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Academic literature on the topic 'Duke Museum of Art'

Author: Grafiati

Published: 27 February 2023

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Journal articles on the topic "Duke Museum of Art"

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Yarmohammad Touski, Golnar. "Modern Art in the Arab World: Primary Documents." Contemporaneity: Historical Presence in Visual Culture 7 (October 30, 2018): 110–12. http://dx.doi.org/10.5195/contemp.2018.264.

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Book Review: Anneka Lenssen, Sarah A. Rogers, and Nada M. Shabout. Modern Art in the Arab World: Primary Documents. New York: The Museum of Modern Art, in association with Duke University Press, 2018. 464 pp.; 49 ills.; 51 b/w ills. Paperback, $40 (1633450384, 9781633450387)

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Siegel, Jonah. "Owning Art after Napoléon: Destiny or Destination at the Birth of the Museum." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 142–51. http://dx.doi.org/10.1632/pmla.2010.125.1.142.

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A set of major old-master paintings looted from Spanish Royal Collections, including important canvases by Velázquez (fig. 1), Correggio, and others, was discovered in Joseph Bonaparte's baggage, abandoned along with the rest of his property as he fled from the Battle of Vitoria, which ended his tumultuous five-year reign as king of Spain in 1813. Years later the duke of Wellington offered to return the collection to the restored monarch. But Ferdinand VII—who owed his throne to the duke's victories—refused to take it. What in its day would have been called the return to legitimacy, the restoration of the Bourbon line after the defeat of Napoléon, did not result in the restitution of Napoleonic loot. The works remain at Apsley House, the duke's home in London, where they have been on display in the Waterloo Gallery since 1819, a usurper's booty transformed by its history into an emblem of royal generosity, gratitude, and military prowess (fig. 2). The collection is now part of the museum officially established at the duke's residence in 1947, following another European military cataclysm in which Britain prevailed.

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Bardovskaya, Larisa V. "Portraits of Grand Duke Ludwig of Hesse: Return after Neglect." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 172–85. http://dx.doi.org/10.21638/spbu15.2021.201.

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The article is dedicated to the attribution of two portraits of an unknown German general in the Tsarskoye Selo Museum collection. One of them is a ceremonial knee-high portrait, the other is a small head portrait of the same general. In addition, one portrait was purchased in 1997 at the “Lenfilm” stage properties, the other has always been in the museum. It was believed that the head portrait, by an unknown artist, depicted Grand Duke Ludwig of Hesse-Darmstadt — father of future Russian Empress Alexandra Feodorovna. The weak inscription at the bottom of the knee-high portrait states that it is a copy done by Heinrich R.Kröh in 1896 in Darmstadt, based on Heinrich von Angeli`s original. On the backs of both canvases, monograms from the personal collection of Empress Alexandra Feodorovna were found: the interwoven Russian letters “A” and “F” under a crown and “№ 8” (ceremonial knee-high portrait) and “№ 65” (head portrait). Both images date back to the famous “Family portrait of Grand Duke Ludwig of Hesse”, commissioned by Queen Victoria for the Drawing-room of her Osborne-House in London. In the queen’s letters, it is noted that Angeli had started to work on the head sketches immediately upon his arrival in 1878. Alexandra Feodorovna brought one of them, her father’s head sketch, with her to Russia. Also, in the year of 1878 Angeli painted the knee-high ceremonial portrait with the same regalia for Grand Duke Ludwig’s residence in Darmstadt. The portrait is known in copies executed by Ludwig Hofmann-Zeitz (Royal Collections, London) and Heinrich Kröh (now in Tsarskoye Selo Museum). The fate of Kröh’s replica happened to be tragic. First it was seen in a photograph of the Empress’s study in the Winter Palace of the 1900s made by St. Petersburg photographer Karl Kubesh. The photo shows companion portraits of the Empress’s parents. Both portraits disappeared after the 1917 Revolution. The knee-high portrait of Ludwig was badly damaged and as a result was included into the stage props of the studio as it was deemed unnecessary. After many decades, the portrait was returned to the Tsarskoye Selo Museum collection.

