Academic literature on the topic 'Museum special exhibitions'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Museum special exhibitions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Museum special exhibitions"
1
Donskov, D. G. "Analysis of age groups of museum contestants at the State Darwin Museum." Voprosy kul'turologii (Issues of Cultural Studies), no. 9 (August 5, 2020): 28–33. http://dx.doi.org/10.33920/nik-01-2009-03.
Full textAbstract:
Since 1998, at the State Darwin Museum, all major exhibitions, as well as exhibitions detailing the main idea of the museum, are certainly accompanied by competitive programs for visitors. The purpose of this study was to identify the dynamics of age groups of competitors for the period 2009–2019. Based on the data obtained, it can be concluded that museums need to: maintain a stable interest among younger schoolchildren, build a communication policy with young people, focusing on current trends, create special programs for preschool children with parents, offer more interactive products for adults themselves, in line with increasing demand.
2
Vorobiova, Olga Y. "Updating of cultural memory in provincial museum activities." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 195–201. http://dx.doi.org/10.20323/1813-145x-2021-1-118-195-201.
Full textAbstract:
The article presents understanding of the cultural memory phenomenon in the context of museum activity. Special attention is given to the mainstreaming of memory in provincial museum activities. Cultural memory is interpreted by the author as «history recreated in memory», appealing not to a specific event of the past, but to his image, formed in the minds of people. The work highlights the key characteristics of the museum as an institute of memory, determining its special role in the process of forming, broadcasting and updating cultural memory: working with genuine sources of information – museum objects; attractiveness and expressiveness of museum objects – the ability to attract the attention of the audience and have emotional impact; special atmosphere that allows the visitor to «plunge into the era» (this is especially characteristic of memorial, environmental museums and exhibitions built on the ensemble principle). The specificity of the provincial museum in the process of updating cultural memory is due to its special functions, primarily the function of identifying the local population. Based on the analysis of empirical material (the practice of the Uglich State Historical Architectural and Art Museum), the levels of memory updating in the activities of the provincial museum were revealed: national, regional and local, as well as forms of updating. Key and at the same time traditional forms of memory updating in the provincial museum are expositions, exhibitions, lectures, local history meetings. New forms of memory updating include educational (interactive) programs and festivals (museum holidays). The author concludes that the issue of the formation and updating of cultural memory by the provincial museum itself remains insufficiently conscious.
3
Zubar, Mykhailo. "Museum’s functions transformation and origin of narrative exhibitions in current conditions." Text and Image: Essential Problems in Art History, no. 1 (2020): 114–21. http://dx.doi.org/10.17721/2519-4801.2020.1.08.
Full textAbstract:
The article considers the role, the function and the place of museums in the modern world in the conditions of the electronic revolution, change of generations, the beginning of the postmodernism era. Accordingly, to these statements, there are questions related to the revision of the museum communication system relatively modern forms, understandable to the new generation. Speaking of museum communication, first of all, we mean a change in approaches to the formation and creation of a museum exhibition, which is the main platform for interaction with the public, and therefore communication with the visitor. The author pays attention to the issue of separating the second main function of the museum, along with storage. In today's digital and post-industrial society, the availability of collections for visitors comes to the fore in museums, as well as the form of exhibitions and the way it constructed. The article analyzes the reasons for the change of museums forms and their activities, following the functioning of various models in society and their conflict. It argued that the situation in museums reflects a broader conflict between two models of democracy, which, although unevenly, but coexist today: pedagogical and performative model. The first, among other things, provides that a person, to be a citizen, must be prepared through education, to participate in high culture. The second considers each person as a consumer/customer who consciously has the right to accept or reject a product. Therefore, the author paid special attention to the narrative museum as one of the forms of the postmodern museum, which functionates within the framework of the performative model, the construction of its exposition and the perception of its visitors. Also, considers the range of ways of displaying objects as well as its expansion in comparison with the classical modernism museum. Additional modern presentation methods provided, including story virtualization and related educational activities that added to the classical exposition base. The author present signs characterize the narrative of the museum.
4
Andersen, Josephine. "The museum art library as a bridge between the artist and society, with special reference to the South African National Gallery." Art Libraries Journal 20, no. 2 (1995): 4–12. http://dx.doi.org/10.1017/s0307472200009299.
Full textAbstract:
Art museums can help to promote art in society, but not all artists have their work selected for permanent collections or temporary exhibitions, and museums may be isolated from society. In Europe and North America, the primary function of museum libraries is to serve the parent institution, thereby serving the wider community only indirectly. In South Africa, where there are comparatively fewer museums, libraries, and publications concerned with the visual arts, and where there are so many disadvantaged people, it is vital that special collections such as the South Africa National Gallery (SANG) Library collection are made accessible in the widest possible sense and that museum library information programmes should be directed externally, as well as internally to the museum staff.
5
Davis, Robbie. "Public History in Small-Town America." Public Historian 36, no. 4 (2014): 51–70. http://dx.doi.org/10.1525/tph.2014.36.4.51.
