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Journal articles on the topic 'Museum of Modern Art Syros'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Falsone, Gioacchino. "A Syro-Phoenician Bull-Bowl in Geneva and its Analogue in the British Museum." Anatolian Studies 35 (December 1985): 131–42. http://dx.doi.org/10.2307/3642879.

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The following discussion begins with a study of a bronze bowl belonging to Monsieur George Ortiz, whose collection of ancient bronzes in Vandoeuvres/Geneva includes a large number of outstanding pieces of Near Eastern art. The bowl was recently acquired in the antiquities market and is said to come from modern Turkey. It is one of the finest and best preserved examples of a particular class of oriental metalwork in repoussé, the so-called Syro-Phoenician “bull-bowls”, which were most probably produced in the Levant in the early first millennium B.C. The main decoration of this class consists o

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2

Emerald, Serena, and Sinta Paramita. "Marketing Public Relations dalam Mempopulerkan Seni Modern dan Kontemporer di Museum." Prologia 8, no. 1 (2024): 160–69. http://dx.doi.org/10.24912/pr.v8i1.27575.

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The tourism industry is a growing economic sector worldwide. Art museums are one of the tourism attractions in Indonesia. Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) is the first museum in Indonesia to display a collection of modern art from Indonesia and around the world. Modern and contemporary art is still relatively new for the Indonesian public. This poses as a challenge for Museum MACAN to introduce itself and communicate modern and contemporary art to the public. As the industrial landscape evolves and competition becomes fiercer the fields of marketing and public

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3

Zalman, Sandra. "Modern Art, Inc.: The Museum of Modern Art v. Huntington Hartford." Grey Room 53 (October 2013): 32–59. http://dx.doi.org/10.1162/grey_a_00126.

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4

Lauter, Rolf. "The museum of modern art, Frankfurt." International Journal of Museum Management and Curatorship 5, no. 1 (1986): 27–31. http://dx.doi.org/10.1080/09647778609515002.

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5

Lauter, R. "The Museum of Modern Art, Frankfurt." Museum Management and Curatorship 5, no. 1 (1986): 27–38. http://dx.doi.org/10.1016/0260-4779(86)90006-3.

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6

Rasmussen, Briley. "Museum as Métier: Victor D'Amico and the Museum of Modern Art." Journal of Aesthetic Education 57, no. 4 (2023): 60–75. http://dx.doi.org/10.5406/15437809.57.4.04.

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Abstract Although Victor D'Amico's pedagogy and legacy are well known within the field of art education, discussions of his work often disregard the context in which he worked for over thirty years—The Museum of Modern Art. This essay examines D'Amico's key projects, considering how they were supported by and in collaboration with his museum colleagues. The result was a unique legacy steeped in a pedagogy of modern art and museum education. As a conclusion, this essay looks at the training of art educators and museum educators as requiring different kinds of foundational work and an acknowledg

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Eskilson, S. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of American History 93, no. 1 (2006): 267–68. http://dx.doi.org/10.2307/4486181.

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8

Woodson-Boulton, Amy. "The art of compromise: the founding of the National Gallery of British, Art, 1890-1892." Museum and Society 1, no. 3 (2033): 147–69. https://doi.org/10.29311/mas.v1i3.41.

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This article argues that the press played a key role in defining the Tate Gallery by facilitating a national debate about the siting, nature, and purpose of the proposed National Gallery of British Art. Art critics, politicians, journalists and a variety of newspaper editors weighed in on whether Britain should create a museum of modern art, a museum of national art, or both. The understanding of British art as quintessentially modern at the time of the founding of the Gallery meant that from the beginning the Tate Gallery was founded as both the National Gallery of British Art and a museum of

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9

Aulia, Rahma, Zairin Zain, and Valentinus Pebriano. "MUSEUM SENI RUPA MODERN DI PONTIANAK." JMARS: Jurnal Mosaik Arsitektur 9, no. 1 (2021): 270. http://dx.doi.org/10.26418/jmars.v9i1.45157.

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Museums in general are used to store, maintain, secure and utilize museum collections in the form of cultural heritage objects. Fine arts museums are appreciated through visions with visible media and have a physical form or simply presented as a show. The city of Pontianak does not yet have a place to carry out the function of this fine art museum. The museum collection focuses on modern fine art with long-term loans to the museum. There are some art enthusiasts in Pontianak but there is no place to channel this interest. The design method uses three stages. The first stage, data collection b

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10

Xuanzhua, Helle. "Uncompleted Symphony: In Search For 3 2 1!" Museological Review, no. 27 (January 24, 2025): 279–80. https://doi.org/10.29311/mr.vi27.4906.