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Sobieraj, Leonard. "IN MEMORY OF MARIAN SOŁTYSIAK." Muzealnictwo 58, no. 1 (July 3, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.1578.

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Marian Sołtysiak, PhD, director of the Mazovian Museum in Płock (MMP) from 1961 to 1977, passed away on 20 November 2016. During his office, the museum was transformed into a supraregional institution, extended its collections, expanded its scientific and popularising activity, established contacts with academic and artistic circles, and acquired a new building in the Castle of the Mazovian Dukes. The most significant decision which set the institution’s further course was to start collecting Art Nouveau works, which now form the largest collection of Art Nouveau in Poland and is a showpiece of the museum. They also contributed to the network of museums in the Mazovian region, which led to the development of cultural life in our region. Marian Sołtysiak wrote publications devoted to our museum, one based on his PhD thesis The Mazovian Museum in Płock. Its history and social functions, as well as a memoir The Secesja with petrochemistry in the background. Once he left the MMP, he held important positions in various institutions in Warsaw; for example he was the organiser and first director of the Board of Historical Garden and Palace Conservation of the National Museum, Deputy Director of the Royal Castle in Warsaw, Director of the National Museum, Curator of the Arx Regia Publishing House of the Royal Castle in Warsaw, and Managing Director of the Patrimonum Foreign Enterprise. Sołtysiak was also an academic lecturer at the Pawel Wlodkowic University College in Płock and at the Pultusk Academy of Humanities, and a member of numerous Polish and international associations, museum boards, and scientific societies devoted to culture, protection of monuments and museology. For his indefatigable work for the protection of cultural heritage, he was given the award “For the guardianship of monuments” and the Annual Award from the Minister of Culture and National Heritage.

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Bobier, Kim. "Wangechi Mutu: A Fantastic Journey Nasher Museum of Art, Duke University, Durham, NC March 21–July 21, 2013." African Arts 46, no. 4 (December 2013): 90–93. http://dx.doi.org/10.1162/afar_r_00111.

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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (January 1, 2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.

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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical treatises to courtly literature. The Museum places late medieval book production squarely in its historical and artistic context. Visitors are not only introduced to the urban culture that provided a fruitful meeting place between artists, craftsmen, and patrons, but also to the broader artistic culture of the late Middle Ages. By presenting the manuscripts in dialogue with other forms of art such as panel paintings and sculpture, the exhibition stresses that artists at times moved between various media (e.g. illumination and painting) and were influenced by iconography in other forms of art.

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Findlen, Paula. "The 2012 Josephine Waters Bennett Lecture: The Eighteenth-Century Invention of the Renaissance: Lessons from the Uffizi*." Renaissance Quarterly 66, no. 1 (2013): 1–34. http://dx.doi.org/10.1086/670403.

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This essay explores the role that the eighteenth-century Uffizi gallery played in the invention of the Renaissance. Under the Habsburg-Lorraine rulers, and especially during the reign of Grand Duke Peter Leopold (r. 1765–90), changes to the Medici collections and the gallery’s organization transformed an early modern cabinet of curiosities, paintings, and antiquities into a space in which a historical narrative of art, inspired by rereadings of Giorgio Vasari’s Lives, became visible in a building he designed. A succession of Uffizi personnel was increasingly preoccupied with how to see renaissance, and more specifically Tuscan rinascita, in the collections. The struggles between the director Giuseppe Pelli Bencivenni and his vice-director Luigi Lanzi highlight how different understandings of the Renaissance emerged in dialogue with antiquarianism and medievalism. At the end of the eighteenth century the Uffizi would definitively become a museum of the Renaissance to inspire new forms of historical writing in the age of Michelet and Burckhardt.

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Stevenson, Christine. "Julie V Hansen and Suzanne Porter, The physician's art: representations of art and medicine, Durham, NC, Duke University Medical Center Library and Duke University Museum of Art, 1999, pp. 141, illus., £37.00 (hardback 0-9672946-0-6), £19.95 (paperback 0-9672946-1-4)." Medical History 45, no. 4 (October 2001): 559. http://dx.doi.org/10.1017/s0025727300068629.

