Dissertations / Theses: 'Museum studies'

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Gonzalez, Desi (Desiree Marie). "Museum making : creating with new technologies in art museums." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/97995.

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Thesis: S.M., Massachusetts Institute of Technology, Department of Comparative Media Studies, 2015.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-155).
Hackathons, maker spaces, R&D labs: these terms are common to the world of technology, but have only recently seeped into museums. The last few years have witnessed a wave of art museum initiatives that invite audiences-from casual visitors to professional artists and technologists-to take the reins of creative production using emerging technologies. The goals of this thesis are threefold. First, I situate this trend, which I call "museum making," within two historical narratives: the legacy of museums as sites for art making and the birth of hacker and maker cultures. These two lineages-histories of art-based and technology-based creative production-are part of a larger participatory ethos prevalent today. A second goal of this thesis is to document museum making initiatives as they emerge, with an eye to how staff members at museums are able to develop such programs despite limited financial, technological, or institutional support or knowledge. Finally, I critically examine how museum making may or may not challenge traditional structures of power in museums. Museum making embodies a tension between the desire to make the museum a more open and equitable space-both by inviting creators into the museum, and by welcoming newer forms of creative production that might not align with today's art world-and the need to maintain institutions' authority as arbiters of culture. My analysis draws on a wide range of fields, including sociology, educational theory, media studies, museum studies, and art theory. This thesis is informed by extensive fieldwork conducted at three sites: the Los Angeles County Museum of Art's Art + Technology Lab, a program that awards artist grants and mentorship from individuals and technology companies such as Google and SpaceX; the Metropolitan Museum of Art's Media Lab, an innovation lab that invites members of New York's creative technology community to develop prototypes for and based on the museum experience; and the Peabody Essex Museum's Maker Lounge, an in-gallery space in which visitors are invited to tinker with high and low technologies.
by Desi Gonzalez.
S.M.

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Dyehouse, Jeremiah. "Science Fiction : Rhetoric, Authenticity, Textuality and the Museum of Jurassic Technology." Oberlin College Honors Theses / OhioLINK, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1509374752516486.

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Coxall, Helen. "Studies in museum language." Thesis, Oxford Brookes University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294222.

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Bowen, Rachel Elaine. "The Pamunkey Indian Museum: Collaboration, Display, and the Creation of a Tribal Museum." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539626755.

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江婉芬 and Yuen-fan Bonnie Kong. "Museum Street, street Museum-[Museum] of Sheung Wan Heritage Trail." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986511.

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Draper, Christina S. "African American Civil Rights Museums: A Study of the R.R Moton Museum in Farmville, Virginia." W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539626780.

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Coldiron, Marly E. "Cultivating Creativity: The Columbus Museum of Art and the Influence of Education on Museum Operation." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429176568.

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Smith, Martha Kellogg. "Art information use and needs of non-specialists : evidence in art museum visitor studies /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/7182.

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Decker, Jillian. "The Restitution of World War II-Era Looted Art: Case Studies in Transitional Justice for American Museum Professionals." Walsh University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors155561854704584.

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Bennett, Hunter Alane. "Help, Museum Needed| Building a Digital Museum for Lincoln County, Arkansas." Thesis, University of Arkansas at Little Rock, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10812452.

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Lincoln County, Arkansas, is a small county in the southeastern sector of Arkansas that lacks a museum dedicated to its history. With Lincoln County lacking the funds to purchase/build a physical space that is on-par with current museum standards, a museum building is an impossibility at this point. Yet, the older generations that are full of knowledge about the history of the county are fading away. To preserve past and future history, a new spin on a museum had to be accomplished. The spin was creating a digital museum. This study goes in-depth on the creation of a digital database and museum for Lincoln County using Omeka.net and WordPress.com according to Dublin Core and museum standards. The websites showcase a broad and general history of Lincoln County that will hopefully become a foundation for the creation of a physical museum.

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Sippel, Elizabeth. "The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.

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When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.

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Hughes-Skallos, Jessica M. "Displaying Archaeology: A Look into the Representation of Archaeology in United States Natural History/History Museums." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384850209.

