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Kim, Hangyul. "L'usage des maîtres anciens dans le discours de l'art national en France, 1780-1850." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H054.
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Ce travail étudie la place particulière accordée aux « maîtres anciens » dans la littérature artistique et les pratiques muséales depuis la Révolution jusqu’au milieu du XIXe siècle en France. Dès la fin de l’Ancien Régime, la définition des « maîtres anciens » connaît une transition progressive : des artistes de la Grèce antique aux fondateurs de l’École nationale. Par l’usage de leurs noms et de leurs vertus artistiques mais aussi morales, l’art national en France doit acquérir une notoriété digne d’une République nouvelle qui puisse rivaliser avec les autres écoles nationales prééminentes. Cette nouvelle prépondérance des maîtres anciens français doit répondre au souci républicain de l’instruction publique, en assurant la diffusion de la connaissance de l’histoire nationale et des qualités édifiantes par voie de la « vision » : leurs œuvres exposées dans des espaces ad hoc et leur image représentée dans la production artistique contemporaine en tant que grands hommes, héros et pères de la Nation. Les textes d’Alexandre Lenoir, d’Émeric-David et de La Décade ont été explorés dans cette optique, avant la considération de la disposition d’œuvres dans les musées et des catalogues, en particulier les Annales de Landon, et des créations artistiques dédiées à l’image des maîtres anciens. Redécouverts à dessein, les maîtres anciens contribuent à la construction d’une identité culturelle nationale et collectiveThis thesis problematises in historical context the identity of the ‘Old Masters’ in the literature on art and practices of museums in France from the time of the French Revolution until the mid-nineteenth century. Since the end of the Old Regime, the definition of the ‘Old Masters’ was transformed: a transition of principal elements, from the classical Greek artists to the founders of the National School, took place. This transition reflected the anxiety of the newborn French Republic facing an international rivalry in art history and myriad obstacles to its social and political goals. To meet the concerns of competition and emulation, the names as well as the artistic and moral qualities of ‘Masters’ were recognised, with emphasis, as being closely linked to public instruction and national history. The thesis analyses the texts and museum theories of Alexandre Lenoir and Toussaint-Bernard Émeric-David and the discussion of ‘Old Masters’ in the republican journal La Décade. Also analysed in this context are the displays of the Old Masters in the museums, catalogues (with a focus of Landon’s Annales) and works of art during the Revolution and the first half of the nineteenth century recreating the images of the Old Masters as national heroes or fathers of French art. This consciously performed reconstruction of the ‘Old Masters’ during the French Revolution made a crucial contribution to the formation of the cultural identity of France
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Sido, Anna E. "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/663.
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This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.
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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.
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Mbuyi, Ruddy. "Who are the visitors to the National Museum in Stockholm?Sweden's museum of art and design." Thesis, Södertörns högskola, Turismvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39873.
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The purpose of the research study was to find about who the National Museum visitors are and what is their five reasons and motives to visit the National Museum. To get a better understanding about finding out who are the National Museum visitors a qualitative method was used in the form of a questionnaire that dealt with questions about the respondent’s demographic background and open questions related to finding out more details about the respondents’ reasons to visit the National Museum that is an art and design museum. The data that was gathered from the questionnaire was analysed through the use of a thematic analysis to find specific themes based on the female and male respondent’s answers. The results indicate that most of the respondents who took part in the questionnaire on the 5th of April 2019 at the National Museum are a mix of female and male between the age 20-72 years from Sweden and other countries, all of them have a higher education (High School, Bachelor and Master Degree) and have studied art, history of art or design. The reason that many of the respondents choose to visit the museum and what attracted them to the National Museum was foremost for they all share an interest in art and design. The National Museum itself is an interesting place to be at because many of the female and male respondents have an appreciation in the art and design collections and exhibitions that is displayed at the museum. The National Museum offers a free admission and entry so many of them could visit the museum either by themselves or with a companion, and many of the respondents like how the National Museum teaches history about the art and design.
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Barry, Kristin Marie. "The New Archaeological Museum: Reuniting Place and Artifact." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212080498.
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Swinney, Geoffrey Nigel. "Towards an historical geography of a 'National' Museum : the Industrial Museum of Scotland, the Edinburgh Museum of Science and Art and the Royal Scottish Museum, 1854-1939." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8109.
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This thesis adopts a primarily process-based methodology to put a museum in its place as a site of knowledge-making. It examines the practices of space which were productive of a government-funded (‘national’) museum in Edinburgh. Taking a spatial perspective, and recognising that place is both material and metaphorical, the thesis explores how the Museum’s material and intellectual architectures were produced over the period 1854-1939. The thesis is concerned to bring into focus the dynamic processes by which the Museum was in a continual state of becoming; a constellation of tangible and intangible objects constantly being produced and reproduced through mobility of objects, people and ideas. Its concern is to chart the flows through space which produced the Museum. The thesis comprises nine chapters. An introduction and a literature review are followed by chapters concerned, respectively, with the built space of the museum and with the people who worked there. A further three chapters consider the nature of that work and the practices of space which constituted the processes of collecting, displaying, and educating, whilst another focuses on visiting. The final chapter discusses how the analysis has constructed the museum as constituted through a complex diversity of material and metaphorical settings on a variety of geographical scales. This critical scrutiny of the museum has, in turn, brought to the fore the place of the Museum in contributing to civic and national identity. Through a case-study of a particular museum, the concern has been to explore how critical geographies of science may be applied to the examination of a museum. In particular the thesis examines how contextual concepts developed largely in conscribed sites such as laboratories apply to a public site such as a museum. The thesis suggests that the ordering terms ‘space’ and ‘place’, combined with a focus on practice and performance, may have more general application in constructing an historical geography of museums as sites of production and consumption of scientific knowledge.
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Doucette, Valerie Anne. "The art museum in code: display strategies of the National Gallery of Canada." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.
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This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective, highly authored, and one-way communicative practices in digital space. Other online interfaces such as the steve.museum project and the Art Matters blog of the Art Gallery of Ontario are examined as possible alternatives to the NGC's approach through their use of more open, collaborative, and social practices made possible by digital media.La présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.
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Warneck, Dorothea. "Natalia Berger: „The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2020. https://slub.qucosa.de/id/qucosa%3A71019.
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Berger, Natalia: The Jewish Museum. History and Memory, Identity and Art from Vienna to the Bezalel National Museum, Jerusalem [= Ben-Rafael, Eliezer/Gorny, Yosef/Liwerant, Judit Bokser (Hg.): Jewish Identities in a Changing World, Band 29], Leiden/Boston: Brill 2018, 584 S., ISBN: 978-90-04-35387-9, EUR 160,00. Besprochen von Dorothea Warneck.
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Ballard, Tammara L. "A Case Study of the Springville Museum of Art Pre-Exhibition Workshop." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.
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The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.
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Godet, Éric. "Le monnayage de l'Ethiopie ancienne : fin du IIIe - milieu du VIIe siècle après Jésus-Christ : catalogue, étude typologique et historique /." [S.l. : s.n], 2003. http://catalogue.bnf.fr/ark:/12148/cb41010436x.
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Verdon, Tatiana Sol. "Scientific Analysis and Technical Study of Three Ancient Egyptian Royal Textiles from the Tomb of Hatnofer and Ramose, Western Thebes, New Kingdom, Dynasty 18, 1550-1295 B.C." Thesis, Fashion Institute of Technology, SUNY, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10937091.
