Relevant bibliographies by topics / Noyes 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 'Noyes Museum of Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Noyes Museum of Art"

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Burganova, Maria A. "The Future Belongs to Those Who Can Make it a Reality." Scientific and analytical journal Burganov House. The space of culture 18, no. 6 (December 10, 2022): 64–72. http://dx.doi.org/10.36340/2071-6818-2022-18-6-64-72.

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The article is devoted to the specifics of modern museums, positioning themselves as museums of the future. The author analyses this new format in the world of museums. The Museum of the Future in Dubai, created by Sean Killa with the participation of Killa Design, Buro Happold and Mattar ben Lahej, serves as an example. The author notes a particular interest in the construction of museums around the world. This arises from the unique purpose of such objects - their ability to become a symbol of the city and, in a certain sense, create its positive image in the public mind. Such prominent architects as Zaha Hadid, Peter Schweger, Aldo Rossi, Hans Hollein, Axel Schultes, Shigeru Ban and others paid attention to the construction of museums. Considering several relatively new museum buildings, the author identifies some general trends, among which, first of all, are the expressiveness of architectural images and a change in the museum concept. As a rule, there are no works of art in the museum of the future. The author believes that this is perhaps the most shocking moment experienced by those visitors who were hoping for a meeting with the classics or contemporary art. The traditional image of the temple of the muses and the national treasury has been replaced by a new museum, in which the priority is given to meeting with the event. Now the museum is a place of educational programs, an opportunity to test one’s creative abilities. The modern museum, which has chosen the position of interpreting the future, is a kind of intellectual, communicative, public centre with leisure services.
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Embrick, David G., Simón Weffer, and Silvia Dómínguez. "White sanctuaries: race and place in art museums." International Journal of Sociology and Social Policy 39, no. 11/12 (October 14, 2019): 995–1009. http://dx.doi.org/10.1108/ijssp-11-2018-0186.

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Purpose This paper examines the Art Institute of Chicago – a nationally recognized museum – as a white sanctuary, i.e., a white institutional space within a racialized social system that serves to reassure whites of their dominant position in society. The purpose of this paper is to highlight how museums create and maintain white spaces within the greater context of being an institution for the general public. Design/methodology/approach The empirical analysis of this study is based on collaborative ethnographic data collected over a three-year period of time conducted by the first two authors, and consists of hundreds of photos and hundreds of hours of participant observations and field notes. The data are analyzed using descriptive methods and content analyses. Findings The findings highlight three specific racial mechanisms that speak to how white spaces are created, recreated and maintained within nationally and internationally elite museums: spatiality, the policing of space, and the management of access. Research limitations/implications Sociological research on how white spaces are maintained in racialized organizations is limited. This paper extends to museums’ institutional role in maintaining white supremacy, as white sanctuaries. Originality/value This paper adds to the existing literature on race, place and space by highlighting three specific racial mechanisms in museum institutions that help to maintain white supremacy, white normality(ies), and serve to facilitate a reassurance to whites’ anxieties, fears and fragilities about their group position in society – that which helps to preserve their psychological wages of whiteness in safe white spaces.
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Kugusheva, Alexandra Yu. "The lost prewar collection of the Simferopol Art Gallery (1937–1941)." Issues of Museology 12, no. 1 (2021): 28–34. http://dx.doi.org/10.21638/spbu27.2021.103.

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The article highlights the history of the prewar collection of the Simferopol Art Museum in 1937–1941 and notes the most important works of art lost. The events that accompanied the loss of the collection during the Great Patriotic War were repeatedly covered by the museum in publications. According to official data, during the evacuation in October 1941, the boxes with the exhibits and the museum archive were transported to Kerch where they were burnt during a fire in the port caused by the bombing of enemy aircraft. For many years, the museum’s employees Galina I. Fedotova, Natalya D. Dyachenko and Natalya F. Grishchenko studied documents in the Simferopol, Moscow and St. Petersburg archives to restore the list of exhibits from the prewar collection. The result of their work was an extensive “Catalog of the values of the Simferopol Art Museum, lost during the Second World War” (2002), which is presented in the documentary archive of the museum. The main sections of the permanent exhibition of the prewar collection of the Simferopol Art Gallery are marked in the catalog. This information is of great importance for Russian museum science: many items transferred in 1937–1941 to the Simferopol collection were previously included in the funds of the State Russian Museum, the Tretyakov Gallery, the Hermitage and other major museum collections.
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Soloshenko, V. "Looting of Cultural Property in Europe for the Fuhrer – Museum in Linz." Problems of World History, no. 13 (March 18, 2021): 190–202. http://dx.doi.org/10.46869/2707-6776-2021-13-9.

