Relevant bibliographies by topics / Pretoria Art Museum collection

Contents

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

Academic literature on the topic 'Pretoria Art Museum collection'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Pretoria Art Museum collection"

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Offringa, Dirkie, and Suzelle Botha. "The Pretoria Art Museum." de arte 33, no. 57 (April 1998): 58–60. http://dx.doi.org/10.1080/00043389.1998.11761269.

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de Kamper, GC. "The University of Pretoria Art Collection." de arte 42, no. 76 (January 2007): 65–69. http://dx.doi.org/10.1080/00043389.2007.11877083.

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Alexander, Lucy, Marion Arnold, Deborah Bell, Valerie Bester, Joey de Jager, Keith Dietrich, Leon du Plessis, et al. "Exhibition—Unisa Lecturers—Pretoria Art Museum 7 May—1 June 1986." de arte 21, no. 34 (April 1986): 24–30. http://dx.doi.org/10.1080/00043389.1986.11761033.

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Crampton, Sharon. "The art collection of Oliewenhuis Art Museum, Bloemfontein." de arte 37, no. 65 (January 2002): 98–101. http://dx.doi.org/10.1080/00043389.2002.11876993.

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van Schalkwyk, J. A. "The anthropology and archaeology collection of the National Cultural History Museum, Pretoria." de arte 35, no. 61 (April 2000): 83–91. http://dx.doi.org/10.1080/00043389.2000.11761307.

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Board, Editorial. "Cover Art." Public Voices 2, no. 1 (April 11, 2017): 6. http://dx.doi.org/10.22140/pv.419.

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Jasińska, Anna, and Artur Jasiński. "SUSCH MUSEUM." Muzealnictwo 61 (April 2, 2020): 27–38. http://dx.doi.org/10.5604/01.3001.0014.0805.

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Opened in January 2019, the Museum Susch crowned the collecting efforts of Grażyna Kulczyk, who, following her failed attempts at establishing a contemporary art Museum in Poznan and Warsaw, finally found home for her collection in a small Swiss village located between two Alps resorts: Sankt Moritz and Davos. The combination of both spectacular mountainous landscape and the edifices of an old convent into which the display has been built, as well as the purposefully created art pieces, contribute to creating a peculiar atmosphere of the place. Nature, architecture, and art have all merged into one total work here, namely into a contemporary Gesamtkunstwerk. Poland is echoed in the Museum: e.g. the genuine name of the institution: ‘Muzeum Susch’ is a combination of Polish and German words; furthermore, the pieces presented in the collection are to a great extent made up of works by contemporary Polish artists; wooden walls of the Museum Café are decorated with prints showing the Zakopane ‘Under Fir Trees’ (Pod Jedlami) Villa. The question whether Grażyna Kulczyk’s collection has found its final home here, or whether it is still possible for it to return to Poland, continues open. The collector herself does not provide an unambiguous answer to this.
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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (July 1, 2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.
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Barkan, Elazar. "Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art:Royal Art of Benin: The Perls Collection in The Metropolitan Museum of Art." Museum Anthropology 18, no. 1 (February 1994): 58–60. http://dx.doi.org/10.1525/mua.1994.18.1.58.

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Fagerström, Linda, and Elisabet Haglund. "Mexican Art in Lund’s Museum of Sketches, Sweden." Art and Architecture, no. 42 (2010): 34–43. http://dx.doi.org/10.52200/42.a.2j2whvgo.

