Relevant bibliographies by topics / Norton Museum of Art

Contents

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

Academic literature on the topic 'Norton Museum of Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

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Journal articles on the topic "Norton Museum of Art"

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TALLACK, DOUGLAS. "Seeing out the Century." Journal of American Studies 35, no. 1 (April 2001): 127–31. http://dx.doi.org/10.1017/s0021875801006491.

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Barbara Haskell, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 408. ISBN 0 393 04723 7, 0 87427 122 3.Lisa Phillips, The American Century: Art and Culture 1900–1950 (New York: Whitney Museum of American Art, in association with W. W. Norton, 1999, $60 cloth). Pp. 398. ISBN 0 393 04815 2, 0 87427 123 1.
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Chmielowska, Paula. "Odmowa restytucji w orzeczeniu Sądu Apelacyjnego Stanów Zjednoczonych w sprawie Marei von Saher przeciwko Norton Museum of Art w Pasadenie i Norton Simon Art Foundation." Gdańskie Studia Prawnicze, no. 2(50)/2021 (July 6, 2021): 269–75. http://dx.doi.org/10.26881/gsp.2021.2.20.

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W bardzo rozczarowującym orzeczeniu, w którym sąd odrzucił apelację Marei von Saher, Dziewiąty Obwód Sądu Stanów Zjednoczonych zdecydował 30 lipca 2018 r., że Norton Simon Museum w Pasadenie (pozwany) może zatrzymać prace Lucasa Cranacha Starszego pt. Adam i Ewa. Von Saher jest jedyną spadkobierczynią żydowskiego handlarza dziełami sztuki Jacquesa Goudstikkera, który zmarł w 1940 r., pozostawiając po sobie ogromną kolekcję dzieł sztuki, za- kupionych przez niemieckiego oficera. Rodzina próbowała odzyskać te rodzinne dobra, ponieważ zostały sprzedane w bardzo specyficzny sposób. Była to trzecia próba restytucji malowideł przez von Saher. Sąd rejonowy w 2007 r. oddalił powództwo na podstawie meritum sprawy, co spowodowało, że powód nie mógł w przyszłości wytoczyć powództwa, używając tych samych argumentów. Von Saher wniosła jednak apelację, a sąd apelacyjny utrzymał w mocy poprzedni wyrok. Po ostatniej apelacji von Saher sąd wydał ostateczną decyzję.
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Adler, Andrew. "Von Saher v. Norton Simon Museum of Art at Pasadena: California's Temporary Suspension of the Statute of Limitations in Holocaust Art Cases Violates the Foreign Affairs Doctrine." International Journal of Cultural Property 17, no. 1 (February 2010): 109–25. http://dx.doi.org/10.1017/s0940739110000184.

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AbstractIn 2002, the California state legislature enacted a law temporarily suspending the statute of limitations in certain Holocaust art cases. In doing so, it removed a major procedural obstacle facing plaintiffs and effectively revived claims once considered time-barred. Seven years later, the U.S. Court of Appeals for the Ninth Circuit held in von Saher v. Norton Simon Museum of Art at Pasadena that this California law was unconstitutional under the foreign affairs doctrine, because it impermissibly intruded on the federal government's exclusive power to make and resolve war. In so holding, the Ninth Circuit became the first court in the United States to restrict the authority of the states to inject themselves into the realm of Holocaust art litigation.
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BROWN, KATHRYN. "DEGAS IN THE NORTON SIMON MUSEUM NINETEENTH-CENTURY ART VOL. II BY SARA CAMPBELL ET AL." Art Book 17, no. 1 (February 2010): 23–24. http://dx.doi.org/10.1111/j.1467-8357.2010.01076_4.x.

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Docherty, Linda J. "Translating Dante." Religion and the Arts 22, no. 1-2 (February 16, 2018): 194–217. http://dx.doi.org/10.1163/15685292-02201016.