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The article analyzes the activities of the Nazi “Special Mission Linz”, its organization and preparations for the opening of the Fuhrer-Museum in Linz. By A. Hitler’s design, Berlin was supposed to become a kind of Rome, and Linz – to become the European capital of world art. Although this museum was never established, its creation project and precious collections, most of which were seized from Jewish families, deserve a great deal of attention, and the connected with it secrets continue to be a concern of mankind. The crucial role in the selection and formation of the creating museum's expositions was played by its leaders. They took charge of future museum and selected for it the most precious items of the looted collections of Europe, coordinating the process of museum’s filling with Hitler. The author finds out that the Fuhrer-Museum in Linz expositions consisted mainly of art collections of Jews. The main criterion for the selection of valuable pieces of art for the museum was its belonging to the European high art. The article analyzes the components of the “mission’s” activities, outlines the routes of the artworks, which got into the museum collections in different ways. Besides, significant attention is paid in the article to the key figures: architects whose projects were approved by the Fuhrer, leaders of the museum in Linz – art historians and other executors who were directly involved in organizing and conducting of a large-scale looting of cultural property in Europe. The author notes that the purpose of the “Special Mission Linz”, was, inter alia, to find artworks created by masters of “Aryan” birth. The study emphasizes that such kind of museum establishment was an attempt to prove the greatness and steadfastness of the German Reich. It is noted in the article that Hitler was planning to build cultural centers in Königsberg and Drontheim (Norway) during the war. The Fuhrer wanted to establish a museum with cultural property from Eastern Europe in Königsberg, and the artworks of German authors were supposed to decorate the exposition of the newly created museum in Drontheim – the northernmost center of the future Great Empire. The fact that the Fuhrer-Museum in Linz was never built does not give any grounds to reject the facts of systematic looting and confiscation of cultural property that were conducting during many years of Nazi rule.
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Rocheleau, Caroline M., and John H. Taylor. "Redating the Coffins of the North Carolina Museum of Art." Journal of Egyptian Archaeology 103, no. 2 (December 2017): 203–21. http://dx.doi.org/10.1177/0307513317741416.

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The two little-known coffins in the Egyptian collection of the North Carolina Museum of Art, Raleigh, USA, have recently been the subjects of scholarly research. The present article offers a detailed description of the decorative scheme of the coffins and the subsequent re-dating and provenance attribution based on iconography and design. The article also includes a few notes on each of the deceased’s names and titles, an overview of the inscriptions, and a brief examination of the materials and construction methods.
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Cymbala, Amy. "Editorial Notes: Exhibition Complex: Displaying People, Identity, and Culture." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 96–97. http://dx.doi.org/10.5195/contemp.2014.116.

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Editorial Notes on section relating to submissions from the symposium Exhibition Complex: Displaying People, Identity, and Culture held October 18-20, 2012 at the Carnegie Museum of Art, Pittsburgh, Pennsylvania.
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Igumnova, E. V. "Роджер Фрай и Дж.П. Морган: из истории собрания европейской живописи в музее Метрополитен." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 134–45. http://dx.doi.org/10.46748/arteuras.2020.04.011.

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The article examines the contribution of the British art historian and critic Roger Fry to the study of Italian painting of the Renaissance, his role in the noble community of that time, work on the search for works for large museums (special attention is paid to his relations with the Metropolitan Museum and its patron J.P. Morgan) and attribution problems. The study notes the evolution of Fry's views, going from interests in Italian art to the works of modern masters and the creation of a theory of “significant form”. В статье рассматривается вклад британского историка искусства и критика Роджера Фрая в изучение итальянской живописи эпохи Возрождения, его роль в знаточеском сообществе того времени, работа по поиску произведений для крупных музеев (особое внимание уделено его отношениям с нью-йоркским музеем Метрополитен и коллекционером Дж.П. Морганом) и проблемам атрибуции. В исследовании отмечена эволюция взглядов Фрая, идущая от интересов к итальянскому искусству к работам современных мастеров и созданию теории «значимой формы».
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Anderson, Maxwell L. "Notes on the Mission of the Whitney Museum of American Art." American Art 13, no. 2 (July 1999): 84–86. http://dx.doi.org/10.1086/424343.

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Bessonova, Albina, and Vladimir Viktorovich. "Searching for the Dostoevsky House (Notes on the Failed Sensation)." Неизвестный Достоевский 9, no. 1 (March 2022): 20–37. http://dx.doi.org/10.15393/j10.art.2022.5961.

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The article presents the facts that contradict A. S. Syrovatko’s statement, which claims that the current territory of the Museum is not related to the Dostoevsky estate (The Unknown Dostoevsky. 2021. No. 4). When studied objectively, the objects found during the excavations do not contradict the presence of “traces of Dostoevsky.” The so-called memorial period of estate ownership by the writer’s parents, which lasted only seven years, was unable to leave too many traces, and the objects found by archaeologists in the 18th — early 19th centuries could have been used by the Dostoevsky family up to 1830s. Additional arguments are introduced to resolve the dispute: the result of the dendrological examination and written sources (previously known and recently discovered), namely, boundary plans, memoirs and diaries of A. M. Dostoevsky, family correspondence. The proposed comprehensive approach and a comparison of all the currently available sources, allows us to attribute the location of the Dostoevsky manor house to the preserved wing where the museum was recently opened. In connection with the problem of identification of the museum house, the hypotheses of other authors are considered (T. N. Dementieva and L. A. Tarasova, L. A. Voronkina) about the cardinal changes that took place in the architecture of the manor Darovoe at different times. Sources indicate, on the contrary, a certain continuity in the development of the estate under all three of its owners: the Khotyaintsev, Dostoevsky and Ivanov families. The key factor is the location of two “mounds” under the lime trees as “green canteens” tied to the manor house, and on the other side, the border between the landowner’s estate and peasant homesteads remained unchanged (as confirmed by archival documents and the boundary wall and moat preserved). Conservative localization is characteristic of the life in a noble estate, once and forever inscribed in the surrounding landscape. Taking into account the experience of their predecessors, the Dostoevskys and Ivanovs did not make radical changes to the space inhabited before them, and their house did not change its location.
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Ozola, Silvija. "ALEXANDER STREKAVIN’S (1889–1971) DRAWINGS OF MITAU – EVIDENCE FOR THE 19TH– EARLY 20TH-CENTURY INVENTIONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 653–79. http://dx.doi.org/10.17770/sie2021vol4.6203.