Full textAbstract:
Small towns all across America embrace their local history through Museum on Main Street (MoMS), a special collaboration between the Smithsonian Institution, state humanities councils, and rural historical organizations. The Smithsonian and state humanities councils expose communities everywhere to important national themes and encourage small organizations to use local collections, special exhibitions, local interpretation, and challenging discussions to guide their visitors to a better understanding of their community’s relationship to American history. The Museum on Main Street program serves as a model that can help public history practitioners across the country generate productive partnerships with small museums and cultural organizations.
6
Amoako – Ohene, Kwasi, Nana Ama Pokua Arthur, and Samuel Nortey. "Museums: An institution for knowledge acquisition – A spotlight on the museum education in Ghana." International Journal of Technology and Management Research 5, no. 2 (2020): 10–23. http://dx.doi.org/10.47127/ijtmr.v5i2.86.
Full textAbstract:
Museums, just like formal institutions of learning always have understood that conserving collections for study and exhibition can be an important part of the educational process. Since 1957, Ghana has established several museums under the Museums and Monument Board. These museums just like others are required to play a great deal of role in the social, educational, economic development of a nation. However, it is distressing to note that with the highly endowed museum assets of Ghana, such as the Cape Coast Castle Museum, Ghana National Museum, Fort Appolonia Museum of Nzema History and Culture, the Elmina Castle Museum, Ho Museum, Bolga Museum, Wa Museum, The Head of State Museum and Museum of Science and Technology both in Accra, there has been little contributions to Ghana’s Gross Domestic Product. Significantly, visitor experience and satisfaction is very low. In this view, this study sought to investigate educational activities of Ghana Museum and Monument Board (GMMB) and inquire into their educational activities. Employing qualitative approaches, the study used a triangulation of observations, interview and focus group discussion to assemble data from these museums. In conclusion, the museums provide some sort of education but there is no formalized educational framework serving as a guide. They mainly employ monotonous experience of guided and self-guided gallery tours, and occasionally, the museum curators and educators organize a oneoff programme such as an outreach to schools and special exhibitions as well as seminars. Recommendations to strengthening museum education in Ghana are addressed
 Citation: Kwasi Amoako – Ohene, Nana Ama Pokua Arthur, and Samuel Nortey.Museums: An institution for knowledge acquisition – A spotlight on the museum education in Ghana, 2020 5 (2): 10－23. Received: March 3, 2020 Accepted: June 30, 2020
7
Filova, Natalia, and Lea Rollova. "HUMAN CENTERED DESIGN OF A CHILDREN'S MUSEUM." SWS Journal of SOCIAL SCIENCES AND ART 1, no. 2 (2019): 67–80. http://dx.doi.org/10.35603/ssa2019/issue2.06.
Full textAbstract:
Traditional museum is typically characterized especially by presenting exhibits. However, it has recently been enriched by many other features that contribute to the attractiveness of exhibitions. Museum spaces nowadays offer various educational events, creative workshops or shops with artefacts and publications.
 This paper is aimed at presenting partial research results orientated to human-centered design of museums for children. The introductory part describes innovative design tools that focus on multisensory presentation of exhibits, hands-on, color impact, emotion perception etc., as well as possibilities of using the Universal Design as a Learning method to create exhibitions for children with special needs. The main part of the work consists of our team's research aimed at exploring the needs of different children, especially children with various disabilities, in the creation of children's museum space and exhibitions. The first phase of research is focused on the analysis of spatial properties, exhibits and interactions between them. The aim was to discover how those factors influence children's attention and impact on their learning ability. This part of the research was carried out in BIBIANA - International House of Art for Children in Bratislava. The end of the paper indicates further research possibilities that will be explored in the next phase of our research in the future.
8
Parrino, Lucia. "“Words to receive. Words to be received”: reflections on the Intercultural City museum work." Alterstice 5, no. 2 (2016): 45–60. http://dx.doi.org/10.7202/1036690ar.
Full textAbstract:
Although diversity has always been a fundamental characteristic of human societies, now more than ever it has become central to the political and research agenda. The question of how we can live together while enjoying our differences is a fundamental issue of our time, and the city is viewed as the most promising site to negotiate identities. That being so, what is the role of museums? How can local museums develop interventions that address local cultural diversity issues? In the first part of the article, I introduce the idea of “Intercultural City museum work.” I present a metadesign framework that aims to help museums emphasize the impact of diversity work on their local contexts, proposing the Intercultural City approach as a reference point. In the second part of the article, I describe the “Intercultural City museum work” and on using the metadesign framework with reference to MUST-Museo del Territorio Vimercatese, a civic museum on local history and identity in Vimercate, a town in the metropolitan area of Milan. Immigration to the geographical area over the past few decades and the resulting cultural diversity are neither reflected in the museum collections nor the permanent exhibitions. As a result, the museum decided to address these topics through services, events and special projects. In particular, I describe the exhibition Words to Receive. Words to be Received, designed and created by COI-Centro Orientamento Immigrati—a local immigrants’ resource centre—with the museum.
9
Choi, Ayeon, Graham Berridge, and Chulwon Kim. "The Urban Museum as a Creative Tourism Attraction: London Museum Lates Visitor Motivation." Sustainability 12, no. 22 (2020): 9382. http://dx.doi.org/10.3390/su12229382.