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Abstract Isabella Stewart Gardner’s museum (Fenway Court) owes its distinctive character to the influence of Dante Alighieri. Gardner’s interest in the Italian poet originated in a context of late nineteenth-century Boston’s enthusiasm for his writing and her personal quest for a meaningful life’s work. As a student of Charles Eliot Norton, a member of the Cambridge Dante Society, and a collector of rare editions of The Divine Comedy, Gardner became apprised of issues surrounding literary translation. When she began to study visual images inspired by Dante’s poetry and to acquire European masterpieces, she was poised to conceive a variation on this practice. As a visual translation of Paradiso, Fenway Court was not an illustration of a classic text but rather a conversion of a spiritual idea of love and beauty from one art form to another. In creating a museum for public education and enjoyment, Gardner exemplified Dante’s moral concept of free will and evoked his poetic vision of heavenly beauty.
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Gram, Magdalena. "The sad history of the Art Library at the Nationalmuseum: a case study." Art Libraries Journal 24, no. 4 (1999): 20–24. http://dx.doi.org/10.1017/s0307472200019763.

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30% of the 40 Swedish members of ARLIS/Norden are museum libraries. Half of these are dedicated art libraries situated in the two major cities of Stockholm and Gothenburg. Most of them serve their parent organization as well as external users. Foremost amongst them is the Art Library at the Nationalmuseum in Stockholm, a somewhat tarnished crown jewel among Swedish art libraries, whose ability to serve this dual public has had a fluctuating history.
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Burch, Stuart. "Norden, Reframed." Culture Unbound 2, no. 5 (December 17, 2010): 565–81. http://dx.doi.org/10.3384/cu.2000.1525.10233565.

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This paper calls for Norden to be understood as a metaframe. Related formulations like “Nordic art” or “Nordic welfare” function as mesoframes. These trigger multiple framing devices. A cache of related framing devices constitutes a framing archive. Framing devices work best when operating unobtrusively such that inclusions, exclusions and inconsistencies are condoned or naturalised. Their artifice, however, becomes apparent whenever a frame is questioned. Questioning or criticising a frame gives rise to a framing dispute. The theoretical justification for these typologies is provided at the outset. This schema is then applied to a select range of empirical examples drawn largely from the disciplinary frames (Ernst 1996) of art history and museum studies. Despite this specificity it is envisaged that the general principles set out below can and will be used to address a variety of devices, disputes and archives in Norden and beyond.
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Kornetchuk, Elena. "Art of the Baltics: The Struggle for Freedom of Artistic Expression under the Soviets, 1945-1991. Ed. Alla Rosenfeld and Norton T. Dodge. Dodge Soviet Nonconformist Art Publication Series. New Brunswick: Rutgers University Press and The Jane Voorhees Zimmerli Art Museum, 2002. xi, 476 pp. Appendixes. Notes. Bibliography. Chronology. Glossary. Index. Illustrations. Plates. Photographs. Tables. $110.00, hard bound." Slavic Review 63, no. 1 (2004): 173–74. http://dx.doi.org/10.2307/1520299.

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Borsay, Peter, Elizabeth Musgrave, and Sue Wragg. "Rebecca Zurier, Robert W. Synder and Virginia M. Mecklenburg, Metropolitan Lives. The Ashcan Artists and Their New York. New York and London: The National Museum of American Art, in association with W.W. Norton & Company, 1995. 232pp. 216 plates. $50.00." Urban History 24, no. 3 (December 1997): 384–85. http://dx.doi.org/10.1017/s0963926800012542.

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Rabadán Villalpando, María Eugenia. "El problema de los paisajes desconocidos en la catalogación en línea de los museos nacionales de arte de Norteamérica." Intervención 1, no. 25 (December 28, 2022): 200–240. http://dx.doi.org/10.30763/intervencion.265.v1n25.44.2022.