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An Egyptian archaeological textile, accessioned in the American Museum of Natural History (AMNH) (Cat.No. 95/2444), from the Tomb of Hatnofer and Ramose, Eighteenth Dynasty (1550-1295 B.C.), Western Thebes was studied, with two textiles (Cat.Nos. 95/2443 and 95/2445) from the same tomb used as comparanda. The textile’s finely spun fibers, plain-weave balanced structure with selvedge fringes and lower edge fringes, and with various weavers’ marks, stains, and losses, provide invaluable historical data about finely woven, royal linens of Eighteenth Dynasty Egypt.
Scientific analysis used for this study include: visual annotations, polarized light microscopy (PLM), scanning electron microscopy (SEM) including fiber diameter measurements, and carbon-14 dating. Closely examining a textile and its fibers can provide information about the condition of the textile, linen quality, weaving techniques, and the life of the textile itself. While the linen fibers in the Study Textile (Cat.No. 95/2444) and the Comparanda Textile #1 (Cat.No.95/2443) have been identified, it is still uncertain whether or not the fibers in the Comparanda Textile #2 (Cat.No.95/2445) are of a different quality linen or of a different plant material which is very similar to linen within the bast fiber family. Further studies would be required to answer this and several other questions that remain.
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Landis, Tamra R. "How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.
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Rohkea, Seija Sisko. "When contemporary design constructs new narratives| A look at the art of the ancient Americas installation at the Los Angeles County Museum of Art." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523246.
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In 2008, the Los Angeles County Museum of Art's collection of pre-Columbian artifacts was re-installed in a gallery designed by contemporary artist, Jorge Pardo. The history of these ancient objects dates back over three thousand years, but new meanings emerged and critical issues unfolded when these culturally displaced objects were staged within Pardo's flamboyant design. This collision of indigenous and contemporary cultural narratives is examined on three levels: the problems inherent in the constructed knowledge of ancient objects; the changes that have taken place in systems of ethnographic display; and the critical reception of Pardo's design and its implications in terms of a politics of display. This thesis argues for the need to respect cultural patrimony, but the value of critical awareness raised by Pardo's design intervention is also acknowledged.
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Michel, Karl Frederick. "Drawing on experience a study of eighteen artists from the National Vietnam Veterans Art Museum collection /." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Michel.pdf.
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Lenhardt, Amy. "Research and Interpretive Plan for the First Permanent Exhibition of Ancient American Art at the Virginia Museum of Fine Arts." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2097.
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The Virginia Museum of Fine Arts (VMFA) of Richmond, Virginia, is completing its largest expansion and reinstalling over 6000 artworks, including the Ancient American art collection, to be displayed in the museum’s first permanent gallery space for Ancient American art. In preparation for expansion, the VMFA issued its “Interpretive Plan Guiding Principles,” identifying visitor motivations for viewing the collections. As collection accessibility is central to the museum’s mission statement, all galleries are to provide visitors with the tools to engage with artworks. This thesis project presents a comprehensive history of Pre-Columbian collecting in museums and the history of the VMFA including its Pre-Columbian collection, which will be displayed in the Ancient American Gallery. It includes a summary of research conducted on objects designated for installation. Finally, this project addresses how the Ancient American Gallery will serve as an environment adapting to the principle experiences established by the VMFA.
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Kim, Yon Jai. "The making of the National Museum of Modern and Contemporary Art (MMCA), South Korea, 1969-2016." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/41227.
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This thesis investigates the dynamics, debates, and contexts of the making of the National Museum of Modern and Contemporary Art in South Korea (MMCA). An interdisciplinary history, it examines and deconstructs particular episodes, events, and relationships. This thesis interrogates the dialogues of internal and external agents that drove change, influenced developments, and negotiated the form and operation of the museum against a background of socio-political change. The thesis illuminates several interrelated factors, such as trends in art production, national political change, policy development, and so on, revealing an institution shaped by its system, constant negotiation, and dynamic change. Rather than pursuing a linear developmental path of the kind commonly used to describe the histories of the world’s great museums, the museum reveals a complex and, at times, disjointed narrative that shows an institution adapting to the rapid political development of South Korea. As such, the thesis sheds light on the contexts and associated agents that repeatedly configured and reconfigured its identity, practices, norms, and discourses. Since the opening of the museum in 1969, there have been a number of scholarly debates that provide a chronological history of its ‘troubled’ identity. Instead of pursuing a biography, this thesis adopts an interpretive lens to probe more deeply into the history of the museum. Drawing upon historiographic and ethnographic research methods, this thesis contends that the museum has been an active art institution which moves and interacts dynamically with the society rather than situates itself as a remote, static, and bureaucratic system.
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Hoey, Erin M. "Out of Site, But Not Out of Mind: The Conservation and Display of Ancient Roman Floor Mosaics in Situ and in Museums." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/842.
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This thesis explores the display of Roman floor mosaics in museums and in situ. Taking the original mosaic to museums for display and protection, and replacing them on site with replicas, is best for the preservation of the original material and its context.
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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Bryson, Karen Margaret. "An Egyptian Royal Portrait Head in the Collection of the Michael C. Carlos Museum at Emory University." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/31.
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This thesis discusses a small, red granite, Egyptian royal portrait head in the collection of the Michael C. Carlos Museum in Atlanta, Georgia. The head is determined to be a fragment from a group depicting the king in front of the monumental figure of a divine animal, probably a ram or baboon. Scholars have attributed the head to the reigns of various New Kingdom pharaohs, including Horemheb and Seti I, but on more careful examination its style demonstrates that it dates to the reign of Ramesses II (1304-1237 B.C.).
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Doughty, Elizabeth Lynn 1984. "Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.
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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other.
Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek
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Ragen, Helen. "Norton Simon: The Man with "Two Hats"." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/638.
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Norton Simon was a unique collector because he let passion guide his collecting interests, but he controlled his passion by making his purchases based on smart economic decisions bolstered by years of experience in successful business negotiations. The Norton Simon Museum, today in Pasadena, California, displays the eccentric collectors life work as he created one of the greatest and most recognized collections on the west coast. By examining the progression and establishment of Norton Simon Inc., alongside the creation of the Norton Simon Art Foundation, multiple parallels can be drawn between Simons’ unique approach to business and the application of his unorthodox techniques to his purchases in the art world – Norton Simon’s “two hats”.
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Imbert, Clémence. "Oeuvres ou documents ? : un siècle d’exposition du graphisme dans les musées d’art moderne de Paris, New York et Amsterdam (1895-1995)." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080084/document.
