Relevant bibliographies by topics / Houston Museum of Fine Arts

Contents

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

Academic literature on the topic 'Houston Museum of Fine Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Houston Museum of Fine Arts"

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Ross, Doran H. "African Art at the Museum of Fine Arts, Houston." African Arts 36, no. 3 (October 1, 2003): 34–94. http://dx.doi.org/10.1162/afar.2003.36.3.34.

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Schieber, Roman, Thiemo Fildhuth, Matthias Oppe, and Thorsten Helbig. "Herausforderungen bei der Realisierung des Museum of Fine Arts, Houston." ce/papers 2, no. 1 (May 2018): 25–39. http://dx.doi.org/10.1002/cepa.628.

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Giral, Angela, and Jeannette Dixon. "The virtual museum comes to campus: two perspectives on the Museum Educational Site Licensing Project." Art Libraries Journal 21, no. 1 (1996): 14–17. http://dx.doi.org/10.1017/s0307472200009706.

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The Getty Art History Information Program has joined with MUSE Educational Media in a project bringing together seven universities and seven art museums for the purpose of making digital images of works of art available for study and teaching via campus networks. Beyond the immediate benefits to its participants, the project is designed to develop methods and guidelines for the academic use of digitized museum-owned materials at colleges and universities. Columbia University and the Houston Museum of Fine Arts are two of the participants in the project, which is remarkable for the level of collaboration which it is achieving between museums and universities.
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Miller, Phyllis K., Beth B. Schneider, Dennis Black, LaNell Clark, and Georgeann Wrinkle. "Instructional Resources: Learning through Art: The Museum of Fine Arts, Houston." Art Education 47, no. 4 (July 1994): 25. http://dx.doi.org/10.2307/3193486.

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Schneider, Beth B. "An Interpretive Master Plan at the Museum of Fine Arts, Houston." Journal of Museum Education 33, no. 3 (September 2008): 277–82. http://dx.doi.org/10.1080/10598650.2008.11510610.

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Hilcken, Jonas, and Felix Schmitt. "Bonded Glass Tubes as Translucent Jacket of the Museum of Fine Arts in Houston – Design, Engineering and Testing." ce/papers 4, no. 6 (December 2021): 47–58. http://dx.doi.org/10.1002/cepa.1625.

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Benedettino, Vincenza. "Ludwig Mies van der Rohe, James Johnson Sweeney e Werner Haftmann: mettere in scena l’arte moderna a Houston e Berlino." Opus Incertum 9 (December 13, 2023): 74–85. http://dx.doi.org/10.36253/opus-14842.

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This article aims to trace the history of the exhibition device created by Ludwig Mies van der Rohe (1886-1969) at the Neue Nationalgalerie in Berlin, used during the mandate of the museum’s first director, Werner Haftmann (1912-1999), from 1967 to 1974. The solution devised by the architect for the glass hall on the ground floor of the museum, intended for temporary exhibitions and characterised by a completely open space with no walls, consisted of a set of panels suspended from the ceiling by metal cables that could be freely mounted, modulated and dismantled. They were ideally intended to meet the specific museographic requirements of each exhibition and different types of artwork. By analysing the displays of some of the major exhibitions at the Neue Nationalgalerie, the role played by James Johnson Sweeney (1900-1986), director of the Museum of Fine Arts, Houston, in the realisation of Mies van der Rohe’s ideas and exhibition projects in Cullinan Hall, a wing of the museum built by the architect in 1958, and the relationship between museography, works of art, museum space and visitors will be discussed and critical issues will be highlighted.
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Barriendos, Joaquín. "Latinoamericanismo Digital: Arte latinoamericano y humanidades digitales en Estados Unidos." Quaderni Culturali IILA 3, no. 3 (February 11, 2022): 15–29. http://dx.doi.org/10.36253/qciila-1550.