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The Mexican collection at Lund’s Museum of Sketches in is an unusual and valuable collection both from a Mexican and from an international perspective: the collection was built by Gunnar Bråhammar in the late 1960s, and counts works by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco and Juan O’Gorman but also Francisco Eppens, Rufino Tamayo, González Camarena, Raul Angiano, Leopoldo Méndez and Desiderio Xochitiotzin. The article discusses especially “the New Deal” by Rivera, “the Image of Mexico” at the Museo Nacional de Antropología e Historia in Mexico City by Morado Chavez, and “El Pájaro Amarillo” by Goertiz, and the great stone mosaic at the Central Library of the National Autonomous University of Mexico by O’Gorman.
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Dissertations / Theses on the topic "Pretoria Art Museum collection"

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De, Villiers Katerina Lucya. "The JH Pierneef collection of the City Council of Pretoria housed in the Pretoria Art Museum." Diss., University of Pretoria, 1997. http://hdl.handle.net/2263/27532.

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This study is based on the catalogue/checklist of Pierneef works in the Pretoria Art Museum collection. The artist’s life, social, political and artistic influences of the period, both local and international, may be deduced from works analysed and discussed. The Arts and Crafts movement was a powerful influence affecting ideas on national identity, folk art and the vernacular from the middle of the nineteenth century onwards. A world-wide romantic nationalism stimulated a search for identity and exploitation of the indigenous. It is argued that these trends may be identified in the artistic development of Pierneef who, through friends, wide reading and intensive study was alive to European developments but focused on the indigenous arts of Southern Africa. He was the first South African artist to recognize Busman art and that of the black peoples. They had a profound influence on his own development and the motifs of his art.
Dissertation (MA)--University of Pretoria, 1997.
Historical and Heritage Studies
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Kgokong, Arthur. "South African black artists : in the permanent collection of the Pretoria Art Museum (1964 –1994)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78619.

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The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of South African Old Masters and 17 Century Dutch art. On 15 April 1964, about a month before the museum opened officially to the public, the Selection Committee of the Board of Trustees of the Art Museum instituted by the City Council of Pretoria met to deliberate on how the collection of the museum was to be built in order to expand this nucleus collection further.The result was a series of eight resolutions that favoured the acquisition of South African Old Masters and The Hague School (19thcentury Netherlandish art). In the minutes of that meeting no mention was made of the acquisition of 20thcentury South African black artists. By 1994 about 2 404 units of artworks by white artists had been acquired in contrast to about 86 units of artworks by black artists. The eight resolutions tabulated by the board, can be taken as an informal policy thatthe museum adopted during the thirty-year period of its existence from 1964 to 1994 to acquire artworks. No formal acquisition policy existed as a part of the museum’s acquisition strategy during that three decade period. Fortunately, as the collection grew, there were deviations in the ‘acquisition strategy’ because works by black artists, though collected at a far lesser frequency than those by white artists, found their place in the collection. This research paper is a homage to the contributions of 20thcentury South African black artists’ contributions to the history of South African art.
Dissertation (MSocSci)--University of Pretoria, 2020.
Historical and Heritage Studies
MSocSci
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Baker, Laura. "The New Orleans Museum of Art: Managing the Collection." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/173.

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An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.
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Massey, Ivor Nikolas. "Awakening The Muse: A Museum for the Fisher Family Art Collection." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/36034.

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This thesis is a proposal for a large contemporary art museum on the Presidio Parade Grounds in San Francisco, California. The site is small and historic, thus my solution was to build primarily underground. Through my exploration of designing a subterranean art museum I addressed the challenges of natural lighting, circulation, and curation. The following images document the result of my studies.
Master of Architecture
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Wilson, Janelle. "Accessioning and Managing the Petersburg Area Art League Collection." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2296.

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Since the 1960s, the Petersburg Area Art League (PAAL) has obtained works of art for its permanent collection through purchases, private donations, and through the local art show, the Poplar Lawn Art Festival, later known as Artfest. Recently, however, the organization has decided to become a non-collecting institution in order to focus on its mission to promote the arts in Petersburg through gallery shows for local artists and educational programs. While PAAL’s staff members share a love of art and a dedication to the local community, they have not been trained in professional standards for handling museum collections as outlined by the American Association of Museums (AAM). Consequently, the PAAL collection had not been adequately documented or stored in a manner that protected the works from potential damage or degradation. This museums project was designed to help the Petersburg Area Art League meet AAM standards. During the summer of 2010, the collection of 150 artworks was accessioned; its storage facility was reorganized; a database was created; and a collections management policy that would ensure the continued care of the collection after the completion of this project was written and approved. This paper describes challenges encountered and resolved during the two-month project and provides a reference for those who wish to take on similar projects in the future.
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.