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In the ongoing and everlasting place-making process, art museums in Shanghai coexist with the most complex urban structures, marked by unequal socioeconomic distribution and living conditions. In Uncompleted Symphony: In Search For 3 2 1 ! , I have assembled six photos that were taken in the Shanghai Duolun Museum of Modern Art, four photos of its surroundings, and a symbolic photo of tree. Shanghai Duolun Museum of Modern Art is Shanghai’s first state-owned museum dedicated solely to contemporary art. The museum is almost enclosed by construction sites and commercial shopping streets.

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11

Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the v

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12

Selznick, Barbara. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." Moving Image 6, no. 2 (2006): 136–38. http://dx.doi.org/10.1353/mov.2007.0015.

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13

Koszarski, Richard. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." Film History: An International Journal 18, no. 3 (2006): 350–51. http://dx.doi.org/10.1353/fih.2006.0027.

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14

Keil, Charlie. "Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)." University of Toronto Quarterly 76, no. 1 (2007): 535–37. http://dx.doi.org/10.1353/utq.2007.0138.

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15

Yao, Si Hang, and Sungho Yoon. "A Study of the Exhibition Characteristics of Modern Art Museums from the Perspective of Heterotopia." Korea Institute of Design Research Society 9, no. 4 (2024): 947–63. https://doi.org/10.46248/kidrs.2024.4.947.

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This study explores the characteristics of planning spaces in contemporary art museums and their application in exhibitions through Foucault's theory of 'Heterotopia.' It examines four case studies: “Electronic Forest” at the National Museum of Modern and Contemporary Art in Seoul, Korea; “INFINITY CHINA AEROSPACE” at Today Art Museum in Beijing, China; “Refik Anadol: Unsupervised” at the Museum of Modern Art in New York, USA; and “Yayoi Kusama: Infinity Mirror Rooms” at Tate Modern in London, UK. The study analyzes how these museums utilize space design, interactive experiences, and digital t

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16

Bystriakova, Valentyna, Alla Osadcha, and Olesia Pilhuk. "The Use of Decorative Art Elements in the Works of Ukrainian Designers." Culturology Ideas, no. 15 (1'2019) (2019): 177–84. http://dx.doi.org/10.37627/2311-9489-15-2019-1.177-184.

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The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creativ

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17

Evans, Walker. "The African Negro Art Exhibition, Museum of Modern Art, 1935." Grand Street, no. 53 (1995): 115. http://dx.doi.org/10.2307/25007889.

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18

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

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

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19

Hughston, Milan R. "Documenting the art of our time: a new research facility for The Museum of Modern Art, New York." Art Libraries Journal 32, no. 4 (2007): 22–28. http://dx.doi.org/10.1017/s0307472200015054.

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The Museum of Modern Art’s ten-year building project provided new, purpose-built spaces for the library and museum archives, one of the world’s premier research resources documenting modern and contemporary art. This article summarizes the planning and implementation of the new space and reflects on its successes after six months of operations.

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20

Tzortzi, Kali. "The art museum as a city or a machine for showing art?" Architectural Research Quarterly 14, no. 2 (2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.

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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–

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21

Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the m

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22

Stalter, Sunny. "Book Review: Museum Movies: The Museum of Modern Art and the Birth of Art Cinema." Journal of Visual Culture 5, no. 1 (2006): 126–28. http://dx.doi.org/10.1177/1470412906064455.

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23

Caragol, Taína. "Documenting Latin American art at the Museum of Modern Art Library." Art Libraries Journal 30, no. 3 (2005): 33–36. http://dx.doi.org/10.1017/s0307472200014085.

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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also

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24

Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, G

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25

Portnova, Tatiana V. "Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space." Journal on Computing and Cultural Heritage 14, no. 4 (2021): 1–6. http://dx.doi.org/10.1145/3460456.

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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions

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26

SUVOROVA, Anna A. "Outsider Аrt in Art Museum: from “Comparative Material” to Art History (Case of the Museum of Modern Art)". International Journal of Cultural Research, № 3 (2023): 6–21. http://dx.doi.org/10.52173/2079-1100_2023_3_6.