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Zorach, Rebecca. "Susan E. Cahan. Mounting Frustration: The Art Museum in the Age of Black Power. Durham, N.C.: Duke University Press, 2016. 360 pp." Critical Inquiry 44, no. 1 (September 2017): 209–10. http://dx.doi.org/10.1086/694152.

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Johnson-Cunningham, Stephanie A. "Mounting Frustration: The Art Museum in the Age of Black Power by Susan E.Cahan, ed.,. Durham, NC: Duke University Press, 2016. 360 pages. Paperback: $34.95." Curator: The Museum Journal 60, no. 4 (October 2017): 541–45. http://dx.doi.org/10.1111/cura.12235.

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

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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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Fisher, Cozza Robin Lee. "The writings and art songs of John Duke 1917-1945 /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023544.

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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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Wong, Ngai-leung Aman. "Museum of Guangdong folk art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594552x.

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Södersten, Tove. "A Museum of Graphic art." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175596.

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This project investigates the relations light and shape in a museum of graphic arts. The nature of daylight determines the meeting between the building and the sky. The shape of the building, therefore, distributes the light thus facilitating the meeting between the visitor and the art. The best light in art museums is neutral and avoids sharp contrasts and shadows that would otherwise detract from the experience in the museum. I studied how different shapes influence light and found a rounded shape to produce the best results, distributing light evenly thus avoiding distracting contrasts. Rounded shapes from a quadratic base with straight walls optimize the distribution of the light, facilitating the interaction between the visitor and the art. The building of the museum is part of a “light-game” with a quadratic base. The conspicuous shapes distribute the light, guiding the visitor in the world of art. In the north, the building has a density next to the car park while it interacts with the shapes producing an intimate small-scale feeling in the south.
Projektet undersöker relationen mellan ljus och form i ett museum för grafisk konst. Ljusets natur bestämmer samspelet mellan byggnad och himmel. Byggnadens form fördelar ljuset och underlättar besökarens mötte med konsten. I konsthallar är det kontrastfria, neutrala ljuset det bästa; skuggspel och ljusförändringar stör upplevelsen. I mina studier fann jag att en välvd form fördelade ljuset jämt, störande kontraster undviks. Den välvda formen fördelade ljuset på bästa sätt och uppfyllde kravet som konsten ställer inför mötet med betraktaren. Den välva formen med en kvadratisk bas i botten och raka neutrala väggar.Byggnaden blir ett spel där formerna framstår mot en grid-baserad bas (VAD ÄR GRID-BASERAD?). Det tydliga formspråket är anslående och vägleder besökaren. Byggnaden har en ”täthet” i norr, vid bilparkeringen, och omgivningen utanför samspelar med formerna ner mot södra sidan och skapar tillsammans en småskalighet. Byggnaden går från att ha en hög densitet i norr mot bilparkeringen, till att spela med ute och inne mot dess södra sida för att även passa in i den småskaliga omgivningen.

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Conway, Chelsea. "Participatory Activities and the Art Museum: A Case Study of the Columbus Museum of Art." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493982670620671.

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Lange, Andreas. "The Surreal Museum: An Intervention for the Cincinnati Art Museum." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179159972.

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Thesis (Master of Architecture)--University of Cincinnati, 2007.
Title from electronic theses title page (viewed July 12, 2007). Includes abstract. Keywords: Cincinnati Art Museum; Addition; Intervention; Surrealism; unheimlich; museum; Architecture Includes bibliographic references.

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Jalkanen, Dayna Marie. "Art Around Town." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285100432.

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Books on the topic "Duke Museum of Art"

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Nasher Museum of Art at Duke University. Development Committee. The Nasher Museum of Art at Duke University: Building and endowing a new home for the Duke University Art Collections. Durham, N.C.]: Campaign for Duke, 2001.

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Duke University. Museum of Art., ed. Selections from the bequest of Nancy Hanks. Durham, N.C: Duke University Museum of Art, 1986.