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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Glasscock, Ann Marie. "THE SIXTY-NINTH STREET BRANCH OF THE PHILADELPHIA MUSEUM OF ART: A RESPONSE TO MUSEUM THEORY AND DESIGN." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197756.

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Art History
M.A.
By the 1920s, ideas about the function and appearance of the American art museum were shifting such that they no longer were perceived to be merely storehouses of art. Rather, they were meant to fill a present democratic need of reaching out to the public and actively helping to cultivate the tastes and knowledge of a desired culturally literate citizen. As a result of debates about the museum's mission, audience, and design, in 1931 the Philadelphia Museum of Art opened the first branch museum in the nation on 69th Street in the suburb of Upper Darby in an effort to improve the relationship between the museum and the community. With sponsorship by its parent institution and financing by the Carnegie Corporation of New York City, the two organizations hoped to determine, over a five-year period, whether branch museums, like branch libraries, would be equally successful and valuable in reaching out to the public, both physically and intellectually. The new Sixty-ninth Street Branch Museum was to serve as a valuable mechanism for civic education by encouraging citizens to think constructively about art and for the development of aesthetic satisfaction, but more importantly it was to be a catalyst for social change by integrating the visual arts into the daily life of the community. In this thesis I will demonstrate that, although the first branch museum was only open for a year and a half, it nonetheless succeeded in shaping the way people thought about art and how museums were meant to function as democratic institutions in American society.
Temple University--Theses
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Cengel, Lauren Marie. "Making Meaning and Connections: A Study of the Interpretation and Education Practices for the Medieval Collection at the Cleveland Museum of Art." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397568655.

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le, Roux Salomé. "The face of the University of Pretoria : a critical investigation of selected portraits in the UP Art Collection." Diss., University of Pretoria, 2018. http://hdl.handle.net/2263/65569.

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An institution’s unique identity and culture can be constructed and communicated through the artworks (such as portraits) that it collects, commissions and inherits. As a representation, not only of the identity of the sitter portrayed, but also of various social types and stereotypes circulating in particular cultural contexts, a portrait is an especially powerful visual manifestation of the ‘invisible’ identity and culture an institution aims to establish and maintain. This dissertation explores what the portraits in the University of Pretoria’s Art Collection reveal about this Institution’s values, reputation, identity and culture. The research focuses on the official, commissioned portraits of University officials, as well as portraits in the Collection by Erich Mayer. The main aim of the study is to investigate the discourses that are articulated through the selected portraits by considering the various meanings they convey. Furthermore, this dissertation investigates the ways in which their explicit and implicit meanings might support or negate the University of Pretoria’s envisioned institutional culture and identity. The study argues that artworks in the UP Art Collection that have contentious subject matter and histories need to be rehabilitated and renegotiated in creative, innovative ways, because artworks in the Collection are treasures that provide various benefits to the Institution.
Mini Dissertation (MA)--University of Pretoria, 2018.
Visual Arts
MA
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Pienoski, Christine Marie Pienoski. "Pyramids of Lake Erie: The Historical Evolution of the Cleveland Museum of Art's Egyptian Collection." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461522282.

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Books on the topic "Pretoria Art Museum collection"

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Michael, Komanecky, and Ballinger James K, eds. Phoenix Art Museum: Collection highlights. New York: Harry N. Abrams, 2002.

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Cincinnati Art Museum collection highlights. London: D. Giles, 2008.

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Frederick R. Weisman Art Museum. Weisman Art Museum: The collection. Minneapolis: Frederick R. Weisman Art Museum, 2004.