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El International Center for the Arts of the Americas (ICAA) del Museum of Fine Arts, Houston (MFAH) puso en línea en 2012 la primera fase del archivo ICAA Documents Project, un ambicioso repositorio digital de documentos primarios del arte latino y latinoamericano del siglo XX. Este artículo analiza la arquitectura documental del ICAA Documents Project tomando en cuenta las coyunturas que están experimentando en la actualidad las Humanidades Digitales en, desde y sobre América Latina. El artículo presta especial atención a la manera en la que este proyecto utiliza el Art & Architecture Thesaurus (Getty Foundation) para construir sus categorías meta-descriptivas y voces autorizadas. A partir del análisis de lo que llamaremos latinoamericanismo digital, en el artículo se abordan aspectos relacionados con la gestión documental del arte latinoamericano en entornos museográficos estadounidenses, así como el impacto de las Humanidades Digitales para la investigación global del arte latinoamericano.
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Evans, Dallin. "Historians of Islamic Art Association 2023 Biennial Symposium, the Museum of Fine Arts, Houston, and Rice University, March 2–4, 2023." International Journal of Islamic Architecture 13, no. 2 (July 1, 2024): 485–88. http://dx.doi.org/10.1386/ijia_00154_5.

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Piniella Grillet, Isabel. "Ramírez, Mari Carmen and Tahía Rivero (2018). Contesting Modernity: Informalism in Venezuela, 1955–1975. Exhibition Catalog. Houston: Museum of Fine Arts. 272 pages." Iberoamericana – Nordic Journal of Latin American and Caribbean Studies 48, no. 1 (2019): 117–19. http://dx.doi.org/10.16993/iberoamericana.471.

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Dissertations / Theses on the topic "Houston Museum of Fine Arts"

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Kogler-Heimburger, S. B. "Shifting curatorial strategies for art from Latin America and Latino art at the Museum of Fine Arts, Houston 1956-2004." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20126/.

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This thesis explores changing curatorial strategies at the Museum of Fine Arts, Houston. This is preceded by an assessment of the Museum of Modern Art’s earlier role in systematizing and defining this field throughout the 1930s and 1940s. Three exhibitions of art from Latin America and Latino art will illustrate how the MFAH contributed to shifts in this field proposing parallel and expanded readings to those first introduced at MoMA. Firstly, the Gulf-Caribbean Art Exhibition (1956) was a collaboration with the Pan American Union. This exhibition was framed by Cold War modernist approaches and a re-imagined geographical conception of the Gulf region. Secondly, Hispanic Art in the United States- Thirty Contemporary Painters and Sculptors (1987) sought to include Latino art and reflect the community in Houston within this mainstream institution. This lead to traditional museum practices emphasising the quality of artworks, while the criteria for selection was based on the ethnicity of the artists. Finally, Inverted Utopias- Avant-Garde Art in Latin America (2004) revised curatorial structures that were based upon the geographical and national survey format. Six constellations emphasising nodal connections between movements from Latin America disrupted established narratives of this field. The extensive use of archival documents further aided this historical review. I will answer how political, diplomatic, social, and art historical contexts have influenced the curation of these exhibitions and the outcomes of each. I will argue that through the location of the MFAH in the south of the United States, this institution is able to experiment with curatorial approaches and contribute to reviewed readings of art and art history in the United States.
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Turner, Courtney L. "I Built a Museum and Called it Home." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1479293343851241.

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Kaufmann, Shayla. "Marginalized students accessing museum art education programs." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21185.

