Relevant bibliographies by topics / Dallas Museum of Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Dallas Museum of Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Dallas Museum of Art"

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Toth, Georgina Gy. "THE WENDY AND EMERY REVES COLLECTION: DALLAS MUSEUM OF ART." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 4 (December 1986): 185. http://dx.doi.org/10.1086/adx.5.4.27947689.

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Gnisci, Jacopo. "Crosses from Ethiopia at the Dallas Museum of Art: An Overview." African Arts 51, no. 4 (November 2018): 48–55. http://dx.doi.org/10.1162/afar_a_00432.

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ROELL, TALITA, VALÉRIE A. LEMAÎTRE, MICHAEL D. WEBB, and LUIZ A. CAMPOS. "An annotated and illustrated Type Catalogue of the predacious Shieldbugs (Hemiptera: Heteroptera: Pentatomidae: Asopinae) in the Collection of the Natural History Museum, London." Zootaxa 5232, no. 1 (February 3, 2023): 1–102. http://dx.doi.org/10.11646/zootaxa.5232.1.1.

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We present an annotated and illustrated type catalogue of the predacious shieldbugs (Hemiptera: Heteroptera: Pentatomidae: Asopinae), housed in the collection of the Natural History Museum, London. This work involves recognising types and their status, recording their label data and providing images of both the types and their labels. Although we personally refrain from designating lectotypes as the International Code of Zoological Nomenclature recommends that it should be done “as part of a revisionary or other taxonomic work” (ICZN 1999: Recommendation 74G), we have nevertheless accepted that lectotypes were designated before 2000 (see ICZN 1999: Art. 74 §§ 5 and 6), for the following 43 species: by Distant (1880) for Apateticus halys Dallas, Arma fuscescens Dallas, Arma modesta Dallas, Arma tincta Dallas, Oplomus rutilus Dallas, Oplomus ventralis Dallas, Stiretrus ornatus Dallas, Stiretrus ruficeps Dallas; by Synave (1969) for Mecosoma floridum Distant and Podisus volxemi Distant; by Thomas (1992) for Arma ampla Walker, Arma grandis Dallas, Arma lateralis Walker, Arma nigrispina Dallas, Arma obscura Dallas, Mormidea semialba Walker, Oplomus equestris Distant, Oplomus festivus Dallas, Oplomus nigripennis Dallas, Oplomus pulcher Dallas, Oplomus stellatus Distant, Oplomus violaceus Dallas, Platynopus conspersus Walker, Podisus amulae Distant, Podisus falcatus Distant, Podisus gaumeri Distant, Podisus insignis Distant, Podisus nigriventris Distant, Podisus sculptus Distant, Podisus smithi Distant, Stiretrus annulatus Distant, Stiretrus caeruleus Dallas, Supputius typicus Distant, Tynacantha marginata Dallas, Tynacantha splendens Distant, Zicrona cuprea Dallas and Zicrona marginella Dallas; and by Thomas (1994) for Anasida funebris Distant, Damarius bicolor Distant, Neoglypsus opulentus Distant, Neoglypsus viridicatus Distant, Incitatus primus Distant, and Jalloides versicolor Distant. We have also found out that Synave (1969) had designated the lectotype of Glypsus erubescens Distant before Linnavuori (1975). A syntype of Oplomus distinctus Distant, 1880 is located and Thomas’s (1992: 57) synonymy of this species with O. catena (Drury, 1782) is confirmed. Informations regarding labels used by the first five curators of Hemiptera at the Natural History Museum, London (Adam White, William S. Dallas, Francis Walker, William L. Distant and William E. China) are provided. In total, we list herein 248 specimens examined in NHMUK (49 holotypes, 41 lectotypes, 84 syntypes, 17 paratypes, 25 paralectotypes, and 32 non-types which are historical specimens), representing 149 nominal species or 104 currently valid species (ca. 34% of the just over 300 valid Asopinae species worldwide).
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SIMPSON, E. "Ancient Gold Jewelry at the Dallas Museum of Art * Ancient Jewelry and Archaeology." Journal of Design History 12, no. 3 (January 1, 1999): 293–97. http://dx.doi.org/10.1093/jdh/12.3.293.

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Pico, Ramón. "AERIAL ART, THE NEW LANDSCAPE OF ROBERT SMITHSON." JOURNAL OF ARCHITECTURE AND URBANISM 43, no. 2 (January 15, 2020): 181–91. http://dx.doi.org/10.3846/jau.2019.10354.