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1928-, Licht Fred, Tucker Paul Hayes 1950-, and Solomon R. Guggenheim Museum, eds. Guggenheim Museum Thannhauser Collection. New York: Solomon R. Guggenheim Museum, 1992.

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Hickory Museum of Art (Hickory, N.C.). Hickory Museum of Art: American collection. 5th ed. [Hickory, N.C.]: The Museum, 1994.

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Celia, Walker, and Crouch Kaye, eds. Cheekwood Museum of Art collection catalog. Nashville, Tenn: Cheekwood Botanical Garden and Museum of Art, 2001.

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Museum, Derby City. Bretby Art Pottery: A museum collection. Derby: Derby Art Gallery, 1988.

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A, Shields Scott, Breazeale William, Aitali Erin, and Bravo Jesse, eds. The Crocker Art Museum collection: Unveiled. Sacramento, CA: Crocker Art Museum, 2010.

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The Collection: Gothenburg Museum of Art. Gothenburg: Göteborgs Kunstmuseum, 2014.

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(Philippines), National Museum. The National Museum visual arts collection. Manila: National Museum of the Philippines, 1991.

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Book chapters on the topic "Pretoria Art Museum collection"

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Legino, Rafeah, David Forrest, and Nurhanim Zawawi. "Asian Clothing Collection from Museum Victoria Australia." In Proceedings of the Art and Design International Conference (AnDIC 2016), 125–33. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_15.

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Gupta, Tanushree, and M. V. Nair. "Collection Care – The Topic of Focus at the National Museum Institute of History of Art, Conservation and Museology, New Delhi." In Collection Care/Sammlungspflege, 557–64. Wien: Böhlau Verlag, 2015. http://dx.doi.org/10.7767/9783205201939-038.

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Van Raemdonck, Mieke. "1. Isabella Errera and the origin of the collection." In The Ottoman Silk Textiles of the Royal Museum of Art and History in Brussels, 5–8. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.stah-eb.4.000101.

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Herruzo, Ana, and Nikita Pashenkov. "Collection to Creation: Playfully Interpreting the Classics with Contemporary Tools." In Proceedings of the 2020 DigitalFUTURES, 199–207. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4400-6_19.

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AbstractThis paper details an experimental project developed in an academic and pedagogical environment, aiming to bring together visual arts and computer science coursework in the creation of an interactive installation for a live event at The J. Paul Getty Museum. The result incorporates interactive visuals based on the user’s movements and facial expressions, accompanied by synthetic texts generated using machine learning algorithms trained on the museum’s art collection. Special focus is paid to how advances in computing such as Deep Learning and Natural Language Processing can contribute to deeper engagement with users and add new layers of interactivity.
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Brenard, Claire. "The Weather in Our Souls: Curating a National Collection of Second World War Art at the Imperial War Museum." In The Palgrave Handbook of Artistic and Cultural Responses to War since 1914, 201–17. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96986-2_12.

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"The Visible and Invisible: Circulating Images of the Barnes Foundation Collection." In Images of the Art Museum, 133–54. De Gruyter, 2017. http://dx.doi.org/10.1515/9783110341362-007.

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Peleggi, Maurizio. "A Museum and an Art History for the Thai Nation." In Monastery, Monument, Museum. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824866068.003.0006.

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Chapter 5 carries on from the previous chapter by detailing the assemblage of the Bangkok National Museum’s collection along with the formulation in the 1920s of a stylistic classification of antiquities that has since become canonical. The chapter examines the underlying assumptions of the art historical classification elaborated by Prince Damrong Rachanubhap (“the father of Thai history”) and the French scholar George Coedes, fouding director of the Siamese Archaeological Service.
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Lena, Jennifer C. "The Museum of Primitive Art, 1940–1982." In Entitled, 41–69. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691158914.003.0003.