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Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
For many years as an art educator, this researcher, has observed, the positive impact an art education program can have on a variety of different student populations. All students deserve access to a meaningful art education. It has been shown that developing brain health and looking at art is beneficial for the human mind. Scientists in collaboration with artists have recently shown, through Computed Axial Tomography (CAT scans) something that we already knew (or suspected), from our own experiences; making and looking at art is positive for human cognition. According to Professor Semir Zeki, Chair of the Neurasthenics Department at University College London: (1999, p.187). Inner Vision: An exploration of art and the brain: "What we found is when you look at art – whether it is a landscape, a still life, an abstract or a portrait – there is strong activity in that part of the brain related to pleasure. We put people in a scanner and showed them a series of paintings every ten seconds. We then measured the change in blood flow in one part of the brain. The reaction was immediate. What we found was the increase in blood flow was in proportion to how much the painting was liked. The blood flow increased for a beautiful painting just as it increases when you look at somebody you love. It tells us art induces a feel-good sensation direct to the brain." This thesis will not be examining the positive impact art has on the brain; it is referred to in order to acknowledge the fact many artists and art appreciators already know: Looking at art is a valuable thing, and art education is important for developing minds. This thesis will examine the bridge between art museum programs and marginalized student populations. These are the students who have Individualized Education Programs (IEP’s), or those for whom English is a second language and who may live in low-income urban communities. It will also examine what museum-based art education programs can provide to this population of youth. In the Wall Street Journal, as cited by (Winner, Goldstein, and Vincent-Lancrin, 2013, p.18) the former chairman of the National Endowment for the Arts, Rocco Landesman offers pointed remarks when arts education comes up: "Some students don’t fit the No Child Left Behind regime and other subjects don’t inspire them. Talented but offbeat, they sulk through algebra, act up in the cafeteria, and drop out of school. The arts 'catch' them and pull them back, turning a sinking ego on the margins into a creative citizen with 'a place in society.'" Museums often provide a place for students to go and engage with art in a meaningful way that captures their imagination and engages them in learning. The emphasis of this research falls on the unusual student, the difficult learner, the student who has a learning style difference and who may never have encountered an original work of art. The purpose of this study is to report the ways in which students responded to art in a museum setting. Why art museums enjoy a reciprocal benefit from serving these students will also be examined. Art educators know that art is important for the development of creativity in students, and students’ benefit from engagement in studio art activities. Yet, most crucially, art programs are often marginalized in low-income urban communities. According to the Center on Budget and Policy Priorities, more than 95 percent of schoolaged children are attending schools that have cut art education since the recession. In low-income communities, many students have few studio art classes along their journeys through pre/K-12 public education. Those denied an art education often find themselves without the benefit of an education that includes studies about the value of culture, leaving those affected by poverty with little impetus to reach for higher educational goals. Art education programs at two museums are examined to show how their programs reach out to students from underserved communities. In particular, this study looks at the Cape Ann Museum in Gloucester and Peabody Essex Museum in Salem, both in, Massachusetts, to evaluate how to engage marginalized, urban students and retain these youth as enthusiastic lifetime museumgoers.
2031-01-01
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Holmes, Elizabeth Geesey. "The Virginia Museum of Fine Arts: its Founding, 1930-1936." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625838.

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Williams, Meredith F. "Promoting Symphony Sustainability: A Case Study of the Houston Symphony's The Planets - An HD Odyssey Film Project." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1365610980.

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Eames, Brittany A. "Uncommon historical object appraisals| appraising the south street museum collection." Thesis, Sotheby's Institute of Art - New York, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1554301.

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As the global pattern of severe weather intensifies, complex disaster-related appraisals are becoming increasingly more common. Post-disaster appraisals are particularly challenging due to several key factors: (1) the large number of objects in each appraisal, (2) the diversity of the objects and (3) the limited time frame for completion. Due to these complicating factors the methodologies that were once central to the structure of valuation are crumbling and new metrics are being formed to accommodate these labyrinthine post-disaster jobs. By way of a single case study undertaken post-Hurricane Sandy, this document explores the process of redesigning appraisal methodologies, of approaching uncommon historical objects found often in these now less exceptional cases, of identifying "value signifiers" for those objects and ultimately of reimagining the very core of what it means to appraise fine art.

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Manzano, Raul. "Language, Community, and Translations| An Analysis of Current Multilingual Exhibition Practices among Art Museums in New York City." Thesis, Union Institute and University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10060087.

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This dissertation provides an analysis of current multilingual practices among art museums in New York City. This study is located within the current theoretical analysis of 1) museums as sites of cultural production and 2) the politics of language, interpretative material, and technology. This study demonstrates how new roles for museums embracing multilingual exhibitions and technology may signal new ways of learning and inclusion.

The first part is a theoretical-based approach. The second part consists of a mixed-method research design using qualitative and quantitative methods to create three different surveys: of museum staff, of the general public, and finally my observations of museum facilities and human subjects.

