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Relevant bibliographies by topics / Spencer museum of art

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Academic literature on the topic 'Spencer museum of art'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Spencer museum of art"

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Wheelwright, Carolyn. "Japanese Women Artists. By Patricia Fister. Lawrence: University of Kansas, Spencer Museum of Art, 1988. 197 pp. $16.95." Journal of Asian Studies 48, no. 4 (November 1989): 857–58. http://dx.doi.org/10.2307/2058163.

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Earle, Susan. "From Road Signs to Errant Lines: carte-blanche artist projects re-imagine ideas and collections at the Spencer Museum of Art." Article huit 9, no. 2 (October 19, 2018): 199–223. http://dx.doi.org/10.7202/1052667ar.

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Cet article aborde trois projets récents réalisés par des artistes à la demande du Spencer Museum of Art de l’Université du Kansas à Lawrence, et pour lesquels on a eu recours à diverses méthodes d’intervention, à la carte blanche comme formule d’accès aux collections ainsi qu’à des échanges avec le personnel et les publics du musée. Ces trois projets sont Stop Look Listen: An Installation by Janet Davidson-Hues and Maria Velasco (2007-2008) ; Visitation de Ernesto Pujol (2011) ; et An Errant Line: Ann Hamilton/Cynthia Schira (2013) (avec les installations figura de Hamilton et Etymon de Schira). La sélection des artistes a tenu compte de l’ensemble de leur travail et des idées précises que chacun concrétiserait sur les lieux – un musée universitaire des beaux-arts doté d’un programme d’exposition actif et d’une collection de quelque 45 000 objets. Chaque projet avait son calendrier, son approche, sa forme et sa méthodologie propres, mais tous répondaient aux collections du musée en intégrant oeuvres nouvelles et pièces historiques, qu’elles soient exposées ou entreposées. Parmi les questions abordées ici : comment s’y est-on pris, dans ces trois projets, pour incorporer les collections du musée et offrir un accès « carte blanche » à ces cinq artistes (et aux publics du musée) tout en améliorant le fonctionnement du musée et son rayonnement sur le campus ? Quelles sont certaines des forces de la carte blanche en ce qu’elle s’applique à ces projets ? En quoi un tel accès a-t-il permis aux artistes de réaliser leurs projets particuliers et de produire de nouvelles oeuvres tout en interpellant le public de manière aussi efficace ? Cet article examine l’évolution de chacun des projets, son utilisation des collections ainsi que la participation des collaborateurs, du personnel et des visiteurs. Les méthodes choisies pour ce faire ont consisté notamment à comparer les projets et à examiner les objectifs des artistes ainsi que leurs points de vue recueillis lors de rencontres. Chacune des trois projets a, à sa façon, déplacé des objets, au sens littéral comme au figuré, du passé jusqu’au présent, en interrogeant [au passage] les stratégies et les concepts de présentation choisis. L’accès aux collections fourni aux artistes a permis autant aux visiteurs qu’aux personnes oeuvrant en coulisses de regarder ces objets sous un angle nouveau. Par leurs méthodes, les artistes ont su ranimer ces formes et en renouveler l’apparence. Chaque projet traite d’aspects importants de la culture muséale – le dévoilement et la dissimulation, entre autres, tant sur le plan humain que sur les plans muséologique et institutionnel. Ces projets ont équilibré événements et recherches (artistiques), modifié les interactions avec les collections et approfondi les dialogues et les connaissances, contribuant ainsi à mieux intégrer le musée au sein de la collectivité régionale et du campus. En nous faisant voir les objets à travers les yeux des artistes et leurs recherches, ils nous ont amenés à nous interroger sur qui possède le musée.

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Haigler, Daniella. "Osteo Preparation Lab: Preserving the Smithsonian Tradition of Collections Access and Collections-based Research." Biodiversity Information Science and Standards 2 (June 13, 2018): e26528. http://dx.doi.org/10.3897/biss.2.26528.