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

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Cha, Jimin Cha. "Memorial museum as a “Perfect End”: reimagining memorial museums through split and continuum." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543411432609966.

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Matheson, Fiona Combe. "Museum policy and marketing strategies." Thesis, Northumbria University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333143.

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Rome, Nicole Renee. "University Students in the Museum: A Program Evaluation of the Spencer Museum Student Advisory Board." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338065318.

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Haglund, Viktoria. "Lekrum på museum : En studie mellan Sjöhistoriska museet, Historiska museet och Upplandsmuseets barnutrymmen." Thesis, Uppsala universitet, Institutionen för ABM, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-399830.

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This essay is about children's rooms and playrooms at museums. It is a study comparing and examining the envi-ronments of three museums. The museums and play-environments that have been examined are Sjöhistoriska museet with the playroom Blubb, Historiska museet with the playroom Arkeoteket and Upplandsmuseet with the playroom Lilla Kvarn. The selected museums are all located in larger citiesand have free admission. All muse-ums are historically oriented.The main methodsused in the thesis is observation and interviews. Interviewstook place with relevant mu-seum staff who were linked to the design and execution of the playroom. Observations were made on two occa-sions, one before and one after the interview. This was so information granted in the interview could be integrat-ed in thelater observation. Actor-network theory or ANT is the theoretical foundation in the work together with similar theoretical reasoning as knowledge theory. Literature relevant to the topic has also been used as discussion material.The purpose of the essay has been to highlight the importance of playroom at the museum. The questions under investigation were: Is playroom at museums part of the exhibition? To answer this,additional questions were added: What is the purpose of the room/ space? Who is the target audience? How is the space designed and on what grounds? Does the room have educational purposes? How does the room work in practice? The results of observation and interview have shown that playrooms are a way for museums to reachthe younger visitors. Young visitors are often neglected in exhibitions. The playroom offers a break from the remaining exhibitions with the opportunity to play, learn but also rest.The examined museums have several similar themes as they approach in different ways. For example, a reading corner with place to rest. The overall theme has also been "escape from reality" where the playroom's themes have been underwater, underground and "the past". This is a two years master ́s thesis in Museum and Cultural Heritage Studies.

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Garz, Jessica Beth. "The museum as agent of participatory planning : the Queens Museum of Art engages an immigrant neighborhood." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/79200.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2013.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 57-61).
In neighborhoods facing demographic shifts, like changes in ethnicity, class and language, resident participation in state-sponsored planning processes can be difficult due to unfamiliarity, mistrust or cultural misalignment between residents and existing planning agents. This is particularly true in neighborhoods with large populations of new immigrants, where residents do not only face language barriers, long working hours and a general unfamiliarity with local planning processes, but are also prone to face cultures of discrimination or self-induce exclusion for fear of legal action to shaky residency status. In this thesis I ask how can a cultural institution include new immigrants in participatory artist-led, neighborhood-based processes that ultimately connect to state-sponsored planning efforts? Specifically, how can a museum tie together independent participatory artist-led projects in a meaningful and impactful manner? Through a primarily case study of the Queens Museum of Art (QMA) located in New York City, I illustrate how with the specific goals of incorporating the voices of new immigrants in the New York City Department of Transportation (DOT) renovation project in Corona Plaza, the museum was able to facilitate a collaborative participatory process that engaged multiple actors in an open and dynamic manner. I situate the case within the literatures of participation, from planning and art, in order to present various perspectives on the meaning, value and limitations of participation. Drawing from the literature, 1 highlight how without a clear declaration of long-term goals, QMA may face difficulty maintaining the commitment and participation of residents and may face questions of legitimacy in their community-based work in Corona. Following a general discussion of the advantages and disadvantages of a civil society institution involving itself in the political realm, I conclude that with a clear set of goals and with an acknowledgement of their own capacity limitations, museums can facilitate collaborative and dynamic participatory processes that overcome limitations of formulaic government-led processes and promote the planning of inclusive and equitable neighborhoods.
by Jessica Beth Garz.
M.C.P.