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Este informe académico es parte de una investigación, desde la perspectiva de los estudios visuales, sobre paisajismo de la modernidad y después de ella en la tradición occidental. Se propone analizar, de acuerdo con el estructuralismo de Thomas Kuhn, el cambio de Gestalt visual de principios del siglo xx relativo a la articulación en el arte de un nuevo paradigma. La visualización atraviesa la curaduría y la catalogación de colecciones en línea de los museos nacionales de arte de Norteamérica, cuestionando el diferencial de percepción de la estructuración de lo abstracto y lo conceptual en el paisaje entre estos acervos. No obstante, este estudio encuentra una solución teórica al fenómeno de invisibilidad de las imágenes en los episodios de carácter no acumulativo, propios, nuevamente según el modelo de Kuhn, de los cambios paradigmáticos. _____ This academic report is a part of a research, from the perspective of visual studies, on landscape art of modernity and after it in the Western tradition. This work proposes to analyze, in accordance with the structuralism of Thomas Kuhn, the change in visual Gestalt of the beginning of the 20th century related to the articulation in art of a new paradigm. The visualization cuts across the curating and the cataloging of online collections of the National Art Museums of North America, questioning the differential perception of structuring the abstract and the conceptual in the landscape between collections. However, this study finds a theoretical solution to the phenomenon of the invisibility of images in episodes of a non-accumulative nature, typical of paradigmatic changes, according to Kuhn’s model.
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Dissertations / Theses on the topic "Norton Museum of Art"

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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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Dopko, Cynthia Hogan. "Reassessment a mummy shroud from the North Carolina Museum of Art /." NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-04122004-163107/.

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The purpose of this research has been to reassess the dating and iconography of a Roman period mummy shroud entitled, Mummy Portrait of a Young Man from the Fayum, in the collection of the North Carolina Museum of Art. This reevaluation benefited greatly from the recent international scholarship and museum exhibitions done on mummy portraits from Roman Egypt in the past few years. The research for the North Carolina shroud involved analyzing, in detail, the unique symbolic arrangement depicted on the shroud by evaluating each of the object?s four registers individually as well as assessing the composition as a whole. This research found that the symbolic content of the shroud, as a whole, possesses a cohesive iconographical message. The registers of the shroud depict the individual, his mummification, revivification, and subsequent rebirth into an afterlife, if read from top to bottom. Further, this research has concluded that the numerous symbols on the shroud support this ritual transformation as well as point to its relationship with the Isiac or Serapion mystery cult. The fourth century date of this shroud has been redated to the third century and the stylistic features of the shroud?s design point to an Er-Rubayat provenance. It is hoped that this research will benefit the North Carolina Museum of Art, and enter this mummy shroud into the on-going international scholarship on mummy portraits from Roman Egypt.
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Boorn, Alida S. "Interpreting the transnational material culture of the 19th-Century North American Plains Indians: creators, collectors, and collections." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/34472.

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Doctor of Philosophy
Department of History
Bonnie Lynn-Sherow
American Indian material culture collections are protected in tribal archives and transnational museums. This dissertation argues that the Plains Indian people and Euroamerican people cross pollinated each other’s material culture. Over the last two hundred years’ interpretations of transnational material culture acculturation of the 19th - Century North American Plains Indians has been interpreted in venues that include arts and crafts, photography, museums, world exhibitions, tourism destinations, entertainments and literature. In this work, exhibit catalogs have been utilized as archives. Many historians recognize that American Indians are vital participants and contributors to United States history. This work includes discussions about North American Indigenous people and others who were creators of material culture and art, the people who collected this material culture and their motives, and the various types of collections that blossomed from material culture and oral history proffering. Creators included Plains Indian women who tanned bison hides and their involvement in crafting the most beautiful art works through their skill in quillwork and beadwork. Plains Indian men were also creators. They recorded the family’s and tribe’s histories in pictograph paintings. Plains Indian storytellers created material that was saved and collected through oral tradition. Euroamerican artists created biographical images of the Plains Indian people that they interacted with. Collections of objects, legends, and art resulted from those who collected the creations made by the creators. Thus today there exists fine examples of ethno-heirlooms that pay tribute to the transnational acculturation and survival of the American Indian people of the Great Western Northern American Plains. What is most important is the knowledge, and an appreciation for the idea that a transnational cross-pollination of cultures enriched and became rooted in United States history.
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Bradford, Shalen. "Children's Art Museum." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2175.