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La thèse s’intéresse aux expositions de design graphique, à la fois en tant qu’événements constitutifs de l’histoire de la discipline et en tant qu’espaces (scénographiques et discursifs) où se manifestent ses liens plus ou moins assumés avec la création artistique. Elle s’appuie sur un corpus de quatre cents expositions, organisées entre 1895 et 1995, au sein de trois institutions muséales : le Stedelijk Museum d’Amsterdam, fondé en 1895, le Museum of Modern Art (MoMA) de New York, créé en 1929 et le Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), né en 1993 de la fusion de deux départements du Centre Pompidou. L’étude des archives de ces manifestations met au jour ce que furent les choix de programmation des musées (quels objets, quelles époques, quels graphistes mettent-elles en avant ?) ; mais aussi les différents statuts qui sont conférés aux objets imprimés, par la scénographie ou par les discours qui les environnent. La thèse révèle, notamment, la préférence des musées d’art moderne pour l’affiche, pour le graphisme « d’utilité publique » et pour le travail des « graphistes-auteurs ». À ce graphisme « de musée » sont appliqués des cadres interprétatifs qui le rapproche de la création artistique : assimilation du graphiste à un artiste, omission des circonstances de la commande, description des styles, recherche des influences… Les expositions de « communications visuelles » organisées par le CCI offrent un singulier contrepoint à ce modèle, dans la mesure où elles consacrent moins les « œuvres » du graphisme qu’elles ne s’interrogent sur leur contexte social de production et d’utilisationThis dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use
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Voigt, Vanessa-Maria. "Kunsthändler und Sammler der Moderne im Nationalsozialismus : die Sammlung Sprengel 1934 bis 1945 /." Berlin : Reimer, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016088396&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Park, Ji Young. "Musée national d'art Coréen, un dispositif de transmission de valeurs et de connaissances des arts coréens : Analyse muséologique de la mise en exposition de sarangbang au musées nationaux en République de Corée." Thesis, Avignon, 2017. http://www.theses.fr/2017AVIG1170/document.
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Cette thèse a pour but de comprendre la situation communicationnelle des valeurs et connaissances délivrées par un musée d’art en République de Corée. Pour ce faire, nous avons choisi de mener une analyse approfondie d’un type de dispositif expographique de vulgarisation : la restitution d’un sarangbang, proposée par le National Museum of Korea (musée des beaux-arts) et le National Folk Museum (musée ethnographique) de Séoul. Nous abordons ce dispositif comme constituant un archétype paradigmatique des productions architecturales coréennes et comme un condensé de plusieurs problématiques relatives aux arts et aux musées de la péninsule.Que ce dispositif soit conçu comme un intermède visuel et matériel visant une contextualisation des objets exposés dans une salle d’exposition, ou qu’il soit envisagé en tant qu’objet exposé créé récemment pour l’exposition muséale, la conception et la perception de ce sarangbang au sein d’un musée fait appel à des connaissances scientifiques relatives au sarangbang ainsi qu’à la société et à la culture dont il relève. Il communique également diverses perspectives ayant trait aux arts, aux objets destinés à être exposés, aux supports expographiques et aux visiteurs des musées.L’étude de concepts tels que ceux de musée national, d’art, de patrimoine confucéen, et l’analyse sémio-pragmatique de la restitution d’un sarangbang par ces deux musées nationaux nous permettent de comprendre la situation communicationnelle produite autour de leur mise en exposition : avec ces dispositifs de sarangbang, les musées transmettent une information qui ne dévoile qu’une partie des faits historiques sans suggérer l’existence de bien d’autres choses. La stratégie de vulgarisation scientifique est uniformisée par des critères subjectifs édictés par l’État dont l’intention politique est de promouvoir les valeurs confucianistes dans la société coréenne et au monde entier. En outre, d’autres stratégies de vulgarisation scientifique portées par des signes iconiques font circuler de faux savoirs visuels sélectivement forgés actuellement par certains muséographes œuvrant dans les musées d’artThe aim of this dissertation is to explore the communicational situation of knowledge and values delivered by an art museum in the Republic of Korea. To this end, it approaches a specified type of exhibition device: the restitution of a sarangbang, proposed by the National Museum of Korea and the National Folk Museum of Seoul. The device is here considered as a paradigmatic archetype of Korean artistic productions, and as a condensation of several problems related to the arts and museums of the peninsula.Whether conceived as a visual and material interlude aiming at a contextualization of the exhibited objects in an exhibition gallery, or apprehended as an exhibit only recently created for the museum exhibition, design and perception of this sarangbang within a museum makes use, not only of scientific knowledge relating to the sarangbang as well as to the society and the culture to which it belongs, but also various perspectives relating to the arts, the objects displayed, and to museum visitors.The study of concepts such as the national museum, art, Confucian heritage, and the semio-pragmatic analysis of the restitution of a sarangbang by these two national museums allows us to understand the communicational situation produced around their mise en exposition. With the device of sarangbang, the museums transmit information that selectively reveals the historical facts without acknowledging the existence of many more and possibly different ones. The strategy of popularizing science is framed by subjective criteria, enacted by the state with the political intention of promoting Confucian values within Korean society and the world. In addition, other strategies of popularizing scientific knowledge via iconic signs circulate false visual knowledge, selectively forged at present by curators in art museums
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Egnér, Emma. "En analys av "Identitet- om varumärken, tecken och symboler" : Ett tredelat projekt av Nationalmuseum och Stockholms Handelshögskola våren 2002." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-449.
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The purpose of this paper was to analyse “Identity- about trademarks, signs and symbols”. The project was a co-operation between the National museum of Art and Stockholm School of Economics in the spring of 2002, which consisted of an exhibition, a book and a series of seminars. The goal was to illustrate how the trademark had developed through history, which role it has in the modern society and how the trademark serves as a creator of identities. The project, mostly the exhibition, was exposed to criticism, which was directed towards the sponsorship deals between The National Museum of Art and five companies.
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Rio, Gaëlle. "Le musée national de la Marine : histoire d'une institution et de ses collections (1748-1998)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL178.
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Figurant parmi les grands musées nationaux, le musée de la Marine est le plus ancien musée d’histoire maritime en France, dont les origines remontent au milieu du XVIIIe siècle. Fondé à partir de la collection de modèles de bateaux donnée au roi Louis XV par l’académicien Henri Louis Duhamel du Monceau en 1748, le musée Dauphin ouvre au Louvre en 1827 sous Charles X, à destination avant tout des élèves de l’école d’ingénieurs constructeurs de la Marine dans une finalité d’instruction. L’approche monographique et institutionnelle permet de mettre en évidence trois grands moments de l’histoire de ce musée : la lente genèse du musée naval (1748-1827) dans le contexte des Lumières et d’une culture scientifique et technique ; la longue période du musée naval au palais du Louvre (1827-1939) au cours de laquelle se forge l’identité de l’institution autour de collections techniques et ethnographiques à vocation pédagogique ; le transfert du musée au palais de Chaillot et son expansion au XXe siècle avec la modernisation du site parisien, l’extension de ses collections aux cinq marines et la constitution d’un réseau des musées des ports (1939-1971). Devenu établissement public administratif en 1971, le musée national de la Marine se transforme à la fin du XXe siècle pour devenir le grand musée maritime du XXIe siècle. Cette étude s’attache à cerner les enjeux sociaux, culturels et idéologiques qui ont présidé à la création et au développement de ce musée, à interroger le statut de ses collections, entre technique, art et instrument de propagande ou de communication, et enfin à analyser la question plus large du rôle du musée dans la société française, d’un lieu de représentation du pouvoir à un espace au service du publicOne of the major national museums, The Marine Museum is the oldest museum of maritime history in France, whose origins date back to the mid-eighteenth century. Founded from the collection of boat models given to king Louis XV by the Academician Henri Louis Duhamel du Monceau in 1748, the Dauphin Museum (as it was called) opened in the Louvre in 1827 under the reign of Charles X ; primarily intended for teaching purposes to the construction engineers of the Navy. The monographic and institutioal approach highlights three major moments in the history of this museum : the slow genesis of the naval museum (1748-1827) in the context of the Enlightenment and of the development of scientific and technical culture ; the long period of the naval museum at the Louvre Palace (1827-1939), during which the identity of the institution is based on technical and ethnographic collections for educational purposes ; the transfer of the museum to the Palais de Chaillot and its expansion in the 20th century with the modernization of the Paris site, the extension of its collections to the five Navies and the creation of a network of port museums (1939-1971). Having become a public administrative institution in 1971, the National Marine Museum was transformed at the end of the 20th century into the great maritime museum of the 21st century, as it is now. This study seeks to identify the social, cultural and ideological issues that led to the creation and the development of this museum, to question the status of its collections, between technique, art and propaganda or communication instrument, and finally, to analyze the broader question of the museum's role in French society, from a place of representation of power to a space in the service of the public
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Potrafka, Zepher Benson. "Retroarchaeography: A Comprehensive Guide for the Field and the Laboratory." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276627961.