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Gu, Mini. "Engaging Museum Visitors through Social Media: Multiple Case Studies of Social Media Implementation in Museums." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1325275682.

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Almeida, Adriana Mortara. "Museus e Coleções Universitários: Por que Museus de Arte na Universidade de São Paulo?" Universidade de São Paulo, 2001. http://www.teses.usp.br/teses/disponiveis/27/27143/tde-10092003-160231/.

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Essa tese trata do perfil dos museus universitários - sua origem, desenvolvimento e perfil atual -, com ênfase para os museus de arte. Procura definir o que seria um museu universitário modelo e busca identificar o quanto desse modelo existe na prática. Descreve a formação e as características dos museus da Universidade de São Paulo e dos museus universitários de arte no Brasil. Analisa a coleção e o museu de arte da Universidade de São Paulo - Coleção de Artes Visuais do Instituto de Estudos Brasileiros e Museu de Arte Contemporânea - diante do modelo proposto para museus universitários. E finalmente, discute a necessidade da Universidade de São Paulo possuir ou não essas coleções de arte.
This thesis addresses the profile of university museums - their origin, development and current profile with emphasis on art museums. It attempts to define what a model university museum should be and to compare it to the existing situation. It describes the foundation and characteristics of the University of São Paulo museums and of university art museums in Brazil. It analyses the art collection and the University of São Paulo art museum - Visual Arts Collection of the Brazilian Studies Institute and the Contemporary Art Museum - in comparison to the university museum model proposed. And finally it discusses the need for those art collections in the University of São Paulo.

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SCALCO, TERESITA. "Integrating design and museum studies : Learning from Istanbul." Doctoral thesis, Università IUAV di Venezia, 2013. http://hdl.handle.net/11578/278323.

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Chrisman, Lainie M. "Interactive Technology & Institutional Change: A Case Study of Gallery One and the Cleveland Museum of Art." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408908791.

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de, Greef Erica. "Sartorial disruption: an investigation of the histories, dispositions, and related museum practices of the dress/fashion collections at Iziko Museums as a means to re-imagine and re-frame the sartorial in the museum." Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30393.

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In this thesis I investigate and interrogate the historical and current compositions, conditions and dispositions of three collections containing sartorial objects of three formerly separate museums – the South African Museum, the South African National Gallery and the South African Cultural History Museum. Although these three museums were amalgamated in 1999, along with eight other Western Cape institutions to form Iziko Museums, each separate sartorial ‘collection’ retains the effects of the divergent museal practices imposed on its objects over time. I employ the concept of ‘fashion’ in this thesis both to refer to the objects of the study, as well as to the socially-determined set of ideas and ideals surrounding notions such as taste, aesthetics, belonging and modernity. Sartorial objects in museums present strong physical evidence of both deeply personal and extremely public relationships as the traces of and capacity for embodiment imbue these objects with metonymic, subjective and archival capacities. In addition, I employ the contracted form dress/fashion to trouble the commonly held separate notions of ‘fashion’ as a modern, dynamic and largely Western system, and ‘dress’ as ‘traditional’ and an unchanging African sartoriality. I contend that through the terms ‘dress’ and ‘fashion’ – two opposing and segregating tropes still largely present in South African museums – the forms of agency, mutability and historicity applied to Western ‘fashion’ objects, have been and continue to be denied in the collection, classification and curation of African ‘dress’. I use a sartorial focus to unpack the development of and conditions pertaining to each of the museums in this study, namely an ethnographic museum, a cultural history museum and a fine arts museum. I interrogate the three separate phases of dress/fashion objects in these museums, that is, their entry into the collections, their classification and their display. Following each historical investigation, I use a single object-focused strategy to reflect on the specific conditions, dispositions and limitations of these three separate sartorial ‘archives’. I choose to identify and analyse all the trousers found across the three collections (as well as some significant examples that were excluded), as these particular sartorial objects both reflect and offer critical insights into distinct, and often divisive, definitions of gender, politics and socio-cultural attitudes, many of which also changed over time. I offer close readings of a number of trousers (both in and absent from these collections) that make evident the ways in which these divisions have been scripted into the taxonomies, disciplines and exhibitions at Iziko Museums. These practical and conceptual divisions perpetuate the artificial segregation of these museum objects. The divisions are also reflective of wider divisive museal practices that persist despite the efforts of Iziko Museums to transform and integrate their practices and their collections. Drawing on the sartorial as an alternative archive I am able to show the types of histories avowed and disavowed by different museal practices. In addition, the close readings expose the distinct and persistent colonial and apartheid underpinnings of sartorial classification and representation across the three Iziko Museums’ collections almost twenty years after the merger. The trousers readings furthermore, make a number of decolonial affordances evident, as the objects reflect not only alternate histories, but also shared pasts prompting alternative contemporary interpretations. Via the dress/fashion collections, this thesis offers a sartorial approach to ‘decolonising’ the museum. This includes both a reframing of various museal practices and principles, and a contemporary re-imagining of histories and their related identity narratives. Despite contemporary critiques and attempts to transform the disciplinary practices, and various cultural and social distinctions still present in the collections and exhibitions at Iziko Museums, segregation and problematic hierarchies still persist. I show how when considered as an archive, the sartorial makes evident other histories, relationships and interpretations. This approach can contribute towards a new, interdisciplinary dress/fashion museology as both a means of disruption and revision at Iziko Museums, contributing towards new contemporary capacities to curate the sartorial offering alternate, decolonial interpretations of past, present and future South African identity narratives.

