Relevant bibliographies by topics / Reading Public Museum and Art Gallery

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Reading Public Museum and Art Gallery'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Reading Public Museum and Art Gallery"

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Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.

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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.
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Nofrizaldi, Nofrizaldi, Pungky Febi Arifianto, and Elianna Gerda Pertiwi. "ANALISIS TANDA VISUAL DALAM TAGAR CORONA ART MUSEUM." Jurnal Bahasa Rupa 4, no. 1 (October 28, 2020): 42–49. http://dx.doi.org/10.31598/bahasarupa.v4i1.614.

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The gallery is a space of interaction between artists and audiences. In the era of pamdemik covid, gallery space was closed due to physical distancing. Imaginary space is built by utilizing communication and information technology. Instagram as a digital platform is widely used as a space for building artistic interactions. Through the hashtag of Corona Art Museum, the writer looks for some visual works to be used as object of analysis. Verbal and visual signs in the visual content will be dissected using the classification of signs: icons, indexes, symbols from Charles S. Peirce and the system of meaning production of codes using The Five Code: Hermeunetic, Narrative, Cultural, Semantik & Symbolic from Roland Barthes. The reading of visual signs will use the Sumbo Tinarbuko Triadik in looking at aspects of visual communication. The results of reading visual signs will reveal how visual content in an imaginary space can be a space of expression and the existence of an artist / designer.
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Pane, Imam Faisal, and Rahmita Dewi Lubis. "Museum and Gallery of Contemporary Art Medan (Contemporary Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 82–90. http://dx.doi.org/10.32734/ijau.v1i1.265.

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The Museum is a place to see showpieces as art, artifacts, and other cultural relics. The purpose of the museum is not only for education but also as entertainment. This design takes the case study of a contemporary art museum. This museum has a gallery, which function is to sell and auction the contemporary art. This Museum and Gallery designed with contemporary architecture style, suitable for the main function of the building which is museum and gallery of contemporary art. The museum and gallery will also help to develop the tourism in Medan and to be an education facility to the public. There are few steps made in the process of completing the design; the first one is by collecting data from the literature, books, journal, magazine, the internet, survey, and interview. And from the data collected, the design for Museum and Gallery of Contemporary Art will be produced.
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Chalas, Agnieszka. "Toward Evaluating Art Museum Education at the Art Gallery of Ontario." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (October 17, 2016): 121. http://dx.doi.org/10.26443/crae.v43i1.21.

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Abstract: Over the past three decades, the museum education field has seen a rise in the frequency of program evaluation. In this paper, I convey little known information about program evaluation at the Art Gallery of Ontario by presenting my findings from an interview I conducted with Judy Koke, the gallery’s Chief of Public Programming and Learning. Our discussion highlights both the barriers the AGO has faced on their journey toward evaluating programmatic value and the strategies the gallery has employed in an effort to enhance its internal evaluation efforts. A brief overview of program evaluation in museums provides the background to this discussion. KEYWORDS: Art museum education; Program evaluationRésumé: Le domaine de la pédagogie muséale a connu au cours des trois dernières décennies un essor quant au nombre d’évaluations de programmes. Je transmets ici le peu de renseignements connus sur l’évaluation des programmes au Musée des beaux-arts de l’Ontario (AGO), au terme d’une entrevue que j’ai menée avec Judy Koke, directrice de l’apprentissage et de la programmation à l’intention du public au Musée. Notre discussion met en évidence tant les obstacles rencontrés par l’AGO dans le cadre de l’évaluation de la valeur des programmes que les stratégies utilisées par le musée pour rehausser ses activités internes d’évaluation. Un bref aperçu de l’évaluation des programmes dans les musées met notre discussion en contexte.MOTS CLES: Éducation musée d'art; évaluation du programme.
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Bennett, James. "Islamic Art at The Art Gallery of South Australia." SUHUF 2, no. 2 (November 21, 2015): 285–90. http://dx.doi.org/10.22548/shf.v2i2.93.

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OVER the past ten years, Australia has increasingly aware of Muslim cultures yet today there is still only one permanent public display dedicated to Islamic art in this country. Perhaps it is not surprising that the Art Gallery of South Australia in Adelaide made the pioneer decision in 2003 to present Islamic art as a special feature for visitors to this art museum. Adelaide has a long history of contact with Islam. Following the Art Gallery’s establishment in 1881, the oldest mosque in Australia was opened in 1888 in the city for use by Afghan cameleers who were important in assisting in the early European colonization of the harsh interior of the Australian continent
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
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Szubielska, Magdalena, and Kamil Imbir. "The aesthetic experience of critical art: The effects of the context of an art gallery and the way of providing curatorial information." PLOS ONE 16, no. 5 (May 28, 2021): e0250924. http://dx.doi.org/10.1371/journal.pone.0250924.

