim of our study is to provide information on how and to what extent professionals of art institutions in Hungary and Slovakia (contemporary galleries and museums) use artificial intelligence in their work processes. Our research focuses on the extent to which these institutions use artificial intelligence in the development of the institution’s operational strategy, or how they can embed the assumed usefulness of artificial intelligence in the operation of the institution, be it the creation of an exhibition, the textual processing of the professional life of an artist, or a about a tool

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Gedgaudaitė, Kristina, Dimitris Papanikolaou, and Theophilos Trampoulis. "Acts of citizenship in present-day Greece." Journal of Greek Media & Culture 9, no. 2 (2023): 211–28. http://dx.doi.org/10.1386/jgmc_00079_5.

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How do communities (fully fledged, active or imagined) perform citizenship? How do recent policies on urban planning and economic development in the city impact public space as the very site where citizenship is claimed, performed and experienced? What is the relationship between practices of memory (from personal memory, to collective and institutional) and acts of citizenship? How does the memory and the archivization of community life (in other words, the creation of a communal past) help the emergence of new demands for inclusion, rights and agonistic togetherness? Drawing inspiration from

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Klein, Joel A. "SEL: The Interview." SEL Studies in English Literature 1500-1900 63, no. 1 (2025): 105–16. https://doi.org/10.1353/sel.2025.a952062.

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Abstract: This interview features Joel A. Klein, Molina Curator for the History of Medicine and Allied Sciences, at The Huntington Library, Art Museum, and Botanical Gardens, San Marino, California. Klein shares his experience in digital humanities projects and curatorial work, his favorite sixteenth-century museum items, and the importance of library collections. " SEL : The Interview" is a recurring feature of the journal that puts the editors in direct conversation with professionals whose training and education is in literary analysis and scholarship but who work outside of or adjacent to

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Healy, Marley. "An Interview with Petra Slinkard Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts." Fashion Studies 2, no. 2 (2019): 1–16. http://dx.doi.org/10.38055/fs020203.

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This article contains an interview with Petra Slinkard, the Nancy B. Putnam Curator of Fashion and Textiles at the Peabody Essex Museum in Salem, Massachusetts. Ms. Slinkard is the first to hold this position at the museum and has held it since February 2018. Prior to this, Ms. Slinkard was the Curator of Costume at the Chicago History Museum. She has a Bachelor of Science in Fashion Merchandising, a Bachelor of Arts in Art History, and a Master of Science in Fashion/Textile History. Over the course of almost ten years, leadership at the museum endeavored to create a plan that would mobilize i

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Tostões, Ana. "David B. Brownlee interviewed by Ana Tostões." Louis I. Kahn – The Permanence, no. 58 (2018): 60–62. http://dx.doi.org/10.52200/58.a.2rykcqpi.

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In February 2018, Ana Tostões interviewed David Brownlee, pioneer researcher on Louis I. Kahn and an historian of modern architecture and professor of the history of art at the University of Pennsylvania, in order to debate Kahn’s realm of ideas and their contemporary significance. David Brownlee was guest curator of the exhibition Louis I. Kahn: In the Realm of Architecture (Museum of Modern Art, New York, 1992), and is co-author of the homonymous book (with David G. De Long, New York, 1991, translated into four other languages) that stands as the first worldwide comprehensive publication on

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Biryukova, Marina V. "Modern and Contemporary Art in the Russian Museum Context." Muzeológia a kultúrne dedičstvo 8, no. 3 (2020): 63–74. http://dx.doi.org/10.46284/mkd.2020.8.3.3.

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The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and s

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Inciarte, Ana, and Andrea Giunta. "‘Every Musem Is a Laboratory, and Every Exhibition Is a Social Experiment’: An Interview with Andrea Giunta." Journal of Curatorial Studies 13, no. 2 (2024): 200–219. https://doi.org/10.1386/jcs_00112_7.

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Andrea Giunta, researcher and curator, regards exhibitions as laboratories of social transformation, where academic research meets the public. In this interview with Ana Inciarte, she develops her approach to work, which focuses on how the intersection of art, feminism and politics can challenge established canons. Her curatorial projects include individual and collective exhibitions, which explore themes such as the political body, non-normative identities and the representation of minorities. Giunta seeks to create spaces for reflection, learning and transformation through exhibitions, invol

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Anam, Khoirul, Lono P. Simatupang, and Suwarno Wisetrotomo. "Different Types of Curators Based on Field of Work and Responsibilities in OHD Museum." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (2022): 72–81. http://dx.doi.org/10.31091/lekesan.v5i2.1821.