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Andrews, Erin Leigh. "Old Stories, New Narratives: Public Archaeology and the Politics of Display at Georgia's Official Southeastern Indian Interpretive Center." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/30.

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Presenting a case study of an American Indian exhibit at the Funk Heritage Center, I critically examine how this museum’s ideologies and preferred pedagogies shape public discourse about Southeastern Indians in the past and present. Using the methodology of Visitor Studies, this public archaeology project illustrates the benefits of incorporating applied anthropology into museological practice through collaboration with museum staff, volunteers, visitors, and American Indians. Operating within the theoretical frameworks of Charles R. Garoian (2001) and Barbara Kirshenblatt-Gimblett (1991), my results imply that inserting archaeological narratives into institutional pedagogy alters a museum’s traditional “performance” of the past by challenging its own authority; ultimately, I show how this process can increase viewer awareness about the politics of display.

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Allen, Erin Evangeline. "Hidden meanings: a search for the historical worldview in the Oberlin College Ethnographic Collection organizational systems." Oberlin College Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1323803885.

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Sarber, Jessica B. "An Exploration of Self-Identity Oriented Teen Programming within the Museum." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429204415.

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Gohman, Stacy Chieko Lonjers. "A mixed methods study describing the link between reflective practice and work engagement among museum exhibit developers." Thesis, Capella University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3730571.

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This study examined reflective practices and work engagement among museum exhibit developers in the United States. The primary goal of this sequential explanatory study was to determine if there is a link between reflective practice and work engagement, and to understand the nature of any link. Secondarily, the study sought to identify the extent of reflective practice use among exhibit developers, the extent to which exhibit developers are engaged in their work, exhibit developers’ perceptions of reflective practice, and exhibit developers’ perceptions about the benefits and challenges of engaging in reflective practice. Using Spearman’s coefficient, this study found that reflective practice and work engagement are significantly correlated (p = .002). This study also found that exhibit developers are highly reflective concerning their work and are very highly engaged in their work. According to this study, exhibit developers have higher than average vigor, dedication, and absorption. Participants in this study suggested that reflective practice influences vigor and dedication in exhibit developers. Reflective practice helps exhibit developers persist through challenges in their work and helps them feel they made the correct career choice. Engaging in reflective practice also helps exhibit developers feel like they are engaged in significant work, feel more inspired, and feel challenged by their work. Exhibit developers have many different perceptions of reflective practice, including the following: thinking of reflective practice as mindfulness; engaging in reflective practice by looking at past experiences; using reflective practice to ensure the pieces fit together as a cohesive whole; using prototyping and evaluation as part of reflective practice; using reflection as critique; reflecting while looking at other people’s exhibits; and having reflective discussions. Benefits of engaging in reflective practice included focus on audience needs, incorporation of diverse perspectives, ongoing engagement with projects, meeting personal needs, gaining assistance and confidence in making decisions, and promoting adaptability. Challenges to engaging in reflective practice included time, money, the attitudes of museum or team leadership, other colleagues, the institutional culture, and the field in general.