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This Thesis explores the question; Is a children’s museum a playground or a museum? Through research and visits to children’s museums I feel that many are playgrounds. They are also visually stimulating to children, but not to the guardians who bring them there. In most cases the exhibits are permanent and there is little change to the atmosphere of the space on a regular basis. An old warehouse located on North Boulevard was chosen to house this project idea of a children’s art museum. The scenario is that The Virginia Museum of Fine Arts and the Children’s Museum of Richmond would have a joint venture in creating a the Children’s Art Museum of Richmond. Thebuildings’ close proximity to these two museums make it an excellent choice for both institutions. There are interactive changing exhibits, a studio that continues the learning experience from the exhibit, and a gallery to display artwork that was created in the studio spaces. Through these three core spaces I hope to create a continuous interactive learning experience in this children’s art museum.
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Bingham, Glenn. "Mobile Museum of Art." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/153.

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The following internship report is an investigation of the organizational structure of the Mobile Museum of Art from January 2013 to August 2013. During the internship, I was able to work in several different capacities, from volunteer coordinating, to marketing, to programming. This report analyzes several aspects within these fields, including the organization’s brand, marketing strategies, and educational structure as they shift under new management. Based on my observations, I will offer recommendations for programming, marketing, and volunteer management, and compare the current structure to best practices of other museums and similar organizations. Through this extensive analysis I will also offer thoughts about the future of this local arts environment.
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Wong, Ngai-leung Aman, and 黃毅樑. "Museum of Guangdong folk art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198552X.

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Secleter, John Robert. "Duke University Museum of Art." Thesis, Virginia Polytechnic Institute and State University, 1985. http://hdl.handle.net/10919/52237.

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Wong, Ngai-leung Aman. "Museum of Guangdong folk art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594552x.

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Södersten, Tove. "A Museum of Graphic art." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175596.

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This project investigates the relations light and shape in a museum of graphic arts. The nature of daylight determines the meeting between the building and the sky. The shape of the building, therefore, distributes the light thus facilitating the meeting between the visitor and the art. The best light in art museums is neutral and avoids sharp contrasts and shadows that would otherwise detract from the experience in the museum. I studied how different shapes influence light and found a rounded shape to produce the best results, distributing light evenly thus avoiding distracting contrasts. Rounded shapes from a quadratic base with straight walls optimize the distribution of the light, facilitating the interaction between the visitor and the art.  The building of the museum is part of a “light-game” with a quadratic base. The conspicuous shapes distribute the light, guiding the visitor in the world of art. In the north, the building has a density next to the car park while it interacts with the shapes producing an intimate small-scale feeling in the south.
Projektet undersöker relationen mellan ljus och form i ett museum för grafisk konst. Ljusets natur bestämmer samspelet mellan byggnad och himmel. Byggnadens form fördelar ljuset och underlättar besökarens mötte med konsten. I konsthallar är det kontrastfria, neutrala ljuset det bästa; skuggspel och ljusförändringar stör upplevelsen. I mina studier fann jag att en välvd form fördelade ljuset jämt, störande kontraster undviks. Den välvda formen fördelade ljuset på bästa sätt och uppfyllde kravet som konsten ställer inför mötet med betraktaren. Den välva formen med en kvadratisk bas i botten och raka neutrala väggar.Byggnaden blir ett spel där formerna framstår mot en grid-baserad bas (VAD ÄR GRID-BASERAD?). Det tydliga formspråket är anslående och vägleder besökaren. Byggnaden har en ”täthet” i norr, vid bilparkeringen, och omgivningen utanför samspelar med formerna ner mot södra sidan och skapar tillsammans en småskalighet. Byggnaden går från att ha en hög densitet i norr mot bilparkeringen, till att spela med ute och inne mot dess södra sida för att även passa in i den småskaliga omgivningen.
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Conway, Chelsea. "Participatory Activities and the Art Museum: A Case Study of the Columbus Museum of Art." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493982670620671.