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The development of curatorial work practices will be very important for the development of museums, arts, and culture. However, it is undeniable that studies and understanding of the development of curatorial work practices are still not optimal in Indonesia. Awareness of the realm and responsibility of the curator is also sometimes poorly understood by the public and the practitioners of curatorial work practices themselves. This vacancy becomes an obstacle in the development of the profession of independent curator and museum curator. Where the curator profession is no longer seen only as a

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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of art

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Zagorskaya, S. G. "Spanish Paintings From Russian Collections. The Pushkin State Museum of Fine Arts will open an exhibition of Spanish painting from the collections in Russia." Cuadernos Iberoamericanos 11, no. 2 (2023): 14–29. http://dx.doi.org/10.46272/2409-3416-2023-11-2-14-29.

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Russia holds the first largest collection of canvas by great Spanish masters outside of Spain, including paintings by El Greco, Murillo, Ribera, Zurbaran, Goya, and others. In November 2023 the Pushkin State Museum of Fine Arts presents an exhibition of Spanish paintings from its own collections, as well as the works of art from the Hermitage and regional museums. In this interview, Svetlana Zagorskaya, curator of Spanish painting at the Pushkin Museum, talks about the collections of Spanish painting in Russia, the history of their acquisition and meticulous work of attributing paintings. Part

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Dixon, Wheeler Winston. "“You Can Never Do Enough”—An Interview with Joshua Siegel, Curator of Film, Museum of Modern Art." Quarterly Review of Film and Video 32, no. 6 (2015): 503–10. http://dx.doi.org/10.1080/10509208.2015.1049108.

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Pederson, Claudia Costa. "The Museology of Computergames—An interview with the curator of the Computerspiele Museum, Andreas Lange, and art historian and archivist Dr. Winfried Bergmeyer, Berlin." Eludamos: Journal for Computer Game Culture 4, no. 1 (2010): 87–100. http://dx.doi.org/10.7557/23.6116.

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Germany may be the second largest market for videogames in Europe after Britain, but its recognition of the cultural impact of computer games is rather unique. The first videogame museum in the world, the Computerspiele museum in Berlin is thriving on the German state’s support of non-profit initiatives dedicated to develop digital media literacy. Since the museum’s founding in 1997, its activities have been steadily branching out from the initial goal of providing an educational venue focused on computer game culture. At its cramped office space in the Marchlewskistr. 27, the museum hosts Eur

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Starodubtseva, Marina V. "Alexander Sedov: “We Tell People about Their Culture”." Oriental Courier, no. 3-4 (2021): 21. http://dx.doi.org/10.18254/s268684310017997-4.

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An interview with Alexander V. Sedov, the Director-General of The State Museum of Oriental Art devoted to the launch of the new master’s program of the Faculty of Oriental Studies of the State Academic University for the Humanities (GAUGN) and the Department of Oriental History of the Institute of Oriental Studies Russian Academy of Sciences “Socio-Cultural Development of East Asian Countries”, which is headed by Alexander Sedov as an academic curator (Dinara V. Dubrovskaya, the head of the Department of Oriental History of the Institute of Oriental Studies RAS, is the supervisor of the progra

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Jaquet, Daniel. "The art of fighting under glass." Acta Periodica Duellatorum 6, no. 1 (2018): 47–62. http://dx.doi.org/10.36950/apd-2018-002.

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A growing body of research on fight books and historical European martial arts has appeared in academic circles over the last fifteen years. It has also broken through the doors of patrimonial institutions. From curiosities in exhibitions about knighthood, to dedicated temporary exhibitions about historical European martial arts, the fight books have received more and more attention from museum professionals. This article attempts to present an exhaustive list of fight books displayed in museum exhibitions over the last fifty years. It then proposes a critical view about how and why they were

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Kisovar-Ivanda, Tamara. "The Museum-school Mentoring Model and Personalization of Education." Revija za elementarno izobraževanje 15, Spec. Iss. (2022): 59–75. http://dx.doi.org/10.18690/rei.15.spec.iss.59-75.2022.

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Museums are certainly a potential source of excellent mentors for students at all levels of education. It is realistic to expect that a model of personalized learning with a complex system of mentoring, would yield positive results. The article deals with the attitudes of teachers, museum educators and curators on forms of mentoring in the process of personalizing education at the primary level in Croatian schools. Qualitative methodology (semi-structured interviews) was used in the research. The results of the study indicate positive attitudes of teachers and museum educators/curators towards

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Matul, Katarzyna. "The Transition to Art: Poster Exhibitions at the Outset of the Poster’s Institutionalisation." Ikonotheka 26 (June 26, 2017): 239–51. http://dx.doi.org/10.5604/01.3001.0010.1680.