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The National Museum of Natural History is committed to long-term stewardship of collections and to supporting their use by scientists and the general public. Smithsonian’s Osteo Preparation Lab (OPL), in particular, maintains a long-standing tradition of collections access and collections-based research. This tradition of preparing and cataloging osteological specimens traces its origin to the beginning of the Smithsonian Institution itself. In the mid 1800's, James Smithson's legacy called for an Institution with a mission to pursue the “increase and diffusion of knowledge.” Under Spencer Baird, that mission later evolved into a system called collections-based research. This system involved preparing and curating animal specimens for scientific research, which was particularly important for the emerging field of comparative anatomy of vertebrate skeletons. Today, OPL staff work to catalogue and document vertebrate specimens, which contributes greatly to continuing the historic tradition of collections-based research done at Smithsonian Institution. The preparation and curation procedures of vertebrate specimens relies on the commitment of the OPL staff, as well as the use of dermestid colonies, composting, and other maceration techniques. The lab’s sizeable space and state of the art necropsy equipment for large animal dissections are used on a regular basis by visiting scientists studying vertebrate anatomy. Additionally, the OPL is integrally involved in tissue collection from animal remains, which are held by the museum for research purposes in both collections spaces at the museum and our unique biorepository at the museum support center (MSC). In terms of collections access, the osteology specimens in the museum’s research collections draw scientists from around the world. The research done on the specimens has resulted in many intriguing discoveries. In terms of public engagement and access, the Smithsonian Institution can boast maintaining a three hundred year old exhibition on vertebrate osteology, which began in 1881. The “Osteology: Hall of Bones” provides visitors with an opportunity to examine the skeletons of a vast array of vertebrate species, ranging from minute birds to giant mammals. The display, while mirroring the selection of species found in the original exhibit from the nineteenth century, enhances the user experience through the integration of modern technologies, like the app “Skin and Bones.” And so, despite the rather unpleasant smell and macabre nature of the work, the Osteo Prep Lab's activities are integral to both the public outreach and research activities of the Smithsonian Institution’s National Museum of Natural History.

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Berry, Paul. "Japanese Quest for a New Vision: The Impact of Visiting Chinese Painters, 1600–1900. Edited by Stephen Addiss. Lawrence: University of Kansas, Spencer Museum of Art, 1986. 127 pp." Journal of Asian Studies 47, no. 3 (August 1988): 631–33. http://dx.doi.org/10.2307/2057024.

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Berry, Paul. "Japanese Quest for a New Vision: The Impact of Visiting Chinese Painters, 1600–1900. Edited by Stephen Addiss. Lawrence: University of Kansas, Spencer Museum of Art, 1986. 127 pp." Journal of Asian Studies 47, no. 03 (August 1988): 631–33. http://dx.doi.org/10.1017/s0021911800054814.

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Bentley, Tamara H. "Mary M. Dusenbury (ed.), Color in Ancient and Medieval East Asia. Lawrence, KS – New Haven: Spencer Museum of Art – Yale University Press, 2015. 288 pp. Illustrations, Bibliography, Index. US$ 65 (HB). ISBN 978-0-300-21299-0." Monumenta Serica 66, no. 1 (January 2, 2018): 195–99. http://dx.doi.org/10.1080/02549948.2018.1467115.

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Bakel, M. A., A. Appadurai, C. Baks, Ákos Östör, W. E. A. Beek, B. Bernardi, H. W. Bodewitz, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 143, no. 1 (1987): 159–98. http://dx.doi.org/10.1163/22134379-90003345.