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Aircraft were to play a decisive role in the short career of Robert Smithson. In 1969, when he published his article Aerial Art, Walther Prokosch, an architect specializing in aviation, put him in contact with TAMS engineering. This gave rise to his involvement in a land altering operation as vertiginous and brutal as the construction of Dallas Fort-Worth International Airport. At that point Smithson became aware of the human capacity to transform Mother Earth and the importance of contemplation from the air. He incorporated these interests into his artistic creation, thus paving the way for earthwork, crucial to the evolution of Land Art. The study of the documents included among Robert Smithson’s Papers at the Smithsonian Museum of American Art allows us to reconstruct a history that shared interests and concerns with Moholy-Nagy’s New Vision or Le Corbusier’s Loi du Méandre.
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Rosa, John. "Small Numbers/Big City: Innovative Presentations of Pacific Islander Art and Culture in Phoenix, Arizona." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 59–78. http://dx.doi.org/10.36650/nexus5.1_59-78_rosa.

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This resource paper provides an overview of how the small but growing Pacific Islander and Asian American community in Phoenix has sustained, developed, and preserved its culture and art in the absence of a permanent AAPI art or cultural museum. This article gives examples of such alternative formats and includes details on dance, music, and other folk cultural practices. Metropolitan statistical areas with AAPI populations comparable to Phoenix include Minneapolis, Atlanta, and Dallas. Phoenix community groups use small, temporary displays at annual AAPI cultural festivals. One approach is a ?museum on wheels? ? a used tour bus filled with certified reproductions of artifacts on loan from the Bishop Museum in Honolulu. Native Hawaiians also collaborate with the more numerous Native American organizations that can provide venues for indigenous arts. Universities and state humanities councils are frequent sources of funding for AAPI artists. MSAs with Pacific Islander populations most comparable to Phoenix (in the range of 10,000 to 15,000) are the U.S. Southwestern cities of Las Vegas and Salt Lake City. Pacific Islanders in these cities might be most likely to employ display formats and strategies similar to those used in Phoenix.
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Chen, Si, Zi Long Ma, and Lei Cao. "Analysis of Peter Walker’s Modern-Classical Landscape Design Method." Applied Mechanics and Materials 209-211 (October 2012): 341–45. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.341.

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Influenced by Le Notre Garden, Peter Walker’s works brought forward the landscape architectural modernism movement while embracing classical elements. Most of his works have geometric and symmetrical layout with axis and specifics to sites. Modern materials, dynamic and static waterscape, geometric shaped plants and sculptures are common elements of his design. This paper analyzed the innovative style and features of Peter Walker’s five modern-classical landscape works: Burnett Park (Fort Worth, Texas, USA), Garden of Kempinski Hotel (München, German), Toyota City Museum of Art (Toyota City, Aichi, Japan), IBM Solana (Dallas, Texas, USA) and Cambridge Center Roof Garden (Cambridge, Massachusetts, USA).
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DiTillio, Jessi. "The Power of Gold: Asante Royal Regalia from Ghana, curated by Roslyn A. Walker, Dallas Museum of Art, Dallas, TX April 15–August 12, 2018." African Arts 52, no. 2 (June 2019): 87–89. http://dx.doi.org/10.1162/afar_r_00467.

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Rodríguez-Negrón, Iraida. "“A true Patron without any pretense of being one”: William H. Stewart, His Album, and His Friends from the Modern Spanish School in Nineteenth-Century Paris." Nineteenth Century Studies 33, no. 1 (December 1, 2021): 217–41. http://dx.doi.org/10.5325/ninecentstud.33.0217.

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Abstract The art collection of William H. Stewart (1820–97), an American expatriate who lived in Paris during the second half of the nineteenth century, comprised more than two hundred paintings by contemporary American and European artists and was lauded as the most outstanding compilation of works by artists of the modern Spanish school. Following the collection’s dispersal at auction in 1898, Stewart’s reputation as a patron began to diminish. This essay aims to rehabilitate Stewart, further the appreciation of his contributions, and shed light on the connections he established with some of the most popular artists of the period, especially those of Spanish origin living in Paris. These relationships are highlighted in “The Stewart Album,” now in the collection of the Meadows Museum in Dallas, Texas. This extraordinary compendium of primary sources is a testament to Stewart’s connoisseurship and taste and the important place he occupied in the international art scene during the last four decades of the nineteenth century. By considering the material within the album together with other contemporary sources, a clearer picture of a formidable artistic patron emerges, one who not only developed personal relationships with artists but also promoted Spanish art and culture among his American friends.
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Pace, Tom. "Assassination and Commemoration: JFK, Dallas, and the Sixth Floor Museum at Dealey Plaza StephenFagin. Norman: University of Oklahoma Press, 2013." Journal of American Culture 39, no. 1 (March 2016): 82–83. http://dx.doi.org/10.1111/jacc.12451.