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The article investigates transformations of the discourse of Outsider Art in the culture of the 20th – early 21st centuries through the perspective of its institutionalization and museumification. The article provides a critical analysis of the curatorial strategies of the Museum of Modern Art (New York, NY), as well as other American art institutions (National Art Gallery (Washington, DC), Brookline Museum (New York, NY), etc.), the structure of exhibitions and permanent expositions, curatorial texts of projects dedicated to outsider art. The study of the curatorial strategies of MoMA in the

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27

ZHAO, J., and O. YEZHOVA. "IMPACT OF DIGITAL ART ON DESIGN OF ONLINE MUSEUM: USER-CENTERED DESIGN, NARRATIVE DESIGN, AND INTEGRATION OF TECHNOLOGY." Art and Design, no. 3 (November 11, 2023): 92–100. http://dx.doi.org/10.30857/2617-0272.2023.3.8.

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This research aims to explore the means by which digital art presented in online museum exhibitions will contribute to an improved visitor experience of the museum exhibition. Theoretical and practical research methods are used, namely, analysis of scientific and professional literature on the impact of digital culture on museum exhibits, analysis of design analogs of online museums. Based on the research analysis, the influence of digital culture on art museums was established, which allowed them to go beyond physical spaces, display digital art and implement virtual reality technologies. The

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28

Phillpot, Clive. "The Library of the Museum of Modern Art New York." Art Libraries Journal 10, no. 1 (1985): 29–36. http://dx.doi.org/10.1017/s0307472200004065.

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In the Summer of 1984 the Library of the Museum of Modern Art, New York, re-opened in a purpose-designed space, following the expansion and renovation of the Museum by Cesar Pelli. This article traces the history of the Library from its origin at the foundation of the Museum in 1929, to date, and describes the scope of the present collection and some of its particular strengths.

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29

Lee, Kyunghwa. "Art Collector of Colonial Korea: Pak Yŏngch’ŏl’s Art Collecting and Museum." Korean Journal of Art History 321 (March 31, 2024): 39–68. http://dx.doi.org/10.31065/kjah.321.202403.002.

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Pak Yŏngch’ŏl (1879-1939) was a high-ranking government official, businessman and prominent art collector during the modern period. After Pak’s passing in 1940, his family donated Tasan mun’go (the Tasan Collection) to Keijō Imperial University in accordance with his will. The collection was comprised of 115 artworks, which included calligraphy, paintings, and craft items, along with a fund of 20,000 won. Pak’s financial support laid the foundation for the establishment of the Keijō Imperial University Museum two years later. Both the donation of his collection and the subsequent founding of t

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Gleisser, Faye. "Sitting Beside the Sit-In: Art Museum Dining and Gastrocuratorial Politics in the Age of Dei." ASAP/Journal 9, no. 2 (2024): 343–73. https://doi.org/10.1353/asa.2024.a947149.

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ABSTRACT: This essay challenges the persistent idealizing of art museum restaurants as spaces of diversity and togetherness and instead proposes a more expansive framework of gastrocuratorial politics to confront the colonialist and anti-Black somatic aesthetics manifest within the commissions, designs, and management of eateries in white-dominated collecting art museums. To build this argument, I cross-examine the social politics of dining environments differently but relatedly negotiated within the Tate Britain’s Rex Whistler; The Modern at the Museum of Modern Art in New York; In Situ at th

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Druzhinina, Aleksandra. "DIGITAL TECHNOLOGIES AND MODERN ART PRACTICES OF THE LAST DECADE ART." Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 25, no. 1 (2025): 51–57. https://doi.org/10.14529/ssh250106.

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The article discusses the trends of recent decades towards the digitalization of culture and art, and their extension onto the Internet, which led to the transition to a “participation culture” with the viewer’s involvement in the process as the most important criterion. These changes radically alter the ways of interaction with art objects, the ways and forms of their creation and presentation. The problem of absolute technical reproducibility is seen as one of the central issues. It can be solved by blockchain-based NFT technology which has been actively introduced into permanent practice by

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32

Dilla, Adinda Salsa, and Azkia Avenzoar. "Identifikasi Aspek-aspek Desain Interior Sebagai Daya Tarik Odunpazari Modern Art Museum Turki." Tekstur (Jurnal Arsitektur) 5, no. 1 (2024): 139–47. http://dx.doi.org/10.31284/j.tekstur.2024.v5i1.5790.