Full textAbstract:
The urban museum has become a multi-functional institution that transcends the functional display of artifacts. The museum has become, in cities, a hybrid institution that keeps its doors open late to support a wide variety of special events. This study explored London’s “Museum Lates” programs and event characteristics, theoretical views of museums as cultural and creative tourism attractions. Furthermore, the study applied the contextual model of learning to understand visitor attendance motivations. The authors employed an interpretive approach using interviews with two types of participants: event visitors and event coordinators. The findings suggest that attendees possess personal, physical, and socio-cultural motivations for participating in “Museum Lates” events. The characteristics of late events—extraordinary quality and evening-time atmosphere—produce different effects from those of current museum exhibitions held during regular operating hours. “Museum Lates” events can contribute to achieving cultural sustainability, adding a cultural construct to the traditional three pillars of sustainability.
10
Jones-Edman, Genevieve, Jessica C. Lewis, and Bernadette Worrell-Johnson. "Keeping up with best practices: Library exhibitions at a university library in a small island developing state." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (2019): 59–76. http://dx.doi.org/10.1177/0955749019876118.
Full textAbstract:
Libraries over the years have developed best practices for planning, organising, promoting and evaluating exhibitions. Many are based on practices in museums. These best practices have been written into policies and shared with libraries worldwide. However, just as there has been an acknowledgement that some museum practices must be modified to suit the needs of libraries, the same applies to exhibition best practices across countries and libraries with different budgets. Small island developing states are particularly challenged by, among other things, limited resources, high cost of transportation and energy and vulnerability to natural disasters, which can have a direct or indirect impact on libraries and their ability to carry out functions like curating exhibitions. The University of the West Indies (UWI), Mona Library, located on the island of Jamaica and founded in 1948, has a long tradition of curating exhibitions. Planning and executing physical exhibitions at The UWI are guided by Library-adapted policies and guides, recently formalised in an exhibition policy. A review of some of the exhibitions curated by The UWI Mona show that the physical exhibits are, for the most part, executed in keeping with international best practices, but the Library has had to make adjustments primarily because of financial challenges. These financial challenges affect the availability of resources for exhibits, exhibition space, dedicated exhibition staff, how special collections items are used and the magnitude of exhibitions mounted. Exhibition reports, annual reports, photographs and visitor comments books reveal that the Library attempts to follow best practices with regards to planning, designing, executing and evaluating physical exhibitions. On the other hand, the Library is in the early stages of converting its physical exhibitions to digital formats but may have to establish more formal guidelines to ensure that online exhibitions are planned, designed and evaluated in keeping with international best practices to be successful. Successful exhibitions not only satisfy Library organisers and ‘edutain’ users but also build a good reputation for the Library and lead to further collaboration with faculty and benefit students, administrators and sometimes the general public. These practices at The UWI that are guided by policies can serve as an example to other institutions with small budgets on how to successfully plan and deliver physical exhibitions and build relationships with faculty and the wider community. The Library would need to ensure that formal guidelines and practices are followed for online exhibitions to be as effective and successful.
Dissertations / Theses on the topic "Museum special exhibitions"
1
Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
Full text
2
Lin, Chungju. "Special exhibitions and national museums in Taiwan : an investigation." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/33293.
Full textAbstract:
One hundred years ago, the museum was founded in Taiwan by the Japanese government. This “new” cultural institution did not exist in the past, so the distance between the museum and the public was to be expected. On the other hand, the expositions broadly took place around Taiwan, and although most of them were mainly for commercial purposes, these exhibitions have become a form of social memory for most of the Taiwanese people and to allow for experiencing art and world wonders (Lu Shao-Li 2005). In the 1990’s, holding special exhibitions in Taiwan’s national museums was a vital strategy to increase the visit rate and international exchange. Because these special exhibitions were wildly accepted by the general public, the special exhibition culture in Taiwan was formed. This special exhibition culture creates the special visitor community which views special exhibitions as their major leisure activities. In order to attract large amounts of special exhibition visitors, the museum undertakes certain special exhibitions that might not match the purpose of the establishment. This situation has been questioned by Taiwanese scholars and cultural critics. It is my intention to investigate special exhibitions in Taiwan's national museums to find how they influence the museum and how the museum has been changed. The National Museum of History in Taiwan is my case study and also the major target of discussion, because this particular museum has been famous for being a special exhibition venue and, also, this old museum once was the most important museum for international exchange in Taiwan. The special exhibition has been an important medium to convey art and cultural concepts to the Taiwanese public; therefore, by exploring special exhibitions and the relationship with museums, I attempt to discover this tendency for future museum strategies.
3
Davies, Susan Margaret. "Co-production and values in museums : with special reference to the production of temporary exhibitions in Britain." Thesis, Open University, 2011. http://oro.open.ac.uk/54507/.