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This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.
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Corcoran, Heather, and Beryl Graham. "Self-Collection, Self-Exhibition? Rhizome and the New Museum." In New Collecting: Exhibiting and Audiences after New Media Art, 97–110. Routledge, 2016. http://dx.doi.org/10.4324/9781315597898-5.

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Walker, Brian. "Exhibitions at the Museum of Cartoon Art: A Personal Recollection." In Comic Art in Museums, 135–51. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0013.

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The Museum of Cartoon Art was the first full-service collection institution dedicated to comic art, founded by the cartoonist Mort Walker (Beetle Bailey, Hi & Lois) in Greenwich, CT in 1974. In this 2009 essay, Mort’s son, Brian Walker, who became the museum’s director and curator, writes of his memories of how the museum was established and operated, key shows the museum organized, and the challenges of running a small non-profit museum. The essay was written when the Walker Collection was donated to the Billy Ireland Cartoon Museum and Library at The Ohio State University. Images: Brian Walker at Mead Mansion, 1975; drawing of Ward’s Castle by John Cullen Murphy. Includes list of exhibitions 1975-1992 and list of cartoonists inducted into the Museum’s Hall of Fame.
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Conference papers on the topic "Pretoria Art Museum collection"

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Purnama, Ika Yuni, Setiawan Sabana, Triyanto Triyanto, and Tjetjep Rohendi Rohidi. "The Value of Art Education at Yogyakarta Presidential Museum: Showroom Theme on the Collection of Art Objects Aesthetic." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.103.

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Wahira, Wahira, Ika Yuni Purnama, Setiawan Sabana, Triyanto Triyanto, and Tjetjep Rohendi Rohidi. "The Value of Art Education at Yogyakarta Presidential Museum: Showroom Theme on the Collection of Art Objects Aesthetic." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.49.

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Hensellek, Betty. "ON THE PROVENANCE OF THE ALANIC MATERIALS IN THE COLLECTION OF THE METROPOLITAN MUSEUM OF ART." In ANCIENT AND MEDIEVAL CULTURES OF CENTRAL ASIA (THE FORMATION, DEVELOPMENT AND INTERACTION OF URBANIZED AND CATTLE-BREEDING SOCIETIES). Institute for the History of Material Culture of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-09-5-293.

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Ripley, William T. "“BUT, HOW DO YOU KNOW”? USING ART AND DINOSAURS TO FOSTER FAMILY LEARNING AT THE CHILDREN’S MUSEUM OF INDIANAPOLIS; THE PALEOART COLLECTION OF JOHN LANZENDORF." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-320638.

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Carabal-Montagud, María Ángeles, Virginia Santamarina Campos, María Del Val Segarra Oña, and María Blanca De Miguel-Molina. "Desarrollo de la competencia tecnológica en el marco STEAM para la docencia universitaria: experiencia en el Museu de Belles Arts de València." In IN-RED 2020: VI Congreso de Innovación Educativa y Docencia en Red. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inred2020.2020.11971.

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STEAM is an innovative teaching-learning process based on Science, Technology, Engineering, Arts and Maths competences. Accordingly with this new approach, a team of Fine Arts and Management professors are currently leading an innovative project based on "Applying STEAM Strategies in the Social Sciences and Arts Areas”. The objective is to establish links between the different STEAM competences -science, technology, engineering, art and mathematics- as a common element in classrooms, enhancing technological training. This new approach motivates students and connects teaching to present society’s needs. In this paper we present an analysis of a teaching experience outside the classroom, developed at the Museu de Belles Arts in Valencia (Spain). In this activity, several tools that use technology with which the students are familiar are used, in which is called “BYOD” (Bring Your Own Device). In this case we analyze the use of the photography as a teaching tool. Some of the characteristics of the activity include free time and different spaces at the museum, DIY -Do it Yourself-, cooperative teamwork, peer learning, integration of theory into practice, flexible thinking and analytical skills. The activity looks to motivate them through gamification. After data collection, debriefing is used for integrating results.
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