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The aim of our research was to investigate the influence of the situational context of presenting contemporary critical artworks (in an art gallery vs in a laboratory setting) and the way in which one is acquainted with contextual information, i.e. a curatorial description (reading it on one’s own vs listening to it vs a lack of curatorial information), on the reception of critical art. All experimental stimuli were exemplars of contemporary art which raise current controversial social and political issues. Non-experts in the field of art were asked to rate their emotional reactions on non-verbal scales and estimate their liking and understanding of the artworks. As predicted, the art gallery context increased both the experience of aesthetic emotions–in terms of valence, arousal, subjective significance, and dominance and aesthetic judgements–in terms of liking. Thus, for critical art (i.e. current artworks which critically address serious, up-to-date issues) the situational context of the gallery increased the aesthetic experience–which is in line with previous studies on the gallery (or museum) effect. Curatorial information increased understanding, so non-experts seem to need interpretative guidance in the reception of critical art. Subjective significance was higher in the reading of curatorial information condition than the listening to curatorial information condition or the control condition (a lack of curatorial information). It seems, therefore, that art non-experts have a better understanding of critical art after being exposed to the curatorial description, but this does not result in an increase in liking and aesthetic emotions. Probably this is because the curatorial description allows one to grasp the difficult, often unpleasant issue addressed by critical art.
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KIM, SEOYOUNG. "QR Code Design of Museum that incorporates Museum Identity -focused on four public art gallery in Jeju-." Journal of Digital Contents Society 16, no. 2 (April 30, 2015): 263–74. http://dx.doi.org/10.9728/dcs.2015.16.2.263.

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Ananiev, V. G. "J. A. Schmidt on the research departments of museum galleries." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 11–14. http://dx.doi.org/10.30725/2619-0303-2020-4-11-14.

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One of the most topical issues in the museum history is the question of the relationship between international and national principles in museum practice and museological thought. In this article, using the example of a report read by the curator of the Hermitage Picture Gallery, James Alfredovich Schmidt (1876–1933) at the Institute of Art History in 1926, the author shows the connection between international trends and early Soviet museological thought. Schmidt’s report is based on the idea of the need to divide the collection of an art museum (picture gallery) into two parts. One part should include the most significant works and be intended for the public. The second – the research department – should be oriented to the work of experts. We find the same ideas in the most significant international research projects in museology of the era – volumes of articles «Museums: An International Study on the Reform of Public Galleries» (1931) and «Museography: Architecture and Organization of Art Museums» (1935). The author establishes a connection between these ideas and the concept of the canon, which was forming in this period, in relation to the history of art.
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Holman, Valerie. "Reading between the lines: museum and gallery publications in mid-Victorian England." Art Libraries Journal 25, no. 2 (2000): 36–39. http://dx.doi.org/10.1017/s0307472200011597.

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When national museums and galleries were still a relatively new form of public institution, official policies of accessibility and popular education were frequently expressed through a sustained use of metaphor drawn from the discourse of the book. Museums became repositories of knowledge or sources of information on good design, and the visitors readers of objects. Such rhetorical devices could prove counter-productive, for they were based on assumptions, not facts, about the extent of popular literacy and the nature and diversity of reading practices, and yet this form of conceptualisation affected the form, content and quantity of early museum and gallery publications.
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Dissertations / Theses on the topic "Reading Public Museum and Art Gallery"

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Morgan, Makayla Q. "Making Gallery Groups at a Public Art Museum Accessible to People with Aphasia." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586515207124486.

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Hook, Sarah. "Reading the gallery : portraits and texts in the mid- to late nineteenth century." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:87ad5989-055a-4777-9418-5f636afd6f96.

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The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.
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Dettlaff, Tomas. "Malmö konsthall i tid och rum – en fallstudie om visuell identitet och platsmarknadsföring." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22536.

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This thesis examines how techniques from place marketing, developed to market places, can be used in the process of designing a visual identity for an institution. The thesis is a case study of the development of a new visual identity for the public art institution Malmö konsthall. The essay presents Malmö Konsthall, defines the term visual identity and describes the main principles in place branding. I then define target audiences and key values, discuss the application of place marketing principle and go through the design process of the new visual identity. The process showed that theories about flagship buildings, signature design and signature districts have the biggest influence on the design. The conclusion is that theories from place marketing can be valuable tools for graphic designers, and would benefit from being explored further. Several strategies in place marketing function, mainly those relating to environment and architecture, can be of direct benefit to the designer.
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Hoppe, Erin Jeane. "The Value of a Student and Community Docent Program: A Case Study at the Wexner Center for the Arts." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213307685.

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Jung, Chang Sung. "Agencification and quangocratisation of cultural organisations in the U.K. and South Korea : theory and policy." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15930.