Full textAbstract:
This thesis looks at co-production in museums, specifically how external parties were involved in the production of temporary exhibitions. It explores the different patterns of co-production found in various museum contexts, offers an explanation for the differences based on values and discusses the implications for museum managers. The research explored the topic from a museum management perspective, an interdisciplinary field informed by museum and heritage studies as well as various management disciplines. The central research question was - why does the pattern of external involvement in temporary exhibitions vary in different museum settings? Over a 15 month period data was gathered from a range of museums in Britain to create 20 case studies. A grounded theory methodology (Goulding 2002; Glaser and Strauss 1967; Glaser 1996) meant that existing work in museum studies, eo-production, project management and organisational culture, informed rather than defined the direction of research. Data gathering and analysis were part of an iterative process which allowed for progressive focusing on the key issues (Stake 1981). Using a typology of eo-production developed specifically for this research the pattern of external involvement was analysed. This established similarities and differences in the pattern of eo-production across the case studies. This analysis found that some parts of the exhibition making process were more open to external involvement than others. It also found that some patterns of eo-production could be explained by particular exhibition variables, e.g. the size of the budget. However, it became apparent that important aspects of eo-production could only be understood by reference to the wider museum context. Hence a higher-level framework to represent the variety of museum contexts, in terms of values, priorities and norms, was needed. Such a framework needed to locate and illuminate the range of co-production documented in the study, be theoretically robust and make sense to practitioners. To this end, the Museum Values Framework, was developed from the work of Quinn and others (Quinn and Rohrbaugh 1981), used to interrogate the data further, and trialed in the field. This study offers new knowledge on the nature and variety of co-production in museums and highlights the importance of individual, group and organisational values in shaping behaviour in a museum context. The wider implications of the findings for museum management are also discussed. In addition this research makes a theoretical and methodological contribution in the form of the Museum Values Framework. Considerable scope exists to apply this analytic tool to other aspects of museums' work and behaviour.
4
Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.
Full textAbstract:
The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
5
Myers, Glen. "A dynamic model for documenting special exhibitions /." 2005. http://library2.jfku.edu/Museum_Studies/Dynamic_Model.pdf.
Full text
6
Ho, Chin-yung, and 何智勇. "Research of the Insurance for Loan Exhibition─A Case Study of the Special Exhibitions of National Taiwan Museum of Fine Arts." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/40291004035050992999.
Full textAbstract:
碩士<br>南華大學<br>美學與藝術管理研究所<br>93<br>The loan exhibition of works of arts, for the museum itself, is the extension of education. It can promote the communications of cultures, economic development and resource sharing as well. It can also bring about business opportunity for the insurance company and reduce the risk resulting from the loan exhibition. It can be seen that the insurance for the works of arts can make positive effectiveness to the development and utility of loan exhibition of works of arts and the reasonable insurance will be covered in the case of any damages to the works of arts. However, in the domestic market, insurance companies have different underwriting standards of their own for the works of arts, and this is especially divided for the recognition and assessment of works of arts belonging to the public and private sectors. Another problem is that a mutual-trust mechanism between the museum and the insurance company has not been established yet. Therefore, this thesis focuses on this issue.
This thesis adopts the logical study as a primary means to collect data regarding the relationship between the loan exhibition of works of arts and the insurance and proceeds with the analysis and research. There are also intensive interviews with the insurance companies and employees working in the museums and galleries in case that more documents are needed. The first step to effectively analyzing the data collected is to have a case study on the underwriting modes, status and basic principles of the insurance companies for the loaning exhibition of works of arts, then it is followed by the discussion of risk management for the loaning exhibition of works of arts, collection and exhibition of works of arts, and the relation between the insurance and risk resulting from the conveyance of works of arts. All these lead to the discussion of the contract mechanism of the current insurance for the works of arts in Taiwan. Albeit there are different insurance underwriting types for different insurance companies, running for profit is the ultimate goal for these insurance companies. As for the museums, foreign insurance companies are excluded and domestic insurance companies are their sole options when they seek the insurance companies, due to the domestic regulations. Therefore, cultivating more professional independent rating agencies and deregulation of the foreign insurance companies will improve the current domestic status of the insurance for the works of arts.
There are six chapters in this thesis. Chapter 1, Introduction, includes the research motive, research scope and limitations, research methods and limitations, literature and terminology. Chapter 2 includes the underwriting types and principles of insurance companies for the loan exhibition of works of arts, utility of loan exhibition of works of arts and current underwriting status of insurance companies for the works of arts. Chapter 3 includes the risk management of the loan exhibition of works of arts, explaining the details of the risk management, the collection of works of arts, exhibition and the relation between the insurance and risk incurred during the conveyance of works of arts. Chapter 4 includes the contract mechanism for the loan exhibition of works of arts, discussing the procedures for the loan exhibition, details of the contract, current limitations of the loan exhibition in Taiwan and problem review. Chapter 5 includes a case study for the National Museum, discussing issues about risk, utility and safety. Chapter 6 includes the conclusion and suggestions, providing useful suggestions for the loan exhibition of works of arts.