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Museum merupakan lembaga non profit terbuka bagi umum dengan tujuan edukatif maupun rekreatif. Ditengah era modernisasi saat ini museum seni mulai kembali diminati oleh masyarakat. Kian banyak museum seni baru yang bermunculan yang membuktikan bahwa makin tinggi minat dan apresiasi masyarakat terhadap karya seni. Berbeda dengan jenis museum lain yang terkesan kuno, museum seni biasanya mengusung tema modern dan memiliki koleksinya yang unik. Musueum seni juga memiliki ciri khas yang instagramable. Hal ini yang menjadi daya tarik museum seni sehingga ramai dikunjungi. Tidak hanya desain bentuk

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33

Kuryłek, Dominik. "The Modern Spider Web in the Art Museum." TEXTILE 16, no. 4 (2018): 366–77. http://dx.doi.org/10.1080/14759756.2018.1447066.

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34

WALLACH, A. "The Museum of Modern Art: The Past's Future." Journal of Design History 5, no. 3 (1992): 207–15. http://dx.doi.org/10.1093/jdh/5.3.207.

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35

Hood, Sallie, and Ron Sakal. "Home Delivery, Museum of Modern Art (Spring 2008)." Design Issues 25, no. 3 (2009): 102–7. http://dx.doi.org/10.1162/desi.2009.25.3.102.

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36

Callahan, David. "Museum of Modern Art Film Stills Archive closes." Film History: An International Journal 15, no. 1 (2003): 103–5. http://dx.doi.org/10.2979/fil.2003.15.1.103.

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37

Poinsot, Jean-Marc. "Le Museum of Modern Art de New York." Revue de l'art N° 154, no. 4 (2006): 57–70. http://dx.doi.org/10.3917/rda.154.0057.

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38

Vuković, Vuk. "The Institutionalization of Video Art at the Museum of Modern Art." Journal of Curatorial Studies 12, no. 2 (2023): 144–73. http://dx.doi.org/10.1386/jcs_00086_1.

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Analysing the history of video art poses challenges due to the complex environments from which video emerged. However, some of its conceptual origins can be traced through art institutions that pioneered the integration of video art into museums. By examining key projects and exhibitions at the Museum of Modern Art, I argue that the museum’s first study grant obtained from the Rockefeller Foundation not only expanded the exhibition and collection of video work, but also laid the foundation for its institutionalization, which in turn exerted decisive effects on the subsequent history of video a

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39

Vlieghere, Dieter De. "Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943)." Journal of Curatorial Studies 10, no. 1 (2021): 2–25. http://dx.doi.org/10.1386/jcs_00029_1.

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Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, s

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Subrizi, Carla. "Katherine S. Dreier e la Société Anonyme: un’altra storia del modernismo." Boletín de Arte, no. 36 (October 30, 2017): 21–29. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3333.

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Prima che il Museum of Modern Art (MoMA) inaugurasse la sua apertura nel 1929, un altro Museum of Modern Art era già esistito. Si chiamava Société Anonyme-Museum of Modern Art 1920, dove il 1920 era un’indicazione aggiunta proprio dopo il 1929 per sot- tolineare la data di inizio di una storia che non doveva essere equivocata. Da allora e no al 1950, la Société Anonyme divenne un riferimento storico e culturale fondamentale per l’arte americana e internazionale. La stessa nascita del MoMA avrebbe avuto non poche relazioni con questa piccola società di artisti. In pochi anni la Société

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ABRAMOVA, V. V., and A. ZH OVCHINNIKOVA. "MUSEUM PEDAGOGY AS A MODERN TECHNOLOGY OF ART AND PEDAGOGICAL EDUCATION." Scientific Notes of Orel State University 100, no. 3 (2023): 138–44. http://dx.doi.org/10.33979/1998-2720-2023-100-3-138-144.

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The article examines the main stages of the formation of the national system of art education, identifies the conditions for the effective use of museum pedagogy as an innovative technology in the educational process at different stages of the development of art education. The specifics of the modern process of preparing future teachers for the implementation of the principles of museum pedagogy in the system of continuous art education and aesthetic education are indicated.

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42

Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.

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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, sinc

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Диденко, В., V. Didenko, Ю. Татищева, and Yu Tatischeva. "Visual Art in the Museum and Exhibition Space and Modern Communication Technologies." Scientific Research and Development. Modern Communication Studies 8, no. 3 (2019): 8–14. http://dx.doi.org/10.12737/article_5ce3b367d0c2e1.77487645.