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This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explain these phenomena. Case studies are presented of Tate Modern in the UK and the National Museum of Modern and Contemporary Art (MMCA), which are carefully analysed to examine the validity of those nine arguments. Although cultural agencies, which show some unique features, have become increasingly an essential part of the national economy, they have scarcely been researched from the viewpoint of public policy. This thesis endeavours to explore distinctive characteristics of this policy area; and moreover, it examines the diverse variables which have an impact on policy formation and its results through the process of comparison of arguments. The major tasks of this thesis are to investigate the applicability of the nine arguments and to weigh their merits. As a corollary of this comprehensiveness, it examines the whole public sectors of both countries, in order to show the broader picture and to understand the processes of changes and their backgrounds. More profoundly, similarities and differences between both countries are compared from both macro and micro perspectives. At the same time, the results of AQ are analysed through the comparison of outputs or outcomes before and after these changes, with a view to exploring whether their rationales are appropriate. Furthermore, it also examines the institutional constraints which influence not only the change of agencies but also their performances. Besides which, it seeks to find strategies for overcoming these constraints. This thesis adopts systematic and comprehensive approaches regarding basic concepts and data. It draws on theories of comparative research, the scope of the public sector, the classification and analysis of agencies and quangos, and theories underlying the detailed components of each argument and epistemological assumptions. Therefore, it suggests various aspects which enable us to broaden our understanding of the changes within the public sector; and to generate practical understanding to inform real world reform.
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Shen, Hsiu-Yen, and 沈秀燕. "The Public Program in Art Museum: Case Study of Vancouver Art Gallery." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/24879841052643165676.

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碩士
臺南藝術學院
博物館學研究所
88
Abstract The purpose of this research is to understand museum management in terms of its programs in public education. I am going to use Vancouver Art Gallery, a museum located in western Canada, as a research topic. Using its internal organization, educational programs, activities strategies, and different activities to analyze the context in managing public programs in a way to provide a reference to museum management in Taiwan. As far as I am concerned, Vancouver Art Gallery offers a wide variety of in-depth educational activities. It not only meets the needs of professional artists and those who love art, but also places emphasis on promoting public education. Thus, this research can be useful to people who are into using art as a mean to promote education. This research has the following observations on the management of Vancouver Art Gallery: 1. Case background: its education departments. 2. Employee management: training. 3. The management of time and space. 4. The development of education activities. 5. Public Program's contents and structures. 6. Interpretation of the activities in depth observation . Conclusion based on observations, documents analysis, and interviews: 1. Intensive employee training. 2. Learning in art gallery has the proper and professional museum learning atmosphere and features. 3. Regular activities offer good attractions for promoting museum visits. 4. It provides adequate time for activity planning. 5. Abundant resources for activity designing. 6. Its activities are designed with the society in mind. 7. Program contents are lively and attractive to the public for easy acceptance. 8. Program contents are designed based on interpretation of art. 9. Program designs are for bringing more and new visits. 10. Its strategies in education activities are all meant to interpret the exhibitions: 1). Using interchangeable skills. 2). Using hands-on strategies. 3). Using observation strategies. 4). Using the art creative process. 5). Using curiosity. 6). Using souvenir. 7). Creating a museum visit that is both relaxing and fun. From my research in the gallery, I understand the main purpose of education programs is all centered on museum itself. Let people learning from education activities, which are designed to understand exhibitions. Museum activities are here to benefit the public and thus should have different activities to meet different needs of the public. I will use these two standards to observe the education activities of local museums and provide my own suggestions.
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Plaskocinska, Patrycja. "Between hair and the Johannesburg art gallery: a hair museum mediating the disjointed context by inspiring public ownership through the celebration of an African Art Form." Thesis, 2015. http://hdl.handle.net/10539/17581.