7
Tsai, Hai-Kuang, and 蔡海廣. "Study on the Planning and Evaluating of Museum Educational Programs for Special Exhibitions: With the National Museum of Natural Science’s “ Welcome to Silk Paradise” as an Example." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/47341743900766245802.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>博物館學與古物維護研究所<br>100<br>Since the 1990s, the trend of blockbuster exhibitions have emerged in some Taiwan’s museums and these phenomena still exist until nowadays. The main reason blockbuster exhibitions can attract the audience includes that the themes are attractive, and the styles are diverse. Nevertheless, qualities and educative functions of these special exhibitions are usually questioned by the public because time of these exhibitions is usually short. What’s more, theses special exhibitions are often controlled by some cooperative media. Therefore, the museum educators need to play important roles, which provide knowledge and entertainment during educational programs in blockbuster exhibitions. And visitor studies provide the best tool to evaluate effects of these programs.
The case study chooses the educational program “Welcome to Silk Paradise,” which was held by Naturalist Center in the National Museum of Natural Science, and this educational program was for the exhibition “Traveling The Silk Road” in 2011. After studying some relevant references and making proposals, the researcher used multi-methods, including participant observations, In-depth interviews and questionnaire surveys to collect data. By those methods, the researcher could understand how educators acquire elements in this exhibition, refer to the programming model, and combine resources. After that, the researcher could develop an ideal educational program. This research arranged the behavior and opinions of the participants, and validates the goals of the educator.
The researcher participated the whole process of this program, including planning, executing and evaluating. Therefore, this study could survey every aspect in this educational program deeply. We also found out the educator chose the element “silk” as the main element in this exhibition, and developed the educational program which let participants learn the knowledge about the animals which provide rayon. In the planning process, the educator used GLOs to inspect every detail. This educational program also combined the center’s specimen, so this program can develop into packages or group lessons after the special exhibition finished. The educator even arranged dramas: let these participants imitate these animals and enhance their learning experiences. The result of Summative evaluation can help the researcher understand the relevant background of the participants; validate the goals by the participants’ responses.
According to the results, the following conclusions can be proposed:
1.How to plan educational programs of special exhibitions
When planning an educational program, educators should lead the process instead of repressed by cooperative units. Educators should combine features of special exhibitions and museums, let educational programs can still execute even special exhibitions are over. Planners should also consult the experts who are adept in these fields to make sure educational programs convey correct knowledge. Educational programs can also add some creative designs to accelerate the participants’ learning motivations.
2.Use GLOs while planning educational programs of special exhibitions
This case use GLOs to make the educators survey different aspects more professional. The research suggests museum educational programs can usually refer this mode to develop.
3.How to execute educational programs’ evaluations of special exhibitions
According to this case, the researcher thinks evaluations can assist museum to know the effects of educational programs. Nevertheless, we need to decide goals, methods and performers of evaluations in the beginning. Themes of evaluations include the backgrounds, satisfactions, learning outcomes, and opinions which are relevant to special exhibitions and educational programs.
Finally, the researcher suggests that museums should make well-organized projects for educational programs and evaluations of special exhibitions, which include short-period, mid-period and long-period projects. And this policy should enhance educators’ professional domains in program planning and evaluating.
8
Lo, Mei-Hui, and 羅美惠. "An Art Curricula Design and Development of Elementary School －A Case Study on Marc Chagall Special Exhibitions of National Palace Museum in 2011." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/68715880765155577383.
Full textAbstract:
碩士<br>大葉大學<br>設計暨藝術學院碩士在職專班<br>100<br>This research studied the class which the author taught to establish an art education content and method combing exhibition resource with the designed “Chagall Exhibition”. According to the teaching model of before the tour, during the tour, and after the tour, we discussed the influence of the application of the designed art lesson to the elementary school fifth and sixth graders in the experiences of art learning and museum touring. This research found that through the exhibition touring lesson, the teachers had grown professionally in teaching lesson design, teaching strategies, teaching evaluation, and teacher’s self-recognition. As for students’ attitude in art, learning and the desire to participate in museum activities had grown and transformed. Meanwhile, after the lesson, the students could have interest, love, and confident in art. The different learning accomplishments or different backgrounds had no relation to the learning effects. Finally, we provide conclusion and advice to people who would like further discuss the issue for reference.
9
Wu, Li-Ying, and 吳麗鶯. "Exploring The Relationships Among Visitors’ Participant Motivations, Participant Constraints and Satisfactions by the Attractions of Special Exhibitions at National Museum of Natural Science,Taiwan." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/50505342977250554045.
Full textAbstract:
碩士<br>亞洲大學<br>休閒與遊憩管理學系碩士在職專班<br>97<br>National Museum of Natural Science (hereafter abbreviated as Museum of Science) is the top one domestic museum for natural history, which has many rich natural, scientific, historical and cultural resources; in addition to the constant exhibition, there are also many gorgeous exhibitions in the past that attract so many people to visit; therefore, it is a very important recreation area in central Taiwan. To the museum, the most important thing is to satisfy the expectation and need of the visitor and to possess the function of education as well as entertainment, that is, to attract the visitors to come uninterruptedly.