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Sturgess, Caroline. "The marketization of museum discourse? a case study of the Auckland Museum 1978-2006 : a dissertation submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Bachelor of Communication Studies with Honours (BCS (Hons)), 2007." Abstract. Full dissertation, 2007.

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Dissertation (BCS (Hons)--Communication Studies) -- AUT University, 2007.
Includes bibliographical references. Also held in print (iii, 53 leaves ; 30 cm.) in City Campus Theses Collection (T 069 STU)

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Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.

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Walker, Dominic. "Towards the collaborative museum? : social media, participation, disciplinary experts and the public in the contemporary museum." Thesis, University of Cambridge, 2016. https://www.repository.cam.ac.uk/handle/1810/253771.

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This thesis examines the use of social media by museums aiming to establish collaborative relationships with the public. Social media platforms have been widely espoused as transformative in allowing diverse, new or previously excluded audiences to enter into egalitarian, participatory relationships with museums. This thesis deconstructs the concepts of participation and collaboration and identifies the various factors that constrain the extent to which social media enables participatory relationships between previously unequal actors. These factors include the historical disciplinary aims and cultural authority of museums, persistent social inequalities, and the motivations of social media followers. It elucidates crucial questions such as, are various publics enabled to participate on an equal level with each other and with museums? Who benefits from collaborative projects in general and which parties benefit from the use of social media in particular? What are the factors that limit the establishment of collaborative practice? And, conversely, what are the factors that define truly collaborative practice? This research examines museums' use of and discourses surrounding social media as well as social media followers' motivations for engaging with museums online. A large body of quantitative and qualitative data gained through in-depth web-based surveys is analysed, primarily using critical discourse analysis, and informed by other critical orientations including media archaeology and the sociology of expertise. The analysis indicates that museums consider social media to be a transformative, democratising technology. However, museums' acceptance of technologically determinist arguments significantly inhibits positive societal change and the extent to which collaborative relationships can be established with various publics. This research contributes significantly to the existing archaeological and museum studies literature by providing a theoretically and empirically informed critical analysis of the prevailing positive discourses surrounding social media and participation. It has important practical implications for museums in arguing that targeted, critically informed and ethically aware projects are necessary to achieve situations resembling 'collaboration'. It provides a significant body of data that will inform the formulation and continuation of collaborative projects in museums. Furthermore, it informs broader archaeological debates on involving various publics in archaeological practice. This thesis also demonstrates the importance and effectiveness of critical discourse analysis and related critical approaches for analysing large bodies of qualitative data.

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Tan, Ceyda Basak. "Educational Function Of Art Museums: Two Case Studies From Turkey." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608742/index.pdf.

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This thesis analyzes the educational function of art museums, how education in art museums evolved and how an art museum can conduct an educational mission. The concept of the material collections as the educative origin of art museums will be discussed alongside the history of collections in Europe. In addition to the concept of collection, the importance of educational programmes of art museums will be highlighted. Having derived a general notion of the educational function of art museums, the thesis will seek to answer questions such as how museology evolved in Turkey and whether the turkish museology has an educational concern. In accordance with these questions two turkish contemporary art museums will be investigated as case studies.

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Crawford, Jessie A. "Art for One or Art for All? Exploring the Role and Impact of Private Collection Museums in the United States." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460929598.

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Glasscock, Ann Marie. "THE SIXTY-NINTH STREET BRANCH OF THE PHILADELPHIA MUSEUM OF ART: A RESPONSE TO MUSEUM THEORY AND DESIGN." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197756.