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Dissertations / Theses on the topic "Dallas Museum of Art"

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Koerble, Barbara Lee. "Edward Larrabee Barnes's Dallas Museum of Art: An Architectural Development Study." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500359/.

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This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.
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Aljuidan, Hanan Abdulaziz M. "Building a Collaborative Smartphone Application for Blind and Low Vision Visitors at the Dallas Museum of Art." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505223/.

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The goal of my study is to develop a mobile application to enable all visitors, including blind and low-vision visitors, to autonomously gather and share information about interpretations of art and to have a fully independent museum-going experience. With an application, blind visitors have more access to opportunities and tools in the museum, which empowers their museum experience. My study used a qualitative, mixed-methods approach to research how blind and low vision museum visitors might increase their independence in the museum space and discover ways to equalize their access without relying on museum educators. In carrying out my study, I conducted interviews and collected data based on observations and transcribed and analyzed them using a grounded theory approach. I used Freire's theory of pedagogy of the oppressed and hooks' theory of education as the practice of freedom to frame my study.
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Kemble, Sally Savage. "Printmaking from 1400 to 1700 with a catalogue of the print collection at the Dallas Museum of Art /." Ann Arbor (Mich.) : University microfilms international, 1986. http://catalogue.bnf.fr/ark:/12148/cb355363971.

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Gormly, Robin K. "Education for Education's Sake? Exposing the Arts District of Downtown Dallas." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4876/.

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This thesis discusses the relatively new approach of art education, by paralleling it to Marxist ideology on art. The Dallas Arts District is one example of a city where museum art education is in conflict: being adopted more vigorously by some and with less acceptance by others. In order to provide a glimpse into the museum ideology of downtown Dallas, previous schools of thought regarding the role of curators and the introduction of educators into museums will be detailed, as well as conflicts between these two factions. The following questions will be addressed: Is museum art education truly a movement which strives to infuse the American culture with a greater appreciation of art? Is there a link to overcoming Marx's key issue of class? How is the movement affecting the Dallas Arts District and to what extent is museum art education being utilized within this forum? Is the emphasis toward museum art education greater in Dallas than in other large cities across the United States, and if so, how has that affected the cities' patrons?
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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.

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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
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Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.

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Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.
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Bradford, Shalen. "Children's Art Museum." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2175.

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This Thesis explores the question; Is a children’s museum a playground or a museum? Through research and visits to children’s museums I feel that many are playgrounds. They are also visually stimulating to children, but not to the guardians who bring them there. In most cases the exhibits are permanent and there is little change to the atmosphere of the space on a regular basis. An old warehouse located on North Boulevard was chosen to house this project idea of a children’s art museum. The scenario is that The Virginia Museum of Fine Arts and the Children’s Museum of Richmond would have a joint venture in creating a the Children’s Art Museum of Richmond. Thebuildings’ close proximity to these two museums make it an excellent choice for both institutions. There are interactive changing exhibits, a studio that continues the learning experience from the exhibit, and a gallery to display artwork that was created in the studio spaces. Through these three core spaces I hope to create a continuous interactive learning experience in this children’s art museum.
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Bingham, Glenn. "Mobile Museum of Art." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/153.

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The following internship report is an investigation of the organizational structure of the Mobile Museum of Art from January 2013 to August 2013. During the internship, I was able to work in several different capacities, from volunteer coordinating, to marketing, to programming. This report analyzes several aspects within these fields, including the organization’s brand, marketing strategies, and educational structure as they shift under new management. Based on my observations, I will offer recommendations for programming, marketing, and volunteer management, and compare the current structure to best practices of other museums and similar organizations. Through this extensive analysis I will also offer thoughts about the future of this local arts environment.
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Wong, Ngai-leung Aman, and 黃毅樑. "Museum of Guangdong folk art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198552X.