In this study, tourists visiting Museum of Science exhibition will be used as the survey targets. During the tourists’ participation process, the attractive power of the special exhibition will be used to investigate the influence and correlation of tourists’ participant motivation, participant constraint and satisfaction; moreover, tourists of different basic background and attribute will be used to understand the correlation among attraction, participant motivation, participant constraint and the satisfaction of the special exhibition of Museum of Science; moreover, what type of special exhibition the tourists prefer will be further understood, and the tourist attribute that has participant motivation will be analyzed too. Five hundred and thirty people were selected in this cross-sectional, descriptive study by using a structured questionnaire. Five hundred and twelve valid data were used to analyze as the results, the valid corresponding rate was 96.6%. The surveys were conducted during the period of February 1 to February 28 2009. The results of this study are the followings:
1. For the attraction of the special exhibition of Museum of Science, tourists all show highest agreement on “unique historical relic exhibition”; the next are items such as: “the possession of recreation, entertainment and knowledge content” and “education, enlightening and inheritance meaning”. For item with less attraction, the result shows that “the reputation of Museum of Science” has the lowest attraction; the next is “good image of the special exhibition of Museum of Science” and “the visibility of the special exhibition”, etc.
2. For the participant motivation from tourists on the special exhibition of Museum of Science, “learning and growth” has the highest agreement; the next are “the satisfaction of the desire of knowledge” and“personal interest”, respectively. For the item with weaker participant motivation in the special exhibition of Museum of Science, tourists thought that “the upgrade of social status” has the lowest motivation; the next are respectively “the acquisition of respect from others” and “promotion of friendship”, etc.
3. For the participant constraint from tourists on the special exhibition of Museum of Science, “the ticket of the special exhibition is too expensive” and “it is expected that the exhibition site will be very crowded” are listed together as the most agreed items; the next is “Museum of Science is too far away from home”. Tourists thought that item such as “bad interaction with the participators” has the lowest participant constraint; the next are items such as: “no partners suitable for the participation together” and “no convenient public transportation vehicle to Museum of Science”, etc.
4. For the satisfaction from tourists on the special exhibition of Museum of Science, “the expansion of vision and the increase of knowledge” has the highest degree of agreement; the next are “trying of new things” and “the satisfaction of the curiosity of natural science”, respectively. Tourists thought that “the making of good friends” has the lowest satisfaction; the next are items such as “the increasing of confidence” and “the tourists participating in the special exhibition are very friendly”, etc.
5. There is no significant correlation between the tourist’s participant motivation and recreation participant constraint; there is significant correlation between the recognition of special exhibition’s attractive power and tourist’s participant motivation; there is significant correlation between the recognition and satisfaction of special exhibition; there is significant correlation between the tourist’s participant motivation and satisfaction.
6. Tourists ever participated in the special exhibition of Museum of Science prefer most and have the highest satisfaction on special exhibition such as “archeology and historical relic type”, the next is “scientific type”.
7. Special exhibition type with the highest participant willing by the tourists is “archeology and historical relic type”; the next is “scientific type” and “artistic type”.
8. Significant difference exists for the recognition and satisfaction on the special exhibition’s attraction as seen by tourists in terms of “`gender”, “education” and “occupation”; but for “age”, no significant difference can be seen.
9. Significant difference exists for the participation and recreation participant constraint as seen by tourists in terms of “gender” and “occupation”, etc.; but for ”age” and “education”, no significant difference can be seen.
Based on the results of this study, eight suggestions are proposed to be used as reference for business operation by the Museum of Science; it is hoped that this study can be helpful and important reference, in the future promotion of special exhibition, to the planning of exhibition that can meet the tourist’s expectation and to the development of tourist resource; we also hope that the cultural industry of special exhibition of the museum can have a prosperous development and that the result of this study can be used as a guiding for future efforts and as reference for subsequent related researches.
10
Chen, Yan-Sheng, and 陳炎生. "The Effectiveness and Modes of Joint Marketing on Museum Blockbusters between Museums and Mass Media: A Case Study of the Special Exhibition “Van Gogh” at the National Museum of History." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/28349505790743899063.
Full textAbstract:
碩士<br>國立臺南藝術大學<br>博物館學與古物維護研究所<br>99<br>The Museum Blockbuster Exhibition in Taiwan has been created by museums and mass media. Media has played an important role in marketing the blockbuster exhibition . As an result, the placement marketing has been an significant tool in promoting these exhibitions and caused lots of critics on cultural interpretation in museums. Another critical issue is that the quality of visitor experience is sacrificed by visitor numbers.
This paper aims to evaluate the effectiveness of the marketing between museum and mass media, with the example of ”Van Gogh: The Flaming Soul” exhibition in 2009.
The aims of this research include:
1.To understand how media participates in the exhibition which it has sponsored, and to have a basic comprehension of how media provides news report on the cultural activities it invested is also significant.
2.To review if the missions and goals could be achieved.
3.To focus on the cooperation between the museum and media, to see how the museum deliver knowledge to its visitors and if it understands visitors needs.
The research questions are listed below:
1.The modes of marketing by news media
2.The effects of museum marketing,
3.The effects of joint marketing between the media and museums,
4.Visitors’ perception of museum education and esthetics under the marketing efforts by the news media.
This paper first reviewed related newspaper articles and videos and then did a questionnaire survey of 400 visitors on-site between December 2009 and March 2010. Meanwhile, the researcher conducted several in-depth interviews with experts to collect different opinions from various aspects.