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Art History
M.A.
By the 1920s, ideas about the function and appearance of the American art museum were shifting such that they no longer were perceived to be merely storehouses of art. Rather, they were meant to fill a present democratic need of reaching out to the public and actively helping to cultivate the tastes and knowledge of a desired culturally literate citizen. As a result of debates about the museum's mission, audience, and design, in 1931 the Philadelphia Museum of Art opened the first branch museum in the nation on 69th Street in the suburb of Upper Darby in an effort to improve the relationship between the museum and the community. With sponsorship by its parent institution and financing by the Carnegie Corporation of New York City, the two organizations hoped to determine, over a five-year period, whether branch museums, like branch libraries, would be equally successful and valuable in reaching out to the public, both physically and intellectually. The new Sixty-ninth Street Branch Museum was to serve as a valuable mechanism for civic education by encouraging citizens to think constructively about art and for the development of aesthetic satisfaction, but more importantly it was to be a catalyst for social change by integrating the visual arts into the daily life of the community. In this thesis I will demonstrate that, although the first branch museum was only open for a year and a half, it nonetheless succeeded in shaping the way people thought about art and how museums were meant to function as democratic institutions in American society.
Temple University--Theses

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Hawkins, Callie Pettit. "An Interpretive Plan for the Newry, South Carolina Cotton Mill Museum." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626643.

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Rhee, Nakyung. "An Exploration of New Seniors in Arts Participation literature and practice." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386775161.

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Mosher, Melissa Beth. "Elizabeth Perkins and Jefferds Tavern: A n Example of the Influence of the Colonial Revival Upon Museums." W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539625434.

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Talbot, Melinda Grace. "Producing the Past: Museums, Reproductions, Consumers, and Authenticity." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626153.

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Cady, Alyssa R. "Representing the Holocaust: German and American Museums in Comparative Perspective." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470051050.

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Betancourt, Verónica E. "Brillan por su ausencia: Latinos as the missing outsiders of mainstream art museums." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339516509.

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Stroh, Stephanie. "Embodiment and theatricality in post-museum practice." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/39273/.

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A recent shift to a more performative and relational understanding of the museum and its practices can be witnessed in the field of museum studies. This shift reimagines the museum as experience, process or performance, and is reflected in what has been termed the 'post-museum'. The post-museum challenges the representational practices of the museum, and introduces a potential 'liqud imaginary' which dissolves the traditional boundaries of what constitutes a museum. While these ideas point to relevant changes in the way museums are perceived and practiced, the field has so far failed to explore the implications of this shift for the practice of museum research. This study examines the potential of the post-museum for developing new approaches to research practices. It contributes to the field of museum studies by exploring creative research methods that qualify as site-responsive, experimental means of critically engaing with the museum. These creative methods of research are developed on-site at the National Maritime Museum Greenwich, London. Under-represented in the museological literature, maritime museums provide potent opportunity as sites for experimentation into creative, more-than-representational approaches to museum research. The study examines creative research methodologies through the embodied mode of inhabitation, which it conceptualises through the notions of dwelling and travelling. Drawing on the concept of the 'mariner's craft' from maritime literary criticism and so-called wet or liquid ontologies from human geography, the research explores the potential of post-museum thinking from a cross-disciplinary perspective. Inhabiting the Museum through creative-experimental doings, the thesis-in-motion maps out an uncertain voyage into the uncharted territories of creative maritime museum research, a voyage of exploration, intervention, and creativity.

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Zwegat, Zoe E. "Diversity, Inclusion, and the Visitor-Centered Art Museum: A Case Study of the Columbus Museum of Art." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562442682063359.

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Shaw, Haley N. "Exploring the Role of In-Gallery Technology-Based Interactives on Visitor-Object Experience." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574365068794488.

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Kravchyna, Victoria. "Information Needs of Art Museum Visitors: Real and Virtual." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4692/.