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- J. van Goor, Rechtzetting. - M.A. van Bakel, A. Appadurai, The social life of things. Commodities in cultural perspective, Cambridge: Cambridge University Press. 1986. XIV + 329 pp. - C. Baks, Ákos Östör, Culture and power; Legend, ritual, bazaar and rebellion in a Bengali society, New Dehli etc.: Sage Publications, 1984, 224 pp., including notes and glossary. - W.E.A. van Beek, B. Bernardi, Age class systems; Social institutions based on age, Cambridge University Press, 1985, 199 pp. - H.W. Bodewitz, J.-M Péterfalvi, Le Mahabharata. Livres I à V. Livres VI à XVIII. Extraits traduits du sanscrit par Jean-Michel Péterfalvi. Commentaires, résumé et glossaire par Madeleine Biardeau, Paris: Flammarion, 1985 and 1986. 381 + 382 pp., M. Biardeau (eds.) - Paul Doornbos, Raymond C. Kelly, The Nuer conquest - The structure and development of an expansionist system, Ann Arbor: The University of Michigan Press, 1985, 320 pp. - Henk Driessen, Paul Spencer, Society and the dance: The social anthropology of process and performance, Cambridge: Cambridge University Press, 1985, 224 pp. - D. Gerrets, Daniel Miller, Ideology, power and prehistory, Cambridge: University Press, 1984. 157 pp. numerous figs., Christopher Tilly (eds.) - Peter Kloos, Jacques Lizot, Les Yanomami Centraux, Editions de l’Ecole des Hautes Etudes en Sciences Sociales, Paris 1984, 267 pp. - Peter Kloos, Jacques Lizot, Tales of the Yanomami; Daily life in the Venezuelan forest, Cambridge Studies in Social Anthropology no. 55, Cambridge University Press, 1985, 196 pp. - Peter Kloos, H. Zevenbergen, Zwakzinnigen in verschillende culturen, Lisse: Swets & Zeitlinger, 1986, 109 pp. - Piet Konings, Freek Schiphorst, Macht en Onvermogen: Een studie van de relatie tussen staat en boeren op het Vea-irrigatie project Ghana, Universiteit van Amsterdam, CANSA publikatie nr. 20, 1983, 107 pp. - S. Kooijman, E. Schlesier, Eine ethnographische Sammlung aus Südost-Neuguinea. - H.M. Leyten, Bernhard Gardi, Zaïre masken figuren, Museum für Völkerkunde und Schweizerisches Museum für Volkskunde, Basel, 1986. - J. Miedema, Bruce M. Knauft, Good company and violence: Sorcery and social action in a lowland New Guinea Society, Berkeley, Los Angeles/London: University of California Press, 1985, X + 474 pp. - David S. Moyer, David H. Turner, Life before genesis, a conclusion: An understanding of the significance of Australian aboriginal culture, Toronto Studies in religion volume 1, Peter Lang, New York, 1983, vii + 181 pp. - B. van Norren, Peter Kloos, Onderzoekers onderzocht; Ethische dilemma’s in antropologisch veldwerk, DSWO Press, Leiden, 1984. - Jérôme Rousseau, Victor T. King, The Maloh of West Kalimantan. An ethnographic study of social inequality and social change among an Indonesian Borneo people, Dordrecht-Holland/Cinnaminson-U.S.A.: Foris Publications, Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde no. 108, 1985. viii + 252 pp., maps, diagrams, plates, glossary. - Jérôme Rousseau, Alain Testart, Le communisme primitif, I. Economie et idéologie, Paris: Editions de la Maison des Sciences de l’Homme, 1985, 549 pp. - Arie de Ruijter, David Pace, Claude Lévi-Strauss. The bearer of ashes, London: Routledge and Kegan Paul (Ark Paperbacks), 1986. - B.J. Terwiel, Roland Mischung, Religion und Wirklichkeitsvorstellungen in einem Karen-Dorf Nordwest-Thailands, Weisbaden: Franza Steiner Verlag, 1984. - B.J. Terwiel, Niels Mulder, Everyday life in Thailand; An interpretation, Second, Revised edition, Bangkok: Duang Kamol, 1985. 227 pages, paperback. - R.S. Wassing, Sidney M. Mead, Art and artists of Oceania, The Dunmore Press, Palmerston North, New Zealand, 1983. 308 pp., drawings, black and white illustrations., Bernie Kernot (eds.) - Harriet T. Zurndorfer, Maarten van der Wee, Aziatische Produktiewijze en Mughal India, Ph.D thesis, Katholieke Universiteit, Nijmegen, 1985. xv + 399