This research has concluded three points and described them as below:
1.There are ten modes of the placement marketing in the media sponsored museum blockbusters.
2.There is a danger on the placement marketing because it could make art education out of focus.
3.There are pros and cons of the effects on visitors ethetical perception.
There are some suggestion from the author, as listed below:
1.Four points for museums.
(1)They should emphasis visitor’s ‘museum experience’.
(2)They need to have better professional training.
(3)It is well worth it to cultivate mid-age and older citizens, as well as those who live further away.
(4)They must have their baselines and to fight for more controlling power.
2.Three points for media.
(1)The effect of placement marketing has proved useful, however, the media should still consider the public interests.
(2)The media should take the ‘edge-out effect’ from others into account,
(3)The media has to respect the professionalism and educational purpose of museums.
3.Two points for the co-operation between museums and the media.
(1)The first priority should be on visitors interests,
(2)They should consider the issue of broadening new visitors.
Books on the topic "Museum special exhibitions"
1
Museum, Royal Ontario. A ROM visitor survey: Conducted during the special exhibiton Treasures of the Holy Land, May 9-September 5, 1988. Royal Ontario Museum, 1988.
Find full text
2
Verjux, Michel. Michel Verjux: Städtisches Museum Abteiberg Mönchengladbach, 4. Juli-26. September 1993. Das Museum, 1993.
Find full text
3
Fiona, Biggiero, and Isabella Stewart Gardner Museum, eds. Guide to contemporary art: Special edition, Joseph Kosuth. Charta, 2003.
Find full text
4
Hurd, Peter. Peter Hurd in the collection of the Roswell Museum and Art Center: Quarterly bulletin, vol. 33. no. 1, winter 1985, special issue. The Museum, 1985.
Find full text
5
Bijutsukan, Hokkaidōritsu Migishi Kōtarō. Bi no shito Hayashi Takejirō to sono oshiegotachi: Migishi Kotaro Museum of Art, Hokkaido, special exhibition : 9 Oct.-29 Nov., 1998. Hokkaidōritsu Migishi Kōtarō Bijutsukan, 1998.
Find full text
6
Bijutsukan, Hokkaidōritsu Migishi Kōtarō. 1930-nendai no seishun: Migishi Kōtarō to Hokkaidō Dokuritsu Bijutsu Sakka Kyōkai no gakatachi = Migishi Kotaro Museum of Art, Hokkaido special exhibition. Hokkaidōritsu Migishi Kōtarō Bijutsukan, 1999.
Find full text
7
Gu gong tong jing te zhan tu lu: Catalogue of special exhibition of bronze mirrors in the National Palace Museum. Guo li gu gong bo wu yuan, 1986.
Find full text
8
Guo li gu gong bo wu yuan. Ku kung tʻung ching tʻe chan tʻu lu =: Catalogue of special exhibition of bronze mirrors in the National Palace Museum. Kuo li ku kung po wu yüan, 1986.
Find full text
9
Kunggwŏl ŭi changsik kŭrim: Kungnip Kogung Pangmulgwan tʻŭkpyŏljon = Decorative paintings of Joseon Palaces : special exhibition of the National Palace Museum of Korea. Kungnip Kogung Pangmulgwan, 2009.
Find full text
10
Tŏkhye Ongju: Tŏkhye Ongju t'ansaeng 100-chunyŏn, hwan'guk 50-chunyŏn kinyŏm Kungnip Kogung Pangmulgwan t'ŭkpyŏljŏn = Last princess Deokhye : special exhibition of the National Palace Museum of Korea. Kungnip Kogung Pangmulgwan, 2012.
Find full textBook chapters on the topic "Museum special exhibitions"
1
Frey, Bruno S. "Superstar Museums and Special Exhibitions." In Economics of Art and Culture. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_11.
Full text
2
Haschemi Yekani, Elahe. "Conclusion: Queer Modes of Empathy as an Ethics of the Archive." In Familial Feeling. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58641-6_6.
Full textAbstract:
AbstractAddressing the boom of memorial events and special exhibitions as well as the establishment of the International Slavery Museum in Liverpool celebrating the bicentennial of the abolition of the slave trade in 2007, the conclusion of Familial Feeling returns to the question of ethics in dealing with the archive of slavery. Reflecting on methodology in literary studies by contrasting surface reading with approaches that foreground negative affects, Haschemi Yekani, via a recourse to Eve Kosofsky Sedgwick’s “reparative” reading, proposes a queering of empathy that should not rest on a celebratory understanding of the past, as trauma overcome, but serve as a foundation of ongoing tension in contemporary narratives of familial feeling and national belonging. For this purpose, Haschemi Yekani examines the 2007 installation Swallow Hard: The Lancaster Dinner Service by artist Lubaina Himid. The author proposes that by engaging with the messy entanglements of marginalised and hegemonic voices in the establishment of Britishness as familial feeling, one can arrive at more complex reading strategies of the literary sources from the historical archive of the early Black Atlantic and the British novel as well as a less congratulatory contemporary memorial culture that seeks British “Greatness” in the past.