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Museums and libraries are considered large repositories of human knowledge and human culture. They have similar missions and goals in distributing accumulated knowledge to society. Current digitization projects allow both, museums and libraries to reach a broader audience, share their resources with a variety of users. While studies of information seeking behavior, retrieval systems and metadata in library science have a long history; such research studies in museum environments are at their early experimental stage. There are few studies concerning information seeking behavior and needs of virtual museum visitors, especially with the use of images in the museums' collections available on the Web. The current study identifies preferences of a variety of user groups about the information specifics on current exhibits, museum collections metadata information, and the use of multimedia. The study of information seeking behavior of users groups of museum digital collections or cultural collections allows examination and analysis of users' information needs, and the organization of cultural information, including descriptive metadata and the quantity of information that may be required. In addition, the study delineates information needs that different categories of users may have in common: teachers in high schools, students in colleges and universities, museum professionals, art historians and researchers, and the general public. This research also compares informational and educational needs of real visitors with the needs of virtual visitors. Educational needs of real visitors are based on various studies conducted and summarized by Falk and Dierking (2000), and an evaluation of the art museum websites previously conducted to support the current study.

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DiBenigno, Mariaelena. "Ghosts In The Museum: The Haunting Of Virginia’s Public History." W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1616444536.

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Ghosts haunt historic sites in metaphorical and literal ways. Visitors, regional communities, museum staff, historic preservationists, interpreters, anthropologists, archeologists, folklorists, tourism bureaus, and schoolchildren tell the stories. Some scholars attribute these specters to the nation’s repressed histories as they disrupt linear narratives of American progress. Ghost stories tend to depict histories missing from archives constructed by universities, historical societies, and other research institutions. Public history’s ghost stories also highlight the field’s long practice of delineating race through the creation of a specific American history. This project illustrates how ghost stories operate in museum discourse and how they reach out through a myriad of interpretive efforts: in exhibit panels, on guided tours, via tourist publications and online articles, with first-person actor interpretation, through program development and architectural reconstruction. These “new histories” require museums and public history sites to acknowledge openly who and what haunts their institutional narratives and the larger public discourse. Public history’s ghosts gesture towards the layered histories at locations obsessed with mythic white nationalism. Using Virginia’s sites of public history, this dissertation explores how ghostly discourse preserves lesser-known histories only recently shared at museums. Despite their problematic elements, ghost stories document how the public understands historic sites and who is missing from museum interpretations. The sites examined are varied, from physical locations to literary fictions, and transdisicplinary. Ultimately, “Ghosts in the Museum” argues that an acknowledgement of ghosts benefits the project(s) of public history. It re-places narratives of enslavement, genocide, dispossession, and violence on commemorative landscapes initially designed to privilege whiteness.

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Andrews, Mary-Elizabeth. "“Memory of the nation”: making and re-making German history in the Berlin Zeughaus." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11994.

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The Berlin Zeughaus (Armoury) has served for over three centuries as a principal site for the self-representation of the Prussian state and German nation. Though the museal history of the site only began with the opening of two small Schinkel-designed display rooms in 1831, it has always held a primary display function as a place for the presentation of war trophies—a function that is inscribed in the very fabric of the building. This thesis examines the way in which national historical narratives have been enacted at the site via an investigation of the changing perception and presentation of its collections across time. Taking a primarily museological approach, this thesis considers museum practices at the Zeughaus in the context of German historiographical developments and their connection to political and ideological imperatives, the evolution of the museum landscape in Berlin, and the broader relationship between these developments, the emergence of the modern public museum, and the changing conception of the role and function of museums over the course of the nineteenth and twentieth centuries. Treating the Zeughaus itself as an “object,” it examines the shifts and continuities in the interpretation and mediation of the site and the collections that have been housed there, revealing an intimate relationship between the two. The current inhabitant of the Zeughaus, the German Historical Museum, bears the legacy of these layered histories. As the national historical museum of the Federal Republic of Germany it is both a separate entity, created under specific political circumstance and designed to address a set of historical-political needs, and the successor institution of its East German counterpart, the Museum for German History. The tensions inherent in this dynamic necessitate critical reflection on the history of the institution as a vital pre-requisite for an understanding of how nation is reified in the museum and the role of the national museum today.

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Betancourt, Veronica Elena. "Visiting while Latinx: An Intersectional Analysis of the Experiences of Subjectivity among Latinx Visitors to Encyclopedic Art Museums." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1561819806003679.