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What happened when the poster, originally an advertising medium, became an object of appreciation in the museums of Communist Poland? What criteria did it have to comply with in order to be accepted into a temple of art, a museum? The article analyses poster exhibitions organised at the Zachęta Central Bureau of Art Exhibitions in the 1950s. During this period, the interest of museum curators, critics and art historians in this medium must be envisioned as always being underpinned by political and propagandist interests; the transition of the poster to the status of a work of art is analysed h

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María, Jesús Martínez Silvente. "Técnico Auxiliar en Entornos Culturales: una apuesta por la formación inclusiva en Museos y Centros de Arte en España." Papireto I (December 1, 2022): 125–3. https://doi.org/10.57661/papireto/0110.

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The University of Malaga, through its Office for Attention to Diversity, UMA Convive, has been developing since the 2017-18 academic year, the Own Degree aimed at young people with intellectual disabilities Auxiliary Technician in Cultural Environments, a project aimed at promoting their accessibility in Museums and Art Centers, and provide them with the necessary tools for their foray into the professional field. For the development of this pioneering course, the University is sponsored by the ONCE Foundation and the European Social Fund. In carrying out this project, the Educational and Acce

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Nespeca, R., R. Quattrini, U. Ferretti, K. Giotopoulos, and I. Giannoukou. "DIGITAL TRANSITION STRATEGIES AND TRAINING PROGRAMS FOR DIGITAL CURATION OF MUSEUM." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 26, 2023): 1127–34. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-1127-2023.

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Abstract. Small and medium-sized museums have been particularly impacted by the COVID-19 pandemic, as they often have limited resources and staff to manage the challenges posed by the pandemic. In order for them to survive during the pandemic but also embracing the extensive use of technology in our everyday lives, museums have to adapt to this new reality. The aim of the Museum-Next project is to provide small and medium-sized museums with a new generation of specialised EU professionals working in the Cultural Heritage sector, equipped with a recognised, cross-cutting and high-level digital

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Hatano, Hiroyuki. "The image processing and database system in the National Museum of Western Art, Tokyo: an integrated system for art research." Art Libraries Journal 21, no. 1 (1996): 18–22. http://dx.doi.org/10.1017/s0307472200009718.

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In Japan, art museums have created databases for management, educational and promotional purposes, rather than for research. At the National Museum of Western Art in Tokyo, a group consisting of a librarian, three curators, and a systems specialist, embarked in 1984 on a four year project to assemble and test a system which, utilising machine-readable thesauri and classification systems developed in Western countries, will, it is hoped, facilitate research into Western art.

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Cuddon, Benedict. "A Field Pioneered by Amateurs: The Collecting and Display of Islamic Art in Early Twentieth-Century Boston." Muqarnas Online 30, no. 1 (2014): 13–33. http://dx.doi.org/10.1163/22118993-0301p0003.

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This article examines the formation and display of collections of Islamic art in Boston-area museums over the first half of the twentieth century. It focuses on the holdings of three main institutions: the Museum of Fine Arts, the Fogg Art Museum, and the Isabella Stewart Gardner Museum. It explores some of the key personalities involved in the formation of collections, such as Denman Waldo Ross, Hervey Wetzel, Joseph McMullan, and Stuart Cary Welch. It also looks at early curators of the collections, in this era a largely amateur pursuit. Through these considerations it traces changing approa

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Pandi, Tina, Marina Markellou, Esther Solomon, and Thomas Valianatos. "From public debates to institutional establishment: Exploring the mission of the National Museum of Contemporary Art in Greece." Journal of Greek Media & Culture 9, no. 1 (2023): 3–20. http://dx.doi.org/10.1386/jgmc_00065_1.

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In December 1997, the National Museum of Contemporary Art (Ethniko Mouseio Synchronis Technis – EMST) was established by law in Athens under the auspices of the Hellenic Ministry of Culture, compensating for the long-term absence of a state museum of contemporary art in Greece. Following the restitution of democracy in 1974, the question ‘what kind of museum do we need for contemporary art in Greece?’ was raised by artists and other professionals (critics, curators, gallerists, researchers) and explored through a series of public debates and events. However, only in the 1990s was this demand s

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Yaneva, Albena. "When a bus met a museum: following artists, curators and workers in art installation." Museum & Society 1, no. 3 (2003): 116–31. https://doi.org/10.29311/mas.v1i3.39.

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In this essay, I intend to offer an alternative to viewing the museum and the exhibition through the visitor’s expectations. Instead, I shall follow all those actors whom the viewer usually does not meet in the museum: the artists, the curators, the technicians and the workers. The visitor knows they exist and that they have worked hard to stage all these art installations for the public, but he or she has never seen them working, discussing and acting together in the artistic process. This essay is an invitation to the viewer to follow these actors and to perform a slow and unusual visit to t

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Ughetto, Pascal. "Scholars and poor communicators? Old Masters exhibitions as a scientific practice and communication activity for art museum curators." Current Sociology 65, no. 3 (2015): 376–94. http://dx.doi.org/10.1177/0011392115617226.