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Benlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
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Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architectureThe thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
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Armaos, Georges. "L'exposition de l'histoire de l'art : recherches sur vingt-quatre expositions contemporaines organisées et/ou tenues au Musée National d'Art Moderne, Paris et au Museum of Modern Art, New York, 1977-1999." Paris 1, 2002. http://www.theses.fr/2002PA010535.
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Cette thèse se donne comme objet l'étude les conditions et les pratiques d'exposition dans les musées d'art du ne siècle. Elle utilise les outils de l'histoire de l'art et de la muséologie pour examiner l'existence et les activités du Musée national d'art moderne au Centre Georges Pompidou, Paris, et du Museum of Modern Art. De New York, de 1977 à 1999. A partir des contextes économiques, politiques et sociaux de la France et des États-Unis, elle met en parallèle l'histoire, l'architecture, l'administration, les budgets, les collections, la programmation, la réalisation des expositions et les publications de ces deux musées. La construction de l'histoire de l'art, entre musée université en particulier, sont mises en exergue. Douze expositions de peinture et/ou de sculpture modernes et contemporaines de tout type et taille sont présentées en détail pour chaque musée. L 'histoire de chaque exposition est reconstituée à partir de sa conception originale en passant par l'organisation, les budgets, le prêt des oeuvres, la mise en espace-temps (expographie), les catalogues, la réception critique et des publics jusqu'à son influence sur l'histoire de l'art. L'intention est d'exposer et d'interpréter les similitudes et les différences qui existent entre le MoMA et le Mnam aussi bien en ce qui concerne la conception de l'art et de son histoire qu'en ce qui concerne les moyens de communication de ces conceptions aux publics. L'évolution historique de la notion du "cube blanc", les rapports des musées avec les artistes, les conservateurs, les galeries, les collectionneurs, l'état, la finance, leur "aura" et leur place au sein de la diplomatie culturelle internationale, sont aussi parmi les sujets examinés.
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Rocha, Cláudia Regina Alves da. "Da Pinacoteca ao Museu: historicizando processos museológicos." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-13022015-104640/.
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O Museu Nacional de Belas Artes e sua documentação museológica constituem o principal objeto de estudo desta pesquisa, que procura investigar em suas origens, junto à Academia Imperial de Belas Artes/Escola Nacional de Belas Artes, as ações de tratamento documental que essas instituições utilizaram. Partindo da premissa de que a criação do Museu Nacional de Belas Artes deuse no século XIX, a pesquisa tem por objetivo mapear as proximidades e distanciamentos, sob o enfoque documental, entre tais instituições.The National Museum of Fine Arts and its museological documentation are the aim of this research, which investigates its originis by the identification of the documentation processes developped at the Imperial Academy of Fine Arts, renamed National School of Fine Arts. Considering that the creation of the National Museum of Fine Arts emerged from the debates on the foundation of an Art Gallery inside the Imperial Academy of Fine Arts in the 19th century, this research explores the similarities and differences between these institutions from the point-of-view of the documentation of their collections.
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Auffret, Anne-Lise. "Le musée céramique de la manufacture de Sèvres : progrès techniques, enjeux artistiques et pratiques savantes en France (1800-1914)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010570.
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L’administrateur de la manufacture de Sèvres, Alexandre Brongniart, ouvrait au public en 1824 le musée royal céramique et vitrique, envisagé dès 1802, et qui se voulait d’un genre nouveau. À vocation encyclopédique, dans l’esprit des Lumières, il ambitionnait de présenter les céramiques de tous les lieux et de tous les temps afin de former les ouvriers et les artistes. L’histoire de l’institution, que nous avons souhaité retracer et analyser sur plus d’un siècle, n’est pas linéaire et son évolution se dessine au gré des changements économiques, esthétiques ou des bouleversements politiques. Dès lors, notre étude entreprend de montrer de quelle manière se construit le passage d’un musée technique créé par un naturaliste évoluant au sein du Muséum, vers une construction vouée entièrement à l’art, à la mise en patrimoine de la céramique, au monde du collectionnisme. Les nombreux legs et donations d’amateurs, la nomination du collectionneur Champfleury à sa direction, le développement de recherches historiques sur ce domaine artistique, sont autant de facteurs qui vont contribuer à façonner le musée en ce XIXe siècle fasciné par l’objet manufacturé. À travers ces pistes de recherche, notre approche consiste à étudier le rôle de cet établissement dans un contexte d’essor industriel et d’un intérêt nouveau pour les « arts mineurs ». Ainsi, nous proposons, par le biais de ce travail, de contribuer aux réflexions, toujours actuelles, sur les interactions entre l’art et l’industrieThe Musée Céramique et Vitrique was opened to the public in 1824 by Alexandre Brongniart, the administrator of the Sèvres manufactory. The museum was conceptualized in 1802, and aimed to be of a new sort. In the spirit of the Age of Enlightenment Brongniart aimed to create an encyclopaedia of ceramic education and skills for future ceramics workers and artists. We have attempted to redraw and analyze the history of the institution for over a century, and we have discovered that it does not follow a linear path. The evolution of the institution was influenced by economic, aesthetic, and political upheavals. Our current study attempts to show how a museum, created by a naturalist and dedicated to technical knowledge, evolved to what it is now, an institution focused on the art and history of ceramics, with a lesser emphasis on collectibles. Many factors shape the museum in this XIXth century, including; the legacy and donations of amateurs, the management of collector Champfleury, and historical research on the art of ceramics. Our approach will be to study the role of the museum in the context of industrial development, and a renewed interest in the “minor arts”. Through this study, we aim to show the interactions between art and the industry
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Jousselme, Gwladys. "Enseignement, pratique de l’art et rôle du musée en Russie : le cas du Musée russe de Saint-Pétersbourg." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040117.