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Smith, Samuel Albert. "Space, Place, and Story| Museum Geographies and Narratives of the American West." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10826278.

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This dissertation examines how the complex geography and contested history of the American West are presented through stories told in the region’s history museums. I examine how iconic regional-scale place images are juxtaposed with more critical perspectives on dissonant historical episodes in museum exhibits, and how the spaces of museum exhibits and galleries represent places, structure narratives, and suggest new thematic and geographical connections interpreting the region. Using a series of case studies of museums in Colorado and adjacent states, I develop new methods to analyze museum exhibits as “three-dimensional narratives,” in which spatial arrangements of objects, texts, and media structure narratives that interpret and contest the past.

This research builds on cultural geographic research on how contested memory is expressed and presented, both in symbolic landscapes, and through media. I extend this work in three main ways. First, I extend research on monuments and memorials to consider how museum spaces present and contest the past. Second, I follow recent engagements between geography and narrative theory, examining storytelling as a distinct form of discourse, with its own spatial dimensions. Third, I situate this investigation amid increasing scholarly attention to heritage tourism, particularly in terms of how the “Legacy of Conquest” of the American West is made marketable to visitors.

I explore this narrative geography through three case studies: First, a detailed examination of the History Colorado Center in downtown Denver highlights how spatial narratives organize and structure museum presentations, emphasizing some thematic and geographical connections while downplaying others. Second, a comparison of six Colorado museums highlighting race, ethnicity, and labor conflict examines the “genre conventions” through which these “counter-narratives” are linked to more conventional presentations of the regional past. Finally, a comparison of the state history museums of Colorado, New Mexico, and Wyoming explores how state geographies are presented as foundations of civic identities.

This research contributes to the cultural geographic understanding of museums as significant venues in which cultural meaning is presented and contested, and develops new methods for understanding museum narratives geographically. Such methods can be productively applied in other heritage tourism settings.

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Schenck, William. "Emerald City| Environmental Advocacy through Experiential Design." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590882.

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This thesis documents the research and development behind a proposed exhibition advocating for the principles of sustainable urbanism to young adults. Emerald City interprets Philadelphia as an evolving system of infrastructure and traces its relationship to the natural environment from the Industrial Age to the present, followed by an exploration of the city’s possible future through the lens of current proposals of sustainable development.

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Woods, Heather. "Exhibit design using advertising strategies." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10006498.

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This thesis proposal demonstrates the idea of using advertising strategies to engage the visitor, optimizing the short time the visitor spends in an exhibit. The art, object, and experience is treated as the product and the visitor, although they are not purchasing the product, is the consumer. Each topic is presented using a statement and corresponding image using advertising principles of keeping it short; delivering a clear narrative; and show, don’t tell. Art, contemporary photography and video documentaries, combined with corresponding stories, are used to expand upon the exhibit theme, Gender, once the advertising element for each section has engaged the visitor.

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Kamph, Molly. "Examining Commodity, Agency, and Value| Prehistoric French Replicas, Casts, and "Frauds" within the National Museum of Natural History's Collection." Thesis, The George Washington University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10283252.

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From approximately 1850 to the beginning of World War II, archaeological collaboration between the United States and France was at its peak in terms of the study of human prehistory. This span of time will be referred to as a “golden age” of exchange, which resulted in thousands of objects being sent from France to be housed in museums and institutions of higher education in the United States. Within these collections, the presence of replicas, casts, and even objects questionably catalogued by the museum as “frauds” highlight the underlying value of the broader collecting ideologies. Through a statistical analysis of the French prehistoric collections at the National Museum of Natural History that includes replicas, casts, and “frauds” as well as case studies into specific objects, I hope to explore the patterns of motivations and range of perspectives of the various actors within the process of creating, collecting, and distributing these objects. More in-depth, biographical case studies will also allow for a glimpse into the complex and often ambiguous social lives of certain objects within these collections (Kopytoff 1986). Overall, the presence of replicas, casts, and “frauds” becomes a lens into which commodity, agency, and value of the prehistoric French collections can be examined and analyzed.

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Dissertations / Theses on the topic 'Museum studies'

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