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Museum curators are rarely the subject of analysis as scientists. By contrast, there is a whole literature on their propensity to give priority to the scientific knowledge of collections over the effort to communicate with different audiences and make museums accessible. This article examines the Late Raphael exhibition at the Louvre (Paris) and draws on the exhibition texts (catalogues, artwork labels, wall texts) to explore the practical activity and preoccupations of the museum curators concerned: the exhibition is simultaneously material for the scientific demonstration of a thesis – part

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Apostol, Ioana, and Eduard Andrei. "Pragmatism and Idealism, the Local and the Universal in Henri Focillon’s and George Oprescu’s Museum Practice and Conception." Hiperboreea 11, no. 1 (2024): 67–89. http://dx.doi.org/10.5325/hiperboreea.11.1.0067.

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Abstract Henri Focillon and George Oprescu are both acknowledged as significant art historians and critics. Despite the importance and scope of their roles as museum curators and directors, research into their work, especially that of Oprescu, is still underdeveloped. Focillon served as the head of the Lyon Museums in France for eleven years (1913–1924), while Oprescu directed the Toma Stelian Art Museum in Bucharest for eighteen years (1931–1949). Rooted in their lesser-known personal and professional relationship, primarily discussed in Romanian historiography, this article undertakes a comp

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ADELMAN, JULIANA. "Evolution on display: promoting Irish natural history and Darwinism at the Dublin Science and Art Museum." British Journal for the History of Science 38, no. 4 (2005): 411–36. http://dx.doi.org/10.1017/s0007087405007351.

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In 1890 the staff of the Dublin Natural History Museum began a comprehensive rearrangement of the collection in their care. Inspired by visits to American museums and motivated by a desire to produce a truly educational display, curators arranged the zoological collection to include cases on the history and geographical distribution of animals. These cases explicitly depicted, in words and specimens, the main arguments of Charles Darwin's On the Origin of Species. Placed at a ground-floor entrance to the museum, the cases invited the visitor to examine the remainder of the collection in terms

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Rubantseva, Elizaveta V., and Loup Hoffmann. "The curator in the art world and in the museum: History, theories and current issues." Issues of Museology 11, no. 2 (2020): 168–82. http://dx.doi.org/10.21638/11701/spbu27.2020.203.

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The article analyzes the current state of curatorship and curating from a historical, theoretical and practical perspective. The aim is to understand the origin and the nature of the justified critique facing the profession nowadays from art institutions, artists, as well as from curators themselves, while exploring the challenges faced. The key historical developments of the profession are retraced, which nonetheless always had, to a certain extent, to come to terms with the main stakeholders of the industry: the artist, exhibiting institutions and the public. The profession’s interwoven posi

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Bjerre, Andreas. "Forvaltning, fortolkning og forhandling af autenticitet i et husmuseum." Nordisk Museologi 37, no. 2 (2024): 38–56. https://doi.org/10.5617/nm.12076.

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From 2019-2021 The Art Museums of Skagen conducted a reestablishment of the bedrooms in the historic house museum Anchers Hus. Challenges regarding lack of historical documentation and original artefacts led the museum staff to discuss the different notions of authenticity. In this article, a review of the concept of authenticity with regards to historic house museums, led to a categorization based on rationalities, held by conservators, curators, and museum visitors respectively. This categorization revealed several diverging understandings of authenticity. The analysis shows how the museum s

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Fisher, Michelle Millar. "‘The Most Fascinating and Well-Designed Artifacts of Our Time’: Collecting and Exhibiting Contemporary Guns in the Art Museum." Journal of Visual Culture 17, no. 3 (2018): 272–85. http://dx.doi.org/10.1177/1470412918800006.

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Guns are usually designed with great attention to their aesthetic, ergonomic, and functional component parts. Yet, their contemporary manifestations are considered so culturally and symbolically fraught – especially in the United States – that guns produced in the last century have rarely been presented as industrial objects worthy of sustained and close reflection within the context of a major design exhibition or art museum collection. This article considers the few recent exceptions, the legacy that curators and design historians have inherited and recently mobilized around guns in the desi

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Robertson, Bruce. "The South Kensington Museum in context: an alternative history." Museum & Society 2, no. 1 (2015): 1–14. http://dx.doi.org/10.29311/mas.v2i1.32.

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The South Kensington Museum—now the Victoria and Albert Museum—has a complex history. Founded in 1857 as an omnibus museum of art and industry—a condensation of the Great Exhibition of 1851 in all its abundance—it had a bewildering variety of possible futures ahead of it, including failure (or existence as an adjunct to a café, as one infamous ad campaign suggested twenty years ago).2 Yet the history of the museum has generally been written teleologically and typologically, as though it were both inevitable and obvious that it should turn into an art museum. The figure behind this foregone dev

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