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La pédagogie muséale est une discipline portant sur l’introduction de l’art et du musée dans le système éducatif et sur l’utilisation particulière des ressources muséales lors des visites au musée par les enfants. L’expérience russe est à cet égard particulière et mérite une étude approfondie que propose cette thèse. En nous concentrant sur l’étude du Musée russe, musée pionnier et chantre de la pédagogie muséale, nous comprenons que le musée est en Russie une institution extrêmement dynamique et porteuse d’innovations originales. Ces avancées sont le fruit d’une forte tradition ancrée dans le monde muséal russe depuis la période soviétique, durant laquelle le musée était un lieu d’éducation majeur. Aujourd’hui, la pédagogie muséale russe a évolué et n’est plus teintée de propagande. Le Musée russe, un des plus grands musées de Russie, a théorisé et développé la pédagogie muséale à un niveau jusqu’à présent inégalé dans le monde. Le Musée russe travaille depuis plus de vingt ans à offrir à l’éducation russe une humanisation de l’enseignement au moyen de l’art. Son programme éducatif « Bonjour musée ! » appliqué dans les écoles, de la maternelle au lycée, donne aux enfants, par l’étude de l’art russe et mondial, les bases culturelles indispensables à une harmonieuse compréhension du monde environnant, alliée à l’éveil du sentiment national, un thème cher aux Russes. L’analyse de l’expérience du Musée russe dans le domaine de la pédagogie muséale vise à montrer d’une part l’impact bénéfique de l’art sur l’épanouissement de l’enfant et d’autre part les multiples applications de l’art pour l’enseignement, par le développement de l’interdisciplinarité : enseignement des mathématiques, chimie, physique et langues étrangères par le biais de l’artThe museum pedagogy is a discipline on the introduction of art and museum resources in the education system. The Russian experience in this regard is particularliar and deserves further study as it is proposed in this thesis. By focusing on the study of the Russian Museum, museum pioneer of museum pedagogy, we find evidence that the museum is an institution in Russia extremely dynamic with original innovations. These advances are the result of a strong tradition rooted in the museum world since the Soviet period that the museum is a major place for education. Today, the Russian museum education has evolved and is no longer linked with propaganda. The Russian Museum, one of the largest museums in Russia, has theorized and developed museum pedagogy at a level far unequaled in the world. The Russian Museum has over twenty years offered the Russian education humanization of education through art. Its educational program "Hello museum! "applied in schools, from childrengarden to high school, gives children, trough the study of Russian and world art, cultural foundations necessary for a harmonious understanding of the surrounding world, coupled with the awakening of national consciousness, a beloved theme for Russians. The analysis of the experience of the Russian Museum in the field of museum pedagogy is to show, first the positive impact of art on the development of the child and secondly the multiple applications of art education for the development of interdisciplinarity: teaching of mathematics, chemistry, physics and foreign languages through the medium of art
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Figini-Véron, Véronique. "L'Etat et le patrimoine photographique : des collectes aléatoires aux politiques spécifiques, les enrichissements des collections publiques et leur rôle dans la valorisation du statut de la photographie : France, seconde moitié du XXe siècle." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010733.
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En France, après une longue période d'accumulation silencieuse dans les institutions publiques patrimoniales, la photographie fait l'objet de politiques d'enrichissement spécifiques, dans la seconde moitié du XXe siècle, qui influent sur l'évolution de son statut. Dès la fin des années 1930, les responsables du cabinet des Estampes de la Bibliothèque nationale engagent un processus de réévaluation où le médium photographique est enfin considéré comme objet de collection. S'engage alors un programme d'enrichissement audacieux selon une voie duale, documentaire et artistique, où la Bibliothèque nationale ambitionne de devenir un musée de la photographie, le premier en France. En plus de la photographie documentaire qui reste une priorité, l'intérêt des conservateurs se porte d'une part, sur les grands ensembles de photographies du XIXe siècle en vue d'initier une histoire de la photographie sur le modèle de l'histoire de l'art; et d'autre part, sur les auteurs contemporains. La démarche est pionnière et durable, mais elle n'est pas suffisante pour faire reconnaître la photographie comme un art à l'échelle nationale. Près de quarante ans plus tard, en 1976, le secrétariat aux Affaires culturelles s'empare enfin des questions photographiques, mais les quatre directions ministérielles concernées par la photographie réagissent de manière inégale. Dans un environnement photographique qui évolue vers une orientation culturelle, des collections nationales sont créées à la Fondation nationale de la Photographie à Lyon (FNP), au musée national d'Art moderne (MNAM), au Fonds national d'Art contemporain (FNAC) et au musée d'Orsay; et la photographie est enfin reconnue comme un art. Dans les années 1980, sous l'effet conjugué du «Mois de la Photo» de la Ville de Paris et de la politique en faveur de l'art contemporain développée par le ministère de Jack Lang, un des événements artistiques majeurs de la fin du XXe siècle prend forme : la photographie entre dans le champ des arts plastiquesPhotography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts
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Castellano, González Cristina. "La construction du sens dans les expositions muséales : études de cas à Chicago et à Paris." Paris 1, 2011. http://www.theses.fr/2011PA010568.
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Afin d'examiner la construction du sens dans les expositions muséales, cette étude place au centre de ses hypothèses trois dimensions initiales : la production du sens, sa circulation ou distribution et sa réalisation ou appropriation. Ce choix est justifié sur la base d'une méthodologie transdisciplinaire propre aux études culturelles. Nous essayons d' expliquer les processus de négociation, les discours hégémoniques et les structures du sentiment qui interviennent au sein de cultures. Les études de cas de cette thèse ont été développés au Musée National d'Art Mexicain de Chicago et au Musée du quai Branly it. Paris entre 2006 et 2009.
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Hook, Sarah. "Reading the gallery : portraits and texts in the mid- to late nineteenth century." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:87ad5989-055a-4777-9418-5f636afd6f96.
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The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.
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Kinoshita, Harumi. "La diffusion culturelle internationale : les enjeux de la politique de prêts d'oeuvre et d'expositions du MNAM-CCI (Centre Georges Pompidou) pendant la période 2000-2007." Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00767576.
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Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l'étude de la politique de diffusion : celle-ci est l'objet de ma thèse en sciences de l'information et de la communication intitulée " La diffusion culturelle à l'échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ".Le Mnam-Cci est l'un des plus importants musées au monde grâce à sa collection d'art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l'une des stratégies importantes du musée. Dans la perspective d'une étude muséologique, l'analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l'échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l'heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l'échelle internationale à travers la politique de diffusion.C'est ainsi que ce travail montre la diffusion culturelle à l'échelle internationale par l'intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci.
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Jung, Chang Sung. "Agencification and quangocratisation of cultural organisations in the U.K. and South Korea : theory and policy." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15930.
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This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explain these phenomena. Case studies are presented of Tate Modern in the UK and the National Museum of Modern and Contemporary Art (MMCA), which are carefully analysed to examine the validity of those nine arguments. Although cultural agencies, which show some unique features, have become increasingly an essential part of the national economy, they have scarcely been researched from the viewpoint of public policy. This thesis endeavours to explore distinctive characteristics of this policy area; and moreover, it examines the diverse variables which have an impact on policy formation and its results through the process of comparison of arguments. The major tasks of this thesis are to investigate the applicability of the nine arguments and to weigh their merits. As a corollary of this comprehensiveness, it examines the whole public sectors of both countries, in order to show the broader picture and to understand the processes of changes and their backgrounds. More profoundly, similarities and differences between both countries are compared from both macro and micro perspectives. At the same time, the results of AQ are analysed through the comparison of outputs or outcomes before and after these changes, with a view to exploring whether their rationales are appropriate. Furthermore, it also examines the institutional constraints which influence not only the change of agencies but also their performances. Besides which, it seeks to find strategies for overcoming these constraints. This thesis adopts systematic and comprehensive approaches regarding basic concepts and data. It draws on theories of comparative research, the scope of the public sector, the classification and analysis of agencies and quangos, and theories underlying the detailed components of each argument and epistemological assumptions. Therefore, it suggests various aspects which enable us to broaden our understanding of the changes within the public sector; and to generate practical understanding to inform real world reform.