Multilingual exhibitions are complex and require changes at all levels in a museum's organizational structure. Access to museum resources can provide more specific data about language usage. The survey responses from 175 adults provides statistics on multilingual settings and its complexity. The survey responses from 5 museums reveals the difficulty, and benefits, of dealing with this topic. Visual observations at 36 museums indicate that visitors pay attention to interpretative material, while production cost, space, and qualified linguistic staff are concerns for museums. Technology is a breakthrough in multilingual offerings, for it can help democratize a museum's culture to build stronger cultural community connections.

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Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.

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This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.
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McIlvaine, Sarah. "Little Buildings: A Study of Aedicular Furniture from the Virginia Museum of Fine Arts (1500 - 1900)." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2397.

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For millennia, furniture design has emulated architecture. In Western design, furniture has taken the structural conventions suggestive of a "little building" or an aedicule. This thesis will present close examination of the development of aedicular design through the ages with a chronological study of exemplary case pieces in the permanent collection at the Virginia Museum of Fine Arts.
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Sakoutis, Stephanie Joan. "The Origins of Three Meroitic Bronze Oil Lamps in the Museum of Fine Arts, Boston." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/47.

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This thesis discusses three bronze oil lamps found in the ancient city of Meroë, in the collection of the Museum of Fine Arts, Boston. Scholars have considered the lamps to be imported from Hellenistic Egypt, but careful examination has revealed that the lamps were not imported. The lamps were locally made in Meroë; the materials and technology needed to create bronze lamps were available to Meroitic craftsmen.
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Books on the topic "Houston Museum of Fine Arts"

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Museum of Fine Arts, Houston. Rienzi. Rienzi: The Museum of Fine Arts, Houston. Houston: Museum of Fine Arts, 1999.

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1951-, Landay Janet, ed. The Museum of Fine Arts, Houston: Visitor guide. Houston, Tex: Scala in association with The Museum of Fine Arts, Houston, 2000.

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1952-, Kalil Susie, and Museum of Fine Arts, Houston., eds. Fresh paint: The Houston school : the Museum of Fine Arts, Houston. Austin, Tex: Texas Monthly Press, 1985.

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Museum of Fine Arts, Houston. Masterpieces from the Museum of Fine Arts, Houston: Director's choice. [Houston, Tex.]: Museum of Fine Arts, Houston, 2009.

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Museum of Fine Arts, Houston. Rienzi. Worcester porcelain at Rienzi, the Museum of Fine Arts, Houston. Edited by Strauss Cindi and Laskosky Kelly Erin. Houston, Tex: Museum of Fine Arts, Houston, 2000.

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Museum, of Fine Arts Houston. Masterpieces from the Museum of Fine Arts, Houston: Director's choice. [Houston, Tex.]: Museum of Fine Arts, Houston, 2009.

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Hope, Franklin John. Collecting African American art: The Museum of Fine Arts, Houston. [Houston]: Museum of Fine Arts, Houston, 2009.

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Lima, Greene Alison de, and Jimenez Alejandra, eds. Texas: 150 works from the Museum of Fine Arts, Houston. Houston, TX: Museum of Fine Arts, Houston, 2000.

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C, Marzio Peter, ed. Masterpieces from the Museum of Fine Arts, Houston: Director's choice. [Houston, Tex.]: Museum of Fine Arts, Houston, 2009.

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Gary, Tinterow, Greene Alison de Lima, and Museum of Fine Arts, Houston, eds. Modern and contemporary art at The Museum of Fine Arts, Houston. Houston: Museum of Fine Arts, Houston, 2020.

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Book chapters on the topic "Houston Museum of Fine Arts"

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Garfield, Alice. "Museum of Fine Arts, Boston's Artful Healing." In Museum-based Art Therapy, 122–32. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014386-8.

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Hay, Bruce L. "Museum of Fine Arts, Boston v. Seger-Thomschitz." In Nazi-Looted Art and the Law, 203–25. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64967-2_10.