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Books on the topic "Norton Museum of Art"

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Pal, Pratapaditya. Asian art at the Norton Simon Museum. New Haven: Yale University Press in association with Norton Simon Art Foundation, 2003.

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Stephen, Eisenman, Abdo Sara Campbell, and Norton Simon Museum (Pasadena, Calif.), eds. Nineteenth-century art in the Norton Simon Museum. New Haven: Published for The Norton Simon Art Foundation by Yale University Press, 2006.

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Brettell, Richard R. Nineteenth century art in the Norton Simon Museum. New Haven, CT: Yale University Press, 2007.

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R, Finlay John, Mackenzie Colin, and So Jenny F, eds. The Chinese collection: Selected works from the Norton Museum of Art. West Palm Beach, Fla: Norton Museum of Art, 2003.

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Art, Norton Museum of. The Chinese collection: Selected works from the Norton Museum of Art. West Palm Beach, FL: Norton Museum of Art, 2004.

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de, Chassey Eric, ed. Minimal to the max: The Brownstone collection at the Norton Museum of Art. West Palm Beach, Fla: Norton Museum of Art, 2003.

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Norton Simon Museum (Pasadena, Calif.). Degas in the Norton Simon Museum: Nineteenth-century art volume 2. New Haven: Yale University Press, 2009.

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Foundation, Norton Simon Art, ed. Collector without walls: Norton Simon and his hunt for the best. New Haven, Conn: Yale University Press, 2010.

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Alla, Rosenfeld, and Dodge Norton T, eds. Nonconformist art: The Soviet experience, 1956-1986 : the Norton and Nancy Dodge Collection, the Jane Voorhees Zimmerli Art Museum, Rutgers, the State University of New Jersey. New York: Thames and Hudson in association with the Jane Voorhees Zimmerli Art Museum, 1995.

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Santa Barbara Museum of Art, ed. Pasadena to Santa Barbara: A selected history of art in Southern California, 1951-1969. Santa Barbara: Santa Barbara Museum of Art, 2012.

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Book chapters on the topic "Norton Museum of Art"

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Hay, Bruce L. "Von Saher v. Norton Simon Museum of Art." In Nazi-Looted Art and the Law, 115–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64967-2_6.

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Kidd, Jenny. "The transmedia museum." In Curating Art, 328–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-48.

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Ban, Shigeru. "Paper Art Museum." In Transparente Kunststoffe, 104–9. Basel: Birkhäuser Basel, 2008. http://dx.doi.org/10.1007/978-3-7643-8294-0_15.

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Ryan, Michael. "Yaroslavl Art Museum." In Revisiting Museums of Influence, 193–96. Abingdon, Oxon ; New York : Routledge, [2021]: Routledge, 2020. http://dx.doi.org/10.4324/9781003003977-44.

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Plevoets, Bie, and Koenraad Van Cleempoel. "Kolumba Art Museum." In Adaptive Reuse of the Built Heritage, 157–61. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315161440-15.

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Ezeluomba, Ndubuisi C. "The development of the exhibition of African art in American art museums." In Museum Innovation, 40–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003038184-4.

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Hubard, Olga. "Introduction: What Is Gallery Teaching?" In Art Museum Education, 1–6. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_1.

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Hubard, Olga. "Complete Engagement: Embodied Response and Multimodal Facilitation." In Art Museum Education, 121–37. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_10.