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Berriola, Riccardo. "Les terres cuites figurées de la collection Raffaele Gargiulo au Musée National de Naples : recherches sur le goût et le marché de l'art dans la première moitié du XIXe siècle." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100194.
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La these analyse la collection de terre cuite de Raffaele Gargiulo (1785-après 1864), céramiste et restaurateur affirmé, personnage de première importance du Musée de Naples, marchand napolitain d'antiquité des années 20 et 30 du XIXe siècle. La proposition de vente de sa collection au Musée de Naples est faite en décembre 1852. Après deux années de dures négociations le 29 mai 1855 la vente se conclut pour 6000 ducats. Pour comprendre le personnage de Gargiulo en tant que marchand d'oeuvre d'art, 315 documents, conservés dans l'Archive d'État de Naples et la Surintendance de Naples, ont èté analysés. L'étude de 11 arrêtés royaux entrés en vigueur entre 1807 et 1852, ont permis de reconstruire le cadre législatif en vigueur de l'époque. La petite plastique, la classe la plus nombreuse, représente environ les trois quarts de la collection de terre cuite. En ce qui concerne les provenances, les Pouilles et la Campanie sont largement dominantes avec 578 objets (95.54% de la collection entière): dans le détail on note que les localités se trouvant aux premières places sont aussi bien les Pouilles (Gnathia, Ruvo et Canosa) que la Campanie (Capoue et Calès), plus célèbres pour les fabrications coroplastiques. Le matériel architectonique va de la fin du VIe s. av. J.- C. au I Ier s. ap. J.-C., le matériel coroplastique se situe entre la moitié du IVe s. et la fin du IIIe s. av. J.-C., la céramique à décoration plastique et polychrome et celle achrome entre le IVe et le IIIe s. av. J.-C., alors que la chronologie des vases modelés va de la fin du VIe et le IIIe s. av. J.-C. Enfin, les lampes à huile sont toutes datées entre la première moitié et le dernier quart du Ier s. ap. J.-CThe thesis analyzes the collection of terracottas of Raffaele Gargiulo (1785-after 1864), ceramist and restorer, leading figure of the Museum of Naples, neapolitan merchant of antiquity in the twenties and thirties of the 19th century. The proposed sale to the Museum of Naples of his collection is made in December 1852, but only after more than two years of hard deals it comes to the purchase on May 29th, 1855, for 6000 ducats. In order to understand the figure of Gargiulo as merchant of art 315 documents, kept in the State Archive of Naples and in the Historical Archive of the Archaeological Superintendence of Naples, have been analyzed. By the study of 11 royal decrees dated between 1807 and 1852 the legislative framework in force at the time was rebuilt, as part of the trade and export of archaeological and art objects. In the Gargiulo’s collection of terracottas the little plastic (443 specimens, 73.88%) is the most documented class, accounting for about three-quarters of the collection. About the provenances, Apulia and Campania with 578 items, the 95.54%, prevail. At the top lie the towns, both in Apulia (Gnathia, Ruvo and Canosa) and Campania (Capua and Cales), most famous for the coroplastic products. If the architectural material is dated from the end of the 6th century BC to 1st century AD, the coroplastic material lies mostly between the mid-4th century BC and the end of the 3rd BC. The pottery ranges between the 4th century and 3rd century BC, especially the plastic and polychrome decoration and the achromatic ceramic; the chronology of plastic vessels is more varied, between the late 6th and 3rd centuries BC. The lamps, finally, are dated to 1st century AD
La tesi analizza la collezione di terrecotte di Raffaele Gargiulo (1785-post 1864), ceramista e restauratore affermato, figura di primo piano del Museo di Napoli, grande mercante napoletano di antichità degli anni Venti e Trenta dell'Ottocento. La proposta di vendita al Museo di Napoli della sua collezione viene fatta nel dicembre del 1852, ma dopo oltre due anni si giunge all'acquisto, il 29 maggio 1855, per seimila ducati. Per inquadrare la figura del Gargiulo come mercante di opere d'arte sono stati analizzati 315 documenti custoditi nell'Archivio di Stato di Napoli e nell'Archivio Storico della Soprintendenza Archeologica di Napoli. Attraverso lo studio di 11 regi decreti tra il 1807 e il 1852 si è ricostruito il quadro legislativo in vigore all'epoca nell'ambito del commercio e dell'esportazione di reperti archeologici e oggetti d'arte. Nella collezione Gargiulo di terrecotte la piccola plastica (443 esemplari, pari al 73.88%) è la classe più documentata, rappresentando circa i tre quarti della collezione. Tra le provenienze prevalgono la Puglia e la Campania con 578 oggetti, il 95.54%. Ai primi posti si collocano le località, sia pugliesi (Egnazia, Ruvo e Canosa) che campane (Capua e Cales), più celebri per i prodotti coroplastici. Se il materiale architettonico va dalla fine del VI a.C. al I d.C., quello coroplastico si colloca per lo più tra la metà del IV e la fine del III a.C. La ceramica spazia tra il IV e il III secolo a.C., soprattutto per la ceramica a decorazione plastica e policroma e per quella acroma, più varia è la cronologia dei vasi plastici, tra la fine del VI e il III a.C. Le lucerne, infine, si datano nell'ambito del I secolo d.C
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Edmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
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The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history.
Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.
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Manaças, Vítor Manuel Teixeira. "Museu Nacional de Arte Antiga : uma leitura da sua história : 1911-1962." Master's thesis, 1991. http://hdl.handle.net/10362/20036.
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Murray, Sharon E. Pullen Daniel J. "The gaze of the beholder how national identity in nineteenth-century England was reinforced by the collection and display of ancient Egyptian material culture /." 2004. http://etd.lib.fsu.edu/theses/available/etd-11152004-210811.
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Thesis (M.A.)--Florida State University, 2004.Advisor: Dr. Daniel J. Pullen, Florida State University, College of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Jan. 18, 2005). Includes bibliographical references.
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Pereira, Teresa Homem de Melo de Moura. "Regimes de gratuitidade em museus nacionais: impactos nos públicos seniores." Master's thesis, 2016. http://hdl.handle.net/10071/12579.
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Esta dissertação, inserida no contexto do Mestrado em Gestão e Estudos da Cultura, foca-se
nos públicos seniores do Museu Nacional de Arte Antiga, em concreto na sua relação com
condições de acesso. A metodologia adotada sobretudo qualitativa (observação, entrevistas)
permitiu a identificação de posicionamentos tanto do lado dos públicos como do lado da
instituição que podem (ou não) contribuir para o cumprimento ou a adesão a condições de
acesso consideradas vantajosas. Será que mobilizam o visitante? Os impactos identificados
foram vários, inerentes a uma investigação qualitativa que pretende precisamente detetar
particularidades, no entanto, conseguem identificar-se tendências nas relações estabelecidas
sobretudo com o museu em causa e com as condições de acesso.This dissertation, written in the context of the Masters Degree in Arts studies, focuses on the National Museum of Ancient Art’s senior visitors, more specifically on its relation to the conditions of access to the institution. The used methodology, mostly qualitative (direct observation and interviews) allowed the identification of the positioning of the public, but also of the institution itself, which can (or not) contribute to the observance or adherence to the conditions that supposedly are an advantage. Will it mobilize the visitors? The identified impacts were several, inherent to a qualitative investigation that pretends to detect particularities, however, it’s possible to identify tendencies in the established relations, mainly with the museum itself and its conditions of access. Keywords: Senior Visitors, National Museums, Admission Charges, Free Entry, National Museum of Ancient Art
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Monteiro, Joana Maria Nunes de Carvalho d'Oliva. "Um modelo operativo de avaliação de exposições. Estudo de caso: Museu Nacional de Arte Antiga." Doctoral thesis, 2017. http://hdl.handle.net/10362/22406.