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Pilka, Lukáš. "Digital Curator at the Museum of Fine Arts." In The Black Box Book, 284–325. Brno: Masaryk University Press, 2022. http://dx.doi.org/10.5817/cz.muni.m280-0225-2022-12.

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Hoghton, Ella Sharples. "TWO MARBLES IN THE MUSEUM OF FINE ARTS, BOSTON." In Two Marbles in the Museum of Fine Arts, Boston, 219–56. Piscataway, NJ, USA: Gorgias Press, 2009. http://dx.doi.org/10.31826/9781463220938-001.

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Jones, Michael A., and Rick Weible. "Racial Differences in Patronage Behavior to a Museum of Fine Arts." In Minority Marketing: Research Perspectives for the 1990s, 86–89. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17386-3_18.

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Griffiths, John. "Official Guide to the Brighton Public Library, Museum and Fine Arts Gallery 1908." In Empire and Popular Culture, 195–212. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351024785-38.

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Perry, Ellen E. "Edward Robinson’s plaster casts and the battle for the Museum of Fine Arts." In Pushing the Boundaries of Historia, 280–98. First edition. | London ; New York, NY : Routledge/Taylor & Francis Group, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315171487-25.

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Duffy, Damian. "Remasters of American Comics: Sequential Art as New Media in the Transformative Museum Context." In Comic Art in Museums, 275–88. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0033.

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This chapter includes a 2009 essay by multi-faceted University of Illinois at Urbana-Champaign professor Damian Duffy highlighting the curatorial philosophies that avoid confronting the conceptual challenge of bringing the comics medium into the museum by attempting to fit comics, to one extent or another, into traditional fine art frameworks, including as examples the 2003 Contemporary Art Museum Houston exhibition Splat, Boom, Pow!, Masters of American Comics 2005, UCLA Hammer Museum and Museum of Contemporary Art, Comic Release! from Carnegie Mellon University, and his own curatorial work in partnership with John Jennings on the exhibitions Other Heroes: African American Comics Creators, Characters, and Archetypes. This chapter discusses new media, if we still need canons, comics versus fine art, comics as non-art, lone genius versus collaboration, display tactics, narrative, and racial inclusion.
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"V.1.3–V.1.7 HISPANIC ART IN THE UNITED STATES: THIRTY CONTEMPORARY PAINTERS AND SCULPTORS, MUSEUM OF FINE ARTS, HOUSTON, 1987." In Resisting Categories: Latin American and/or Latino?, 806–9. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300187151-159.

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Ramírez, Mari Carmen. "Critical Documents of 20th-Century Latin American and Latino Art: A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON." In Resisting Categories: Latin American and/or Latino?, 27–32. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300187151-004.

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Conference papers on the topic "Houston Museum of Fine Arts"

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Zhu, Jun, and Shaozong Hu. "Study of Fine Arts Education in Modern Museum." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.28.

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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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Tillon, Anne Bationo, Eric Marchand, Jean Laneurit, Fabien Servant, Isabelle Marchal, and Pascal Houlier. "A day at the museum: An augmented fine-art exhibit." In 2010 IEEE International Symposium on Mixed and Augmented Reality - Arts, Media, and Humanities (ISMAR-AMH). IEEE, 2010. http://dx.doi.org/10.1109/ismar-amh.2010.5643290.

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Коляченко, Е. В. "MUSEUM SOUVENIR: INNOVATIVE APPROACH TO TRADITIONAL FORMS. BASED ON THE EXPERIENCE OF THE REGIONAL MUSEUM OF FINE ARTS." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_101.