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Secleter, John Robert. "Duke University Museum of Art." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52237.

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Books on the topic "Dallas Museum of Art"

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Moore, Watson Queta, ed. Dallas Museum of Art: A guide to the collection. [Dallas, Tex.]: Dallas Museum of Art, 2012.

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Art, Dallas Museum of. Dallas Museum of Art: A guide to the collection. Dallas, Tex: Dallas Museum of Art, 1997.

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A, Walker Roslyn, ed. The arts of Africa at the Dallas Museum of Art. Dallas: Dallas Museum of Art, 2009.

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Deppert-Lippitz, Barbara. Ancient gold jewelry at the Dallas Museum of Art. Dallas, TX: Dallas Museum of Art in association with the University of Washington Press, 1996.

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Bromberg, Anne R. Gods, men, and heroes: Ancient art at the Dallas Museum of Art. Dallas: The Museum in association with University of Washington Press, Seattle, 1996.

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Art, Dallas Museum of. Fast forward: Contemporary collections for the Dallas Museum of Art. New Haven, CT: Yale University Press, 2007.

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Art, Dallas Museum of. The arts of Africa at the Dallas Museum of Art. Dallas: Dallas Museum of Art, 2009.

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Sotheby's (Firm). Furniture, decorative works of art & carpets. New York: Sotheby's, 2003.

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Art, Dallas Museum of. Decorative arts highlights from the Wendy and Emery Reeves collection. Dallas: Dallas Museum of Art, 1995.

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Hale, Kenneth J. Kenneth J. Hale, recent prints: Marion Koogler McNay Art Museum, San Antonio, Texas, February 5-April 1, 1989, Dallas Museum of Art, Dallas, Texas, July 1-August 27, 1989. San Antonio, Tex: Marion Koogler McNay Art Museum, 1989.

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Book chapters on the topic "Dallas Museum of Art"

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Kidd, Jenny. "The transmedia museum." In Curating Art, 328–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-48.

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Ban, Shigeru. "Paper Art Museum." In Transparente Kunststoffe, 104–9. Basel: Birkhäuser Basel, 2008. http://dx.doi.org/10.1007/978-3-7643-8294-0_15.

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Ryan, Michael. "Yaroslavl Art Museum." In Revisiting Museums of Influence, 193–96. Abingdon, Oxon ; New York : Routledge, [2021]: Routledge, 2020. http://dx.doi.org/10.4324/9781003003977-44.

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Plevoets, Bie, and Koenraad Van Cleempoel. "Kolumba Art Museum." In Adaptive Reuse of the Built Heritage, 157–61. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315161440-15.

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Zalman, Sandra. "Salvador Dali's Rainy Taxi at the museum." In Revisiting the Past in Museums and at Historic Sites, 145–57. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003147695-11.

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Lucco, Mauro. "“Uscito dalla scuola del Bellino”. Qualche nota tecnica sugli inizi di Giorgione." In Museums at the Crossroads, 117–41. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.mac-eb.3.1831.

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Ezeluomba, Ndubuisi C. "The development of the exhibition of African art in American art museums." In Museum Innovation, 40–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003038184-4.

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Hubard, Olga. "Introduction: What Is Gallery Teaching?" In Art Museum Education, 1–6. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_1.

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Hubard, Olga. "Complete Engagement: Embodied Response and Multimodal Facilitation." In Art Museum Education, 121–37. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_10.

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Hubard, Olga. "Originals and Their Reproductions." In Art Museum Education, 138–56. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_11.

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Conference papers on the topic "Dallas Museum of Art"

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Suharyogi, Ifan Yoga Pratama, Agustina Djafar, Rahajeng Ayu Permana Sari, and Paradita Kenyo Arum Dewantoro. "Geological Museum Innovations to Dealing with Covid-19 Pandemic | Inovasi Museum Geologi dalam Menghadapi Pandemi Covid-19." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-34.