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The article is devoted to the use of modern communication technologies in the field of modern art. The authors consider and analyze such concepts as artistic communication and artistic perception in relation to the field of modern art. The ways of using modern communication technologies in modern art and museum and exhibition activities are presented in more detail.

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Powers, Alan. "Exhibition 58: Modern Architecture in England, Museum of Modern Art, 1937." Architectural History 56 (2013): 277–98. http://dx.doi.org/10.1017/s0066622x00002513.

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Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the

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KUZENKO, Petro. "ACQUAINTANCE WITH MUSEUM AND GALLERY BUSINESS AND ORGANISATION OF EXHIBITION ACTIVITIES AS AN IMPORTANT COMPONENT OF PRE-SERVICE ARTISTS PROFESSIONAL TRAINING." Освітні обрії 52, no. 1 (2021): 115–18. http://dx.doi.org/10.15330/obrii.52.1.115-118.

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The article highlights the main aspects of the museum and gallery business and organisation of exhibition activities as an important component of pre-service artists professional training. It is emphasized that due to the study of the discipline "Museum and Gallery Business and Exhibition Activities" students majoring in "Fine Arts, Decorative Arts, Restoration" of the first (bachelor's) level of higher education get acquainted with the history of museum work in Ukraine and in the world context; the content and the main directions of museum work; the history of gallery business in the context

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Melnychuk, Halyna. "Modern forms of handicraftsmanship preservation and promotion (taking Kosiv Museum of Hutsul Folk Art and Life as an example)." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 50 (2019): 64–69. http://dx.doi.org/10.31861/hj2019.50.64-69.

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The author of the article expounds modalities of Kosiv Museum of Hutsul Folk Art and Life activities, cultural and educational, in particular. It is found out that the regional museum centres carry out an important mission to collect, house and learn about the handmade artefacts. The factual material is analysed, which indicates that the museum is highly ranked in terms of preservation of the traditional arts and crafts of Hutsul region. The museum staff has developed a certain concept, the goal of which is to coordinate activities of both the artists and educational institutions, in order to

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MASHTALIR, Вадим Віталійович. "PROBLEMATIC ISSUES AND DEVELOPMENT PERSPECTIVES OF MODERN UKRAINIAN MILITARY MUSEUM ART." Військово-науковий вісник, no. 35 (May 11, 2021): 18–30. http://dx.doi.org/10.33577/2313-5603.35.2021.18-30.

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The article analyzes the current state, problems in the functioning of military history museums and it characterizes further directions of development of Ukrainian military museology.It is established that the research of the current period of development of military museum affairs in Ukraine allows to note the growing role of military history museums in the revival of military history of the people, in the development of national society and in the establishment of its patriotic foundations.Іn the article is proved that the military history museum should become more interactive and more respo

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Karafotias, Theofanis. "Modern Art in the Gulf Region: The Case of Mathaf: Arab Museum of Modern Art." International Journal of the Inclusive Museum 10, no. 1 (2016): 9–39. http://dx.doi.org/10.18848/1835-2014/cgp/v10i01/9-39.

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Tatiana Borisovna, Mikhailova. "Modern museum landscape of the Urals." Vestnik of Saint Petersburg State University of Culture, no. 2 (55) (2023): 49–53. http://dx.doi.org/10.30725/2619-0303-2023-2-49-53.

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In the paper the stages of formation of modern museum landscape in the Urals are traced. Factors are shown that influenced the change and restructuring of museum network, creating of new (state and private) museums, museification of industrial heritage. The concepts of creating and structure of corporative museums, exhibition activity of popular, cultural and art centers are analyzed. The author pays attention to the fact that the expansion of borders of museum world was affected by the process of globalization, rethinking of the XX century events, actual museological tendencies, development o

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Uralman, Hanzade. "The library of Istanbul Museum of Modern Art: a new type of art museum library for Turkey." Art Libraries Journal 35, no. 2 (2010): 30–34. http://dx.doi.org/10.1017/s0307472200016370.

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Libraries can easily be integrated into a museum’s activities, since museums too have functions that require the processing of information, such as preservation, research and communication. However museums in Turkey were not notable for developing efficient art libraries until Istanbul Museum of Modern Art opened. The distinctiveness of this museum’s library results from a change in the museum environment in Turkey, and the introduction of a number of features that are new in art libraries in this country.

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