3
Chu, June Chi-Jung. "How Exhibitions Flow: Governments, Museums, and Special Exhibitions in Taiwan." In Asian Cultural Flows. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-0147-5_6.
Full text
4
Murgia, Camilla. "Introduction: Staging the Temporary: The Fragile Character of Space." In Ephemeral Spectacles, Exhibition Spaces and Museums. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720908_intro.
Full textAbstract:
This volume examines a varied number of exhibition devices that are ephemeral in terms of the precariousness of their structure, but also in terms of their capacity to adapt to the space in which they develop. Special attention will be paid to spaces such as curiosity cabinets, portable museums, show gardens, and a number of unconventional exhibition devices. These spaces often function as microcosms, small autonomous universes that operate individually, but also in relation to their environment. The aim of this volume is to examine their development and relationship to context.
5
"Foundations: Comic Art in Museums." In Comic Art in Museums, edited by Kim A. Munson. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0002.
Full textAbstract:
This chapter includes a short introduction to the opening section of Comic Art in Museums by art historian Kim A. Munson, and it provides an overview of the evolution and challenges in comics exhibitions, why they are important, who the most influential artists were, and how comic art drawings function as an art object when framed on the gallery wall and in special artist’s edition books. This chapter also introduces contributors Denis Kitchen (image), Brian Walker, and Andrei Molotiu. This chapter discusses gallery comics and the work of artists Will Eisner, Mort Walker, and Mark Staff Brandl (image).
6
Curtis, Cathy. "Jane Street." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0003.
Full textAbstract:
In 1944, Nell joined the Jane Street Gallery. Together with painters Leland Bell and Al Kresch, she transformed the pioneering artist-run cooperative into a home for a small group of abstract painters who took their cues from Mondrian. In 1945, her painting Blue Pieces was included in The Women, an exhibition of abstract and surrealist work by thirty women at the Art of This Century gallery. Her first solo Jane Street show elicited a rave review in ARTnews. In 1947, Clement Greenberg lauded Nell’s work in a review in The Nation. The following year, an exhibition of paintings by Bonnard at the Museum of Modern Art began to sway her toward a more personal approach. During this period, she was intimate with many men and women, but the special woman in her life was a dancer, Midi Garth, who would prove a loyal friend throughout her life.
7
Pham, Minh-Ha T. "China: Through the Looking Glass." In Fashion and Beauty in the Time of Asia. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479892150.003.0003.
Full textAbstract:
This chapterargues that the New York Metropolitan Museum of Art’s China: Through the Looking Glass exhibition provides an exemplary case for studying the ways in which authorship is constituted not simply by the law but by a complex of race, knowledge, power, and emotions. As this exhibition demonstrates, Orientalism is a primary means by which Western fashion designers establish their privileged status as authors, as artistic agents specially endowed with the power of creating and controlling circuits of meanings not just about aesthetics and design but about race, representation, and value. In a strange twist of irony—but one that perfectly encapsulates the illogic of the inverted worldview through the looking glass—Western fashion’s use of Orientalist reproductions of “China” and “Asia” has enabled it to both draw and blur the lines between authors and copyists.
8
Allchin, Douglas. "The Peppered Moths, A Study in Black and White." In Sacred Bovines. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190490362.003.0028.
Full textAbstract:
Organisms seem exquisitely adapted—like the peppered moths (Biston betularia), camouflaged to avoid predation (Figure 20.1). The story behind their cryptic coloration and pattern is easy to appreciate when looking at both black and mottled white moths set against contrasting backgrounds: one black, one mottled white, like the moths themselves. What half-witted bird would not prey on the obvious moth? This would clearly change the genetic make-up of a population. This popular pair of photos explains natural selection in an instant. The images are so widely reproduced, in biology textbooks and elsewhere, that everyone seems to know the case of the peppered moth. The case gained renown through Bernard Kettlewell. In the 1950s he investigated the survival rates of the moths in the contrasting forests of Birmingham and Dorset (ostensibly portrayed in Figure 20.1). But Kettlewell’s landmark publication, The Evolution of Melanism, also included another image (Figure 20.2). On the top right, it displays the two familiar forms of the moth: typica, the once-common “peppered” form (no. 2), and carbonaria, the nearly black form that proliferated later (no. 1). Arrayed on the left, however, are five other specimens of the same species, each exhibiting an intermediate darkness. Together, they constitute a third form, known as insularia. That is, a series of relatively unknown light and dark forms fills the gap between the two well-known extremes. Do the insularia moths matter? How might simplifying the wide range of forms to just two shape an image of natural selection? Or of nature, generally? In what ways does the difference between the simple story and a more complex reality ultimately affect our thinking? Perhaps we should challenge the implicit assumption (yet another sacred bovine) that nature, and science too, can effectively be reduced to black and white. One easily finds specimens of insularia in museum collections, Kettlewell noted. And he included them in his field studies. Having recruited observers from around Britain, Kettlewell catalogued the relative frequencies of all three forms in various locations. The incidence of insularia was sometimes 40% or more.
Reports on the topic "Museum special exhibitions"
1
Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.
Full textAbstract:
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”.