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Hubard, Olga. "Originals and Their Reproductions." In Art Museum Education, 138–56. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_11.

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Hubard, Olga. "Three Kinds of Dialogue about Art." In Art Museum Education, 9–21. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_2.

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Conference papers on the topic "Norton Museum of Art"

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Maher, Harmon. "BRINGING TO LIGHT GEOLOGY IN THE ART AND STONE OF JOSLYN ART MUSEUM, OMAHA: A SERVICE LEARNING PROJECT." In 52nd Annual North-Central GSA Section Meeting - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018nc-312163.

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Baba, Shinsuke, Jennifer Meloon, and Stephen Duck. "K museum." In ACM SIGGRAPH 99 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/312379.312971.

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Livatino, Salvatore. "Virtual Museum of Contemporary Art." In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.

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Zhou, Hao. "Virtual Reality in the Art Museum." In SA '19: SIGGRAPH Asia 2019. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3366344.3366441.

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Chang, Wen-Thong. "Proactive guiding with iBeacon in Art Museum." In 2017 Pacific Neighborhood Consortium Annual Conference and Joint Meetings (PNC). IEEE, 2017. http://dx.doi.org/10.23919/pnc.2017.8203530.

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Chang, Yujin. "SIMPLE LIFE (CHANG UCCHIN MUSEUM OF ART)." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.02.

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Jiang, Fei. "An Augmented Reality Art Work for Museum." In 2015 International Conference on Computer Science and Intelligent Communication. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/csic-15.2015.22.

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Stella, Stella, Eddy Supriyatna Marizar, and Maria Florencia. "Interactive Design Concept on Art: 1 New Museum and Art Space." In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.092.

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Xing, Yongkang, and Qianhong Cheng. "Interactive Future of Museum Encouraging Youth Group to Engage with Museum." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.164.

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Birchfield, David, Brandon Mechtley, Sarah Hatton, and Harvey Thornburg. "Mixed-reality learning in the art museum context." In Proceeding of the 16th ACM international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1459359.1459534.

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Reports on the topic "Norton Museum of Art"

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Fox, Andrew, and Sadie Walters. North Carolina Museum of Art West Building Expansion. Landscape Architecture Foundation, 2015. http://dx.doi.org/10.31353/cs0940.

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Westermann, Mariët, Liam Sweeney, and Roger Schonfeld. Art Museum Staff Demographic Survey 2018. Ithaka S+R, January 2019. http://dx.doi.org/10.18665/sr.310935.

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Sweeney, Liam, Deirdre Harkins, and Joanna Dressel. Art Museum Staff Demographic Survey 2022. Ithaka S+R, November 2022. http://dx.doi.org/10.18665/sr.317927.

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Sweeney, Liam, and Joanna Dressel. Art Museum Director Survey 2022: Documenting Change in Museum Strategy and Operations. Ithaka S+R, October 2022. http://dx.doi.org/10.18665/sr.317777.

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Schonfeld, Roger, and Liam Sweeney. Organizing the Work of the Art Museum. Ithaka S+R, July 2019. http://dx.doi.org/10.18665/sr.311731.

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Sweeney, Liam, and Jennifer Frederick. Ithaka S+R Art Museum Director Survey 2020. Ithaka S+R, November 2020. http://dx.doi.org/10.18665/sr.314362.

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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Abstract:
The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Miller, N. J., and S. M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1220103.

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Miller, Naomi J. Demonstration of LED Retrofit Lamps at the Jordan Schnitzer Museum of Art. Office of Scientific and Technical Information (OSTI), September 2011. http://dx.doi.org/10.2172/1062520.

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Sweeney, Liam. Reflecting Los Angeles, Decentralized and Global: Los Angeles County Museum of Art. Ithaka S+R, January 2018. http://dx.doi.org/10.18665/sr.306187.

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