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Bandung Geological Museum as the thematic earth museum in Indonesia has been established on 16 May 1929. This museum has 417,882 collections, there are mineral and rock collections, vertebrate, invertebrate, paleobotanical fossils, and artifacts. As a government museum, the Geological Museum has a duty to disseminating geological information. This article aims to identify the Geological Museum’s activities during the Covid-19 pandemic. After the temporary closure in March 2020, the museum activities were carried out virtually, including Collection Talk, Day and Night at the Museum, virtual tours, Bincang Museum, virtual geoscience socialization, and introduce the collections by social media. Museum Geologi Bandung sebagai museum kebumian di Indonesia telah berdiri sejak 16 Mei 1929. Museum ini memiliki 417.882 koleksi, berupa koleksi mineral dan batuan, fosil vertebrata, fosil invertebrata, fosil paleobotani dan artefak. Sebagai instansi yang bertugas menyebarluaskan informasi kegelogian, dimasa pandemi Covid-19, Museum Geologi berinovasi melakukan kegiatan-kegiatan edukasi dalam bentuk virtual. Tujuan penulisan artikel ini adalah melakukan identifikasi kegiatan dilakukan Museum Geologi selama pandemi Covid-19. Pasca penutupan sementara Museum Geologi pada bulan Maret 2020, kegiatan yang dilakukan berupa kegiatan virtual diantaranya: Collection Talk, Day and Night at the Museum, virtual tour, Bincang Museum, sosialisasi kebumian secara virtual, dan pengenalan koleksi melalui sosial media.
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Zhao, Guohua. "The Research on the Visual Emotional Response of Tourists in the Lighting Environment of Dalian Art Museum Based on the Correlation Analysis of SPSS." In 2020 International Conference on Big Data and Social Sciences (ICBDSS). IEEE, 2020. http://dx.doi.org/10.1109/icbdss51270.2020.00057.

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Baba, Shinsuke, Jennifer Meloon, and Stephen Duck. "K museum." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312971.

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Livatino, Salvatore. "Virtual Museum of Contemporary Art." In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.

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Zhou, Hao. "Virtual Reality in the Art Museum." In SA '19: SIGGRAPH Asia 2019. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3366344.3366441.

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Chang, Wen-Thong. "Proactive guiding with iBeacon in Art Museum." In 2017 Pacific Neighborhood Consortium Annual Conference and Joint Meetings (PNC). IEEE, 2017. http://dx.doi.org/10.23919/pnc.2017.8203530.

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Chang, Yujin. "SIMPLE LIFE (CHANG UCCHIN MUSEUM OF ART)." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.02.

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Jiang, Fei. "An Augmented Reality Art Work for Museum." In 2015 International Conference on Computer Science and Intelligent Communication. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/csic-15.2015.22.

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Stella, Stella, Eddy Supriyatna Marizar, and Maria Florencia. "Interactive Design Concept on Art: 1 New Museum and Art Space." In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.092.

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Xing, Yongkang, and Qianhong Cheng. "Interactive Future of Museum Encouraging Youth Group to Engage with Museum." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.164.

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Reports on the topic "Dallas Museum of Art"

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Westermann, Mariët, Liam Sweeney, and Roger Schonfeld. Art Museum Staff Demographic Survey 2018. Ithaka S+R, January 2019. http://dx.doi.org/10.18665/sr.310935.

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Sweeney, Liam, Deirdre Harkins, and Joanna Dressel. Art Museum Staff Demographic Survey 2022. Ithaka S+R, November 2022. http://dx.doi.org/10.18665/sr.317927.

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Sweeney, Liam, and Joanna Dressel. Art Museum Director Survey 2022: Documenting Change in Museum Strategy and Operations. Ithaka S+R, October 2022. http://dx.doi.org/10.18665/sr.317777.

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Schonfeld, Roger, and Liam Sweeney. Organizing the Work of the Art Museum. Ithaka S+R, July 2019. http://dx.doi.org/10.18665/sr.311731.

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Fox, Andrew, and Sadie Walters. North Carolina Museum of Art West Building Expansion. Landscape Architecture Foundation, 2015. http://dx.doi.org/10.31353/cs0940.

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Sweeney, Liam, and Jennifer Frederick. Ithaka S+R Art Museum Director Survey 2020. Ithaka S+R, November 2020. http://dx.doi.org/10.18665/sr.314362.

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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Abstract:
The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Miller, N. J., and S. M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1220103.

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Miller, Naomi J. Demonstration of LED Retrofit Lamps at the Jordan Schnitzer Museum of Art. Office of Scientific and Technical Information (OSTI), September 2011. http://dx.doi.org/10.2172/1062520.

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Sweeney, Liam. Reflecting Los Angeles, Decentralized and Global: Los Angeles County Museum of Art. Ithaka S+R, January 2018. http://dx.doi.org/10.18665/sr.306187.

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