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Музейные сувениры постепенно выходят за рамки обычных полиграфических изделий, которые либо описывают работы из коллекции, либо буквально их копируют. Данная статья нацелена на всестороннее рассмотрение процесса формирования инновационного подхода к проектированию и производству музейных сувениров, а также на выявление возможных проблем и условий для его осуществления. На примере опыта Челябинского музея изобразительных искусств проанализированы существующие особенности функционирования музейного магазина как одного из главных источников дополнительного дохода организации и участника более глобальных культурно-коммуникативных процессов внутри регионального художественного сообщества. A museum souvenir systematically goes beyond the scope of printed products that tells exclusively about works from the collection or literally copy them. This article aims to comprehensively consider the process of forming an innovative approach to the design and production of museum souvenirs, its conditional achievability and obvious problems. Using the experience of the Chelyabinsk Museum of Fine Arts as an example, we analyze the existing features of the functioning of the museum store, both one of the main tools for additional income of the organization, and a participant in more global, cultural and communicative processes within the regional artistic community.
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Mitrović, Aleksandar. "VIRTUAL ART MUSEUM AS EDUCATIONAL CONTENT ICT IN TEACHING FINE ARTS (THEORETICAL ASPECT)." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.417m.

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The educational goal of teaching fine arts is to adopt visual literacy and visual expressiveness. Learning by means of information and communication technologies (ICT) involves the use of digital devices for the effective and creative extension of knowledge. The production of electronic educational materials is increasing daily, and thanks to the Internet, it is available on almost all ICT devices. In this paper virtual museums are presented as educational contents of ICT in the teaching of fine arts, as well as their method of application in teaching. The contents presented by virtual museums provide an interactive and non- interactive method of learning and exploration. The interactive educational content of virtual museums is often in the form of educational applications or websites that can be found on ICT and have well-intended educational goals. The contemporary approach and use of ICT in the teaching of fine arts provides new learning opportunities that focus on the aesthetic experience and theoretical aspect of visual content. Given that it takes less time to adopt pictorial content than to adopt verbal content, today’s approach to fine arts education involves the use of ICT.
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Kirana, Ayu Dipta, and Fajar Aji Jiwandono. "Indonesian Museum after New Order Regime: The Representation that Never Disappears | Museum Indonesia Selepas Orde Baru: Representasi Rezim yang Tak Pernah Hilang." 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-33.

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Indonesia marked a new era, known as the Reformation Era, in 1998 after the downfall of Suharto, the main face of the regime called the New Order (Orde Baru) and ran the government from 1966 to 1998. This long-run government creates certain structures in many sectors, including the museum sector in Indonesia. Suharto leads the government in a totalitarian manner, his power control over many layers, including the use of museums as regime propaganda tools. The propaganda in the museums such as a standardized storyline, the use of historical versions that are approved by the government, and the representation of violence through the military tale with the nation’s great enemy is made for the majority of museums from the west to east Indonesia at that time. Thus, after almost two-decade after the downfall of the New Order regime how Indonesian museum transform into this new era? In the new democratic era, museum management is brought back to the regional government. The museums are encouraged to writing the local history and deconstruct the storyline from the previous regime. Not only just stop there, but there are alsomany new museums open to the public with new concepts or storylines to revive the audience. Even, the new museum was also erected by the late president’s family to rewrite the narration of the hero story of Suharto in Yogyakarta. This article aims to look up the change in the Indonesian museum post-New Order regime. How they adjust curatorial narration to present the storyline, is there any change to re-write the new narrative, or they actually still represent the New-Order idea along with the violence symbolic that never will deconstruct. Indonesia menandai masa baru yang dikenal sebagai masa reformasi pada tahun 1998 dengan tumbangnya Soeharto yang menjadi wajah utama rezim yang dikenal dengan sebutan Orde Baru ini. Pemerintahan Orde Baru telah berlangsung sejak tahun 1966 hingga 1998 yang mengubah banyak tatanan kehidupan, termasuk sektor permuseum di Indonesia. Corak pemerintahan Orde Baru yang condong pada kontrol dan totalitarian mengantarkan museum sebagai kendaraan propaganda rezim Soeharto. Dimulai dari narasi storyline yang seragam di seluruh museum negeri di Indonesia hingga kekerasan simbolik lewat narasi militer dan musuh besar bangsa. Lalu setelah hampir dua dekade era reformasi di Indonesia bagaimana perubahan museum di Indonesia? Pada era demokrasi yang lebih terbuka, pengelolaan museum dikembalikan kepada pemerintah daerah dan diharapkan untuk dapat menulis kembali sejarah lokal yang baru. Tak berhenti disitu, banyak museum-museum baru yang tumbuh berdiri memberikan kesegaran baru namun juga muncul museum yang berbau rezim Orde Baru turut didirikan sebagai upaya menuliskan narasi.
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Phạm, Thị Thủy Chung. "Religious Object” Exhibition in the Context of Cultural Change and Covid-19 Social Distancing (Case studies of Khmer’s Nagar boat in the South of Vietnam) | Trưng bày hiện vật tôn giáo trong bối cảnh biến đổi văn hóa và giãn cách xã hội do Covid-19 (Trường hợp ghe ngo của người Khmer ở Nam Bộ, Việt Nam)." 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-30.