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Art, Duke University Museum of. A generation of antiquities: The Duke classical collection, 1964-1994 : Duke University Museum of Art, 20 January-26 March 1995. Durham, N.C: Greek, Roman, and Byzantine Studies, Duke University, 1994.

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Nasher Museum of Art at Duke University, OSU Urban Arts Space, Wallach Art Gallery, and Lewis & Clark College (Portland, Or.). Gallery of Contemporary Art, eds. Open this end: Contemporary art from the collection of Blake Byrne. Los Angeles: The Skylark Foundation, 2014.

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Duke University. Museum of Art. A generation of antiquities: The Duke classical collection 1964-1994. Durham, N.C: Greek, Roman, and Byzantine Studies, 1994.

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Baer, Winfried. The Prussian service: The Duke of Wellington's Berlin dinner service, 1817-1819. [Berlin: Verwaltung der Staatlichen Schlösser, und Gärten, 1989.

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Duke University. Museum of Art. The Brummer collection of Medieval Art. Durham: Duke University Press in association with the Duke University Museum of Art, 1991.

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1938-, Graham Robert, and Los Angeles County Museum of Art., eds. Robert Graham, the Duke Ellington Memorial in progress: Los Angeles County Museum of Art, Robert O. Anderson Building, September 8-October 23, 1988. Los Angeles, Calif: The Museum, 1988.

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Darii︠a︡, Darevych, Winnipeg Art Gallery, and Derz︠h︡avnyĭ muzeĭ ukraïnsʹkoho obrazotvorchoho mystet︠s︡tva URSR., eds. Spirit of Ukraine: 500 years of painting : selections from the State Museum of Ukrainian Art, Kiev = Dukh Ukraïny : 500 litti︠a︡ mali︠a︡rstva. Winnipeg: Winnipeg Art Gallery, 1991.

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Art museum. Minneapolis, Minnesota: Jump!, Inc., 2016.

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Book chapters on the topic "Duke 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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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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Hubard, Olga. "Three Kinds of Dialogue about Art." In Art Museum Education, 9–21. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_2.

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Hubard, Olga. "The Structure of Open Dialogue." In Art Museum Education, 22–38. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_3.

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Conference papers on the topic "Duke Museum of Art"

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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.

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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.

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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.

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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.

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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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Jadán-Guerrero, Janio, Mónica Mendoza, Patricia Acosta-Vargas, and Isabel L. Nunes. "Digital Learning Experiences in virtual Museums." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002174.

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Due to the COVID-19 pandemics, the virtual space became relevant in teaching practice. It has been necessary to find new ideas to teach, being this the perfect setting where the virtual museum is seen as a space for teaching and learning. In today's digital ecosystem, there are many resources, so the educational application of these resources makes them interesting, exciting, and relevant. The research’s objective is to create a virtual museum articulated with the axes and areas of development and learning of the national curriculum of Ecuador for pre-school children and to analyze the effects on the teaching-learning process. With the opening and democratization of the knowledge of these cultural centers, it is possible to create synchronous and asynchronous learning experiences and explore fine arts world by selecting artworks, figures and objects that allow meaningful learning. The methodological design of this study is based on the qualitative-quantitative paradigm, with the participation of teachers and pre-school children, integrating collection, analysis and interpretation of quantitative and qualitative data, as well as experts’ criteria about the subject, which allowed obtaining data concerning the use of virtual museums and the applicability of relevant interactive resources. With the focus group technique, 30 children aged 4 to 5 years old expressed their opinions, feelings, and experiences, generating an enriching debate about users’ experience in the virtual museum. The design of the museum was developed on a platform that allowed the creation of a guided visit circuit similar to that of a physical museum, where the teacher becomes a mediator and interpreter of this new virtual museology focused on the user. The results are encouraging with a pertinent design and according to the national curricular logic. Promoting the use of other non-formal spaces, highlighting the importance of cultural centers use such as physical or virtual museums and routes as well as city or world’s corners to develop learning sessions, and expanding the scope of visits to the physical and virtual museums in a kind of hybrid didactics will be the subjects of this research.

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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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Reports on the topic "Duke 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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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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