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Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical innovations – bicycles, the first car in the Baltics and the first phonograph in Mitau, clothes of citizens during the 19th century and at the beginning 20th century. Since the 1950s, six notebooks in Latvian with memoirs recalling by Aleksander Strekavin and an illustrative appendix – a collection of his drawings “The Atlas of Notes on Ancient Mitau” are in the funds of Jelgava History and Art Museum of Ģederts Eliass. Research object: drawings of artist Alexander Strekavin. Research goal: analysis of changes in Mitau during the 19th century and at the beginning 20th century. Research problem: Strekavin’s drawings stored in the funds of Jelgava History and Art Museum have not been studied. Research novelty: analysis of information on technical innovations included in “The Atlas of Notes on Ancient Mitau”. Research methods: studies of published literature, cartographic materials and archive documents.
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Dissertations / Theses on the topic "Noyes Museum of Art"

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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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Lange, Andreas. "The Surreal Museum: An Intervention for the Cincinnati Art Museum." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179159972.

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Thesis (Master of Architecture)--University of Cincinnati, 2007.
Title from electronic theses title page (viewed July 12, 2007). Includes abstract. Keywords: Cincinnati Art Museum; Addition; Intervention; Surrealism; unheimlich; museum; Architecture Includes bibliographic references.
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Jalkanen, Dayna Marie. "Art Around Town." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285100432.

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Ng, Victor, and 伍達文. "Art ropolis: redefining the museum of (new) art, TST." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986717.

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Books on the topic "Noyes Museum of Art"

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Exhibition, American Society of Marine Artists National. Contemporary American marine art: 30th anniversary exhibition, the American Society of Marine Artists in assocation with Chase Center on the Riverfront, Chespeake Bay Maritime Museum, The Noyes Museum of Art, Spartanburg Art Museum, New Bedford Art Museum, 2008-2009. Ambler, Pa: American Society of Marine Artists, 2008.

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Fred and Ethel Noyes of Smithville, New Jersey: The artist and the entrepreneur. Charleston, South Carolina: The History Press, 2013.

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Noyes, Dora. I disegni ritrovati di Dora Noyes: Una fabulazione di Ferrara : per "The story of Ferrara" di Ella Noyes, 1904. Ferrara [Italy]: Deputazione provinciale ferrarese di storia patria, 1996.

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Art museum. Minneapolis, Minnesota: Jump!, Inc., 2016.

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Weber, Ronald L. Emmons's notes on Field Museum's collection of Northwest Coast basketry. Chicago, Ill: Field Museum of Natural History, 1986.

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Kalivas, Fulton Andrea, and Denver Art Museum, eds. Denver Art Museum: Art spaces. London: Scala Publishers Ltd., 2006.

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Friedland, Katy. Art museum opposites. Philadelphia, PA: Philadelphia Museum of Art, 2010.

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Press, Phaidon, ed. The art museum. New York: Phaidon, 2011.

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Hubard, Olga. Art Museum Education. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1.

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Thornton, Emmons George, ed. Emmons's notes on Field Museum's collection of Northwest Coast basketry: Edited with an ethnoarchaeological analysis. Chicago, Ill: Field Museum of Natural History, 1986.

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Book chapters on the topic "Noyes Museum of Art"

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Prota, Andrea, Martino Zito, Danilo D’Angela, Giuseppe Toscano, Carla Ceraldi, Antimo Fiorillo, and Gennaro Magliulo. "Dynamic Properties and Seismic Response of a Museum Display Case with an Art Object." In Lecture Notes in Civil Engineering, 830–39. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21187-4_72.

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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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Huang, Haoli. "“Anti-space” as a New Approach to Museum design—A Case Study of the Influence of Social Sculpture on the General Art Field." In Lecture Notes in Computer Science, 39–50. Cham: Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-18158-0_3.

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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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Conference papers on the topic "Noyes Museum of Art"

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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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Furtado, Rui, and Miguel Pereira. "MAAT - Museum of Art, Architecture and Technology, Lisbon." In International fib Symposium - Conceptual Design of Structures 2021. fib. The International Federation for Structural Concrete, 2021. http://dx.doi.org/10.35789/fib.proc.0055.2021.cdsymp.p028.

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Reports on the topic "Noyes Museum of Art"

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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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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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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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