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Master of Architecture [Professional] at the University of the Witwatersrand, Johannesburg, South Africa, in the year 2014.
In the case of Johannesburg, unlike cities around the world that experienced inner city decline, its city centre was never entirely abandoned. It experienced rapid social change. As Johannesburg was beginning to change, the Johannesburg Art Gallery (JAG) was experiencing a declining number of visitors. Unable to engage with the changing social structure, a fence was built around it and JAG turned itself inwards. This thesis explores the intention to take advantage of the rich and dynamic informal industry of hair that has emerged around JAG. Hair is loaded with social, sexual and political undercurrents. In an African city that has been colonized and becoming increasingly globalised, hair’s relevance in terms of politics must be brought to the forefront. By acknowledging the thriving inner workings and its contributors and by engaging in a critical discussion that people can relate to, JAG will be embraced by the community again. An intervention of mediation through architecture is proposed. A Hair Museum perched on the opposite side of the railway that weaves JAG closer into its current context by opening and improving dialogue between the disjointed surroundings. A new museum as a mediator explores the idea of museum-asurban system. The question is asked whether a public institution is capable of assisting a society through a museum by looking at the concept of the Greek ideal of kalokagathia, which means the perfection of the body and city based on balance, justice and proportion. This thesis essentially explores Julian Carman’s idea of a museum1; that the key to JAG’s survival and upliftment lies only if it inspires public ownership. This thesis will explore the significance of celebrating hair in an African city with visible impacts of an imperialist past. By celebrating hair, thereby beginning the discourse of it’s connotations, will allow for a transgression into where society and its’ perception of itself stands in a globalizating world. Museum’s play a key role in society to not only preserve memories but also re-ordering them and making sense of them for later generations (Watson, 2007: 4). The proposed Hair Museum as mediator is not so much about saving a contested and feared city- as much as it is about embracing the new spirit of the city and encouraging the potential held within. 1 Julian Carman, Author of ‘Uplifting The Colonial Philistine: Florence Phillips And The Making Of The Johannesburg Art Gallery’. See References.
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Books on the topic "Reading Public Museum and Art Gallery"

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Reading Public Museum and Art Gallery (Pa.). The Reading Public Museum and Art Gallery: Selections from the permanent collection. Reading, Pa. (500 Museum Rd., Reading 19611-1425): The Museum, 1986.

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Sanctis, M. De. The Bayeux tapestry: The City of Bayeux Tapestry and the Reading Museum and Art Gallery facsimile. Farnborough: Norton, 1993.

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Galleries, Ontario Association of Art. Ontario Association of Art Galleries' human resources package: For the recruitment, hiring and management of the executive director in a public art gallery. [Toronto]: The Association, 1994.

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The National Gallery of Canada: Ideas, art, architecture. Montreal: McGill-Queen's University Press, 2003.

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Sichel, Kim. Philip Guston, 1975-1980: Private and public battles. Boston: Boston University Art Gallery, 1994.

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Borza, Pace Maria. Issues of national identity and the changing perception of identity in irish public art collection and display in the 20th century: Case studies : The Republic of Ireland Hugh Lane Municipal Gallery, Dublin Irish Museum of Modern Art, Dublin. (s.l: The Author), 2004.

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Papua New Guinea. National Parliament. Public Accounts Committee. Public Accounts Committee report to Parliament on the inquiry into the National Museum and Art Gallery and the sale and export of the Swamp Ghost aircraft. [Papua New Guinea: Public Accounts Committee], 2007.

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Victoria and Albert museum. Vision & accident: The story of the Victoria and Albert Museum. London: V&A Publications, 1999.

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1939-, Rosenfeld Lucy D., ed. Artwalks in New York: Delightful discoveries of public art and gardens in Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. New York: M. Kesend Pub., 1991.

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Harrison, Marina. Artwalks in New York: Delightful discoveries of public art and gardens in Manhattan, Brooklyn, Queens, the Bronx, and Staten Island. 3rd ed. New York: New York University Press, 2004.

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Book chapters on the topic "Reading Public Museum and Art Gallery"

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Whitehead, Christopher. "Debating the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 125–50. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-6.

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Whitehead, Christopher. "Refiguring the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 151–76. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-7.

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Whitehead, Christopher. "The Enlarged National Gallery in 1876." In The Public Art Museum in Nineteenth Century Britain, 238–45. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-10.

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Whitehead, Christopher. "Negotiating the Construction of the National Gallery." In The Public Art Museum in Nineteenth Century Britain, 177–204. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-8.

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"Producing a public for art: gallery space in the twenty-first century." In Reshaping Museum Space, 122–31. Routledge, 2005. http://dx.doi.org/10.4324/9780203483220-17.

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"On the Ideal Relations of Public Libraries, Museums, and Art Gallery to the City." In Museum Origins, 79–82. Routledge, 2016. http://dx.doi.org/10.4324/9781315424019-22.

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Duncan, Carol. "From the Princely Gallery to the Public Art Museum: The Louvre Museum and the National Gallery, London." In Grasping the World, 250–77. Routledge, 2019. http://dx.doi.org/10.4324/9780429399671-17.

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Moore, James. "Challenging ‘the ocean of mediocrity and pretence’? The alternative visions of the Whitworth and Harris galleries." In High culture and tall chimneys, 221–50. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784991470.003.0008.

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The Whitworth Gallery in Manchester and the Harris Museum and Gallery in Preston provided an alternative vision for the future of art galleries. Rejecting what they saw as excessive commercialism and populism these galleries defined different approaches to public art. This chapter examines these approaches and assesses both their successes and their cultural significance for the region. It also raises question about the nature of ‘public art’ – could it be genuinely inclusive, while being led by an essentially small group of cultural leaders?
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