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Esta tese inscreve-se numa matriz cuja base de investigação privilegia uma combinação de adquiridos de índole teórica e prática que envolve os domínios da exposição e respectiva avaliação. Parte-se do princípio que se verifica sempre um desfasamento entre o discurso teórico e a actuação prática, configurando-se, nesse sentido, como uma tentativa de abreviar tal distanciamento.
Dadas as características do objecto em estudo, esta tese foi delineada numa organização tripartida. A Parte I tem o propósito de contextualizar, teórica e conceptualmente, a temática da exposição. A Parte II incide sobre o estudo de caso nuclear, o Museu Nacional de Arte Antiga, sendo aqui operado um ensaio de síntese que toma como paradigma de actuação museográfica a sua obra mais emblemática, os Painéis de S. Vicente de Fora. Procurou-se definir os fundamentos, objectivos e limites de análise adequados a um ‘real’ apuramento das práticas de exposição implementadas actualmente no Museu e observadas nas suas múltiplas manifestações. Para complementar a nossa abordagem, apelou-se à experiência levada a cabo pelo Museu Nacional do Prado, centrada nas ‘Meninas’ de Velázquez. Por último, na Parte III, visa-se entender a complexidade inerente ao acto de avaliar, procedendo-se, para o efeito, à identificação das problemáticas associadas a essa prática. É feito um ponto de situação relativamente aos estudos e às premissas teóricas que nos parecem ser mais relevantes para a sua estruturação.
Pretende-se, com esta investigação, estabelecer uma ponte produtiva entre os domínios da exposição e sua avaliação, numa perspectiva ampla e crítica, fornecendo uma base que se julga vantajosa para a escolha adequada de caminhos que possam dar resposta fundamentada sobre a possibilidade da implementação de uma cultura avaliativa no universo das exposições de arte.This thesis is enrolled in a matrix whose research base privileges a combination of acquired of theoretical and practical nature that involves the domains of the exhibition and the respective evaluation. It is hereby understood that it is always registered a disparity between the theoretical speech and the practical performance, constituting this, in that way, as an attempt to shorten such disparity. Considering the characteristics of the object in study, this thesis was drawn up in a threefold organization. Part I has the goal of contextualize, in a theoretical and conceptual way, the thematic of the exhibition. Part II has its focus in the study of nuclear case, the National Museum of Ancient Art, here it is performed a synthesis essay that takes as paradigm of museum performance its more emblematic workmanship, the Panels of S. Vicente de Fora. We worked to define the fundaments, objectives and limits of analysis appropriated to a “real” establishment of the performances of the exhibitions implemented today in the Museum and seen in its multiple manifestations. To complement our approach, we called the experience taken by the Prado National Museum focused in ‘Meninas' of Velázquez. Finally, in Part III, it is aimed to understand the complexity inherent to the act of evaluate, proceeding to that effect, to the identification of the issues connected with that performance. It is developed a progress report in what concerns the studies and the theoretical premises that seemed to be more relevant to its structuring. With this investigation it is intended, to establish a productive bridge between the domains of the exhibition and its evaluation in a wide and critical perspective providing a base that we think has advantages to the right choice of ways that could give a reasoned answer about the possibility of implementation of an evaluative culture in the universe of art exhibitions.
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WU, YING-CHUN, and 吳盈諄. "Exhibition Mechanism and Education of ” National Art Exhibition, ROC ” held by National Taiwan Art Museum." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/w25mtg.
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碩士國立臺灣藝術大學
藝術管理與文化政策研究所
106
The art competition exhibition has a long history and tradition in the history of Chinese art development. The exhibition mechanism that inherits the exhibition of the government and the exhibition is a model for the current art competition exhibition. Through the competition, many excellent artistic talents have been drawn up and played an important and sustained support force in the advancement of Taiwanese art. The Gome Pavilion in the year of Jianguo’s planning and opening of the National Art Exhibition, how its exhibition mechanism works, and how the art exhibition education is practiced are all issues of concern to this article. This study focuses on the effectiveness of the art exhibition and the function of the museum. The annual national exhibition “National Art Exhibition”, which is planned by the Gome Museum, is an important topic for studying the art exhibition mechanism and public aesthetic education. Research on text analysis and case analysis for research and discussion. By reflecting on the operation of the exhibition mechanism, we will observe the reasons for its opening and development. From the orientation and function of the exhibition, the evaluation system, the award system, and the public aesthetic education, we will conduct an analysis and study to understand the operation and education strategies of the current art competition. The study found that, first, the National Art Exhibition guarantees various types of art development space with ten types of items to promote the diversified development of Taiwanese art. Second, the jury plays the role of cultural gatekeeper and has the role of guiding the development of art and art education. Third, the lack of cultural paradox outside the system in the art exhibition is not conducive to the construction of art knowledge and theory. Fourth, the National Art Exhibition is dominated by art talents, and the focus of betting on art exhibitions is limited. In the future, audience research can be conducted for the exhibition to understand the audience's viewing needs and learning outcomes.
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Huang, Chia-Hui, and 黃嘉慧. "Resource Integration of Art University Museum: A Case Study of the Art Museum, National Taiwan University of Arts." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/31308464895206394156.
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碩士國立臺灣藝術大學
藝術與文化政策管理研究所
99
Arts University plays multiple roles that render it an educational institution, social education organization, and platform for artistic exhibitions and performances as well. Closely connected with university, arts university museums are expected to correspond to their organizational functions, namely assisting in teaching and research, facilitating international exchanges among foreign organizations. While university museum’s operating expenses comes from the university, facing limited funding and lack of staff constantly make it imperative for university museum to maximize and expand its resources in order to make both ends meet. The building project of the Art Museum of National Taiwan University of Arts (NTUA) was initiated in 2004, and the museum was established on March 24th, 2008. It has achieved some success in combining various resources and developing its characteristics. This study investigates the Art Museum of NTUA in the aspect of resource utilization through exploring the concept of resource integration, and attempts to formulate strategies from the perspectives of Resource-Based Theory. Analysis covers the period starting from 2008, ending on April 2011, focusing on three categories: human resources, material resources and financial resources, which the museum utilizes while acting as an integration platform, attempting to propel its development and perform its functions. The study suggests that resources are integrated in a way that resembles a concentric circle: the Art Museum resides in the core, surrounded by the university campus as the second level, and at the peripheral, the society as the third level. Resources are integrated from the core to the peripheral. With regard to the three categories of resources, the study indicates that, firstly, human resources contains professional knowledge and practices of museum staff, supports from the university administrative system, faculties and students, and the networking with experts and professional organizations. Secondly, material resources includes exhibition space management, collection system regulations, and research and publication. Lastly, financial resources on one hand, involves fixed budgets distributed by the university, project management between departments, which can be viewed as school projects in general; On the other hand, it includes government and corporate funding, and individual donation, which are considered subsidies from outside the university.