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The museums, nowadays, facing to many challenges in religious objects exhibition. Especially, in the current context of Covid-19 pandemic and cultural change, regular methods of the museum exhibition expose many limitations. Through a case study of ghe ngo (the Khmer’s Nagar boat) exhibition at the Vietnam Museum of Ethnology (VME), this paper discusses some principles dealing with the religious objects in the museum, and outline some modern display methods that can contribute to improving the display efficiency of ghe ngo exhibition towards the museum sustainable development. Trưng bày hiện vật tôn giáo vốn đặt ra nhiều thách thức đối với các bảo tàng. Đặc biệt, trong bối cảnh Covid-19 và biến đổi văn hóa hiện nay, các phương thức trưng bày truyền thống thể hiện nhiều mặt hạn chế. Qua trường hợp ghe ngo của người Khmer đang được trưng bày tại Bảo tàng Dân tộc học Việt Nam, bài viết này thảo luận về việc ứng xử với hiện vật tôn giáo, tín ngưỡng trong bảo tàng, và một số phương pháp trưng bày hiện đại nhằm góp phần nâng cao hiệu quả trưng bày ghe ngo của người Khmer hướng tới mục tiêu phát triển bền vững bảo tàng.
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Parkhomenko, Olga. "Checking library collection enables to analyze its composition as exemplified by the Pushkin State Museum of Fine Arts Research Library." In The Book. Culture. Education. Innovations. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-223-4-2020-186-189.

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The Library of the Pushkin State Museum of Fine Arts is rich in rare and unique publications, and those of memorial value. The collection checking envisages visual revision and analysis of every book, and during this process the specialists revealed a number of valuable publications for further research. Also all registered publication went through the stage of initial collection specification (e.g., Rumyantsev museum collection, collection of the New Western Arts Museum, memorial libraries, etc). Currently, this information has been being entered into the e-catalog. This will enable to verify special arrays within the Research Library’s collection and simplify investigations into historical and memorial book collections and individual valuable publications.
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Belyaevskaya, Olga, Elena Malachevskaya, and Anastasia Yasenovskaya. "The investigation of ancient Erebuni mural painting fragments from the collection the Pushkin State Museum of Fine arts." In Antiquities of East Europe, South Asia and South Siberia in the context of connections and interactions within the Eurasian cultural space (new data and concepts). Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-907053-34-2-219-220.

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Weatherby, David, and Daren Zywicki. "Deep Soil Mixed Wall and Jet Grouting for an Excavation Retention System at Museum of Fine Arts, Boston." In Proceedings of the Fourth International Conference on Grouting and Deep Mixing. Reston, VA: American Society of Civil Engineers, 2012. http://dx.doi.org/10.1061/9780784412350.0023.

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Reports on the topic "Houston Museum of Fine Arts"

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.308086.

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.309177.

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Brison, Jeffrey, Sarah Smith, Elyse Bell, Antoine Devroede, Simge Erdogan, Christina Fabiani, Kyle Hammer, et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.
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What a Time It Was: Life and Culture in Buenos Aires. Inter-American Development Bank, February 1996. http://dx.doi.org/10.18235/0006437.

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Eighty-four works from the collections of the City Museum of Buenos Aires, the Isaac Fernández Blanco Museum, the Eduardo Sívori Museum, the National Museum of Decorative Arts, and the National Museum of Fine Arts in Buenos Aires, Argentina. The exhibition honored the 37th Annual Meeting of the IDB Board of Governors in Buenos Aires.
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