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梁筱梅. "Research museum impetus society art education～take state-National Museum of History as example～." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/91530171711414534016.
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碩士國立臺灣師範大學
社會教育與文化行政碩士學位在職專班
96
Chinese abstract This research is for the purpose of discussing function of the museum impetus society art education and the influence, (hereafter refers to as Shi Pokuan) take the state- National Museum of History as the example,discusses difficult position which present situation of the its impetus society art education, faces, as well as key to the situation.First grinds analyzes the correlation literature, according to forms the research overhead construction, and picks the nature research technique, to from interview the program achievement which arranges studies the tool. interview the object picks decides sampling, the result extracts the correlation service person and the museology experts several people from Shi Pokuan carries on interview. Moreover, also chooses has the impetus society art education example "he" the hall, discusses its implementation present situation and Shi Pokuan does compares, at the same time proved "art" truly is Shi Pokuan impels in the social education the important element, another aspect expects can so as to provide Shi Pokuan in impetus society art education present situation advisory opinion, therefore interview he the hall related service personnel, and brings into line with its interview material in this research. Finally passes through to Shi Pokuan impels the social art education the research discovery and the S.W.O.T analysis below, obtains the conclusion: (1) has superiority and so on superiority which the rich artware thing and the history entrusts with Strengths; (2) is restricted in the hall infield narrow and small, the display thing is unable the integrity to present, the book reservation space is insufficient, as well as in 2008 implements "the hall service fund" transport business way, raises funds the inferiority which the pressure increases Weaknesses; (3) continues to strive for the development "the South China Sea to plan", makes Taibei to be able together to become the international metropolis which the creativity the cultural leisure, the artistic appreciation, goes sightseeing rests as well as to unify the different industry association to develop the opportunity together which, the management "the decorated lantern museum" is its may found Opportunities; (4) in the voice which degrades in the museum among, Shi Pokuan is, the international standing faced with the test as well as the same business different industry competition is its threat Threats. Based on the above result analysis, this research impels the social art education to Shi Pokuan to put forward the following proposal that, (1) preserves in the place history culture industry, the development creativity, suddenly reveals the characteristic; (2)continues strives for "the South China Sea to plan" the implementation is the thorough settlement location narrow and small basic way; (3)strengthens the depth and the breadth which displays and moves, pays attention to long-term characteristic which each item delivers and long-enduring influence effect, develops the characteristic function;(4) early prepares for to "the administrative legal person" the cognition and, strengthens internal business management training.
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陳怡勳. "Research of appraisal function of art museum:the case study of National Palace Museum, National Museum of History and Chang Foundation." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/96429449345427526600.
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郭美文. "The study of museum resources of art applreciation teaching for lower graders:a case study of the National Palace Museum, the National Museum of History and the Taipei Arts Museum." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/35836578153966805864.
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碩士臺北市立師範學院
視覺藝術研究所
91
Having a strong museum obsession, the graduate wishes users, the lower grader teachers, to implement a field research and unearth the rich gold mine (museum) for art appreciation teaching to lower graders. By doing literature analysis and field research over The National Palace Museum, The National Museum of History and The Taipei Fine arts Museum, I obtained a better perception of art appreciation teaching promotion for lower graders. Visiting museums in East America and Tokyo, I studied on the current trend of development for children’s art appreciation teaching and generalized related information from these major museums. I presented the whole picture of resource development and expected the outcomes would benefit parents, teachers and relevant persons. From my research on the method of resource-application, I designed an art appreciation teaching curriculum for lower graders, and practically made the strategy of using museum’s resource. The results of this study are as follows: 1. Nurture parents and teachers with art appreciation ability themselves 2. Stress on cultivate children’s attitude of active and self-directed learning. 3. Know the needs and characteristics of the lower graders. 4. Museums guide community art appreciation activities held for parents as well as kids and interact with schools or communities. Suggestions: 1. Teachers and parents participate teaching programs held by museum, and regard information about them. 2. Cultivate the right attitude relate to art appreciation is more important. 3. Integrate the resources of art appreciation teaching in museums nationwide and design a search platform for teaching resources. 4. Conjoin teachers, parents, artists and curators to develop an art appreciation teaching resource center. 5. Activate the art appreciation teaching strategies and extend the museum’s strength and local resources. 6. Connect the art appreciation teaching resources and leisure activities together. 7. Increase initiative and collect resources from enterprises in order to activate action power of museum. 8. According to the research museums, submit a short-term, a medium-term and a long-term improvement suggestions. I wish these results would encourage the followings: 1. Relevant departments of museum muse positively and focus on art appreciation teaching for lower graders 2. Educational community boosts teaching quality and effect, and use museum resources efficiently while emphasize on art and social education. 3. Family leisure time should include knowledgeable tours hold by museums for family members. By learning together they could obtain better effects.
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Lu, Chen-Hui, and 盧貞慧. "Museum Education Strategy of a Contemporary University Museum:Case Study of Art Museum, National Taiwan University of Arts." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/30203190870647854871.
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碩士國立臺灣藝術大學
藝術與文化政策管理研究所
99
A university museum includes characteristics of a university and a museum. Therefore a university museum also combines university education with museum education. First, the study reviews the development of university museums and the theories of museum education. And then, through the case study of Art Museum, National Taiwan University of Arts, this study intends to examine the educational strategy of contemporary university museum. Furthermore, it analyzes how a university museum could possibly combine its university and museum characteristics, formal and informal education. Finally, this study provides some suggestions of educational strategy for Art Museum, National Taiwan University of Arts, and brings up a new viewpoint of contemporary university museum education.
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Chen, Pei-Wen, and 陳珮文. "A Study of Culture Creative Products in Museum : the National Taiwan Museum of Fine Art as an Example." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/50121062186521851845.
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碩士國立臺南藝術大學
博物館學與古物維護研究所
99
Since the UK addressed “Cultural creativity industry,” combining popular consumption with elaborate culture by creative design has made the culture get rid of the problems that culture cannot integrate economics; even create high value of output. Thus, it caused a tread of creative culture in the whole world. The museum itself is a place which is full of elaborate culture, with four basic functions- collections, research, display, and education. Following the trend progressing, the museum has changed collections-oriented into people-oriented. How to fulfill the audiences’ need becomes a way to improve. Due to the collections in the museum reflect important historical knowledge, the audiences would come up with the need of maintaining the memory in the museum and sharing the museum experiences. Through the set up of the gift shop and sales of the products related to the museum, the museum provides the audiences not only knowledge, but also the need of sharing and purchasing. Among most of the museum products, the cultural creativity products match the audiences’ need best. Many museums in the world devoted to developing this kind of products. All kinds of elaborate creative products not only attract the audiences to purchase, but support the revenue and disbursement of the museum. The official work hard to promote the Cultural creativity industry, but compared the kinds and design of the museum products in Taiwan with other countries, our products are a bit inferior. Thus, the study focus on knowing the need and satisfaction of the museum products, coming up with the traits of the cultural creative products in the museum by analyzing the survey, so that the result could be a foundation when developing the cultural creative products in the museum. Keywords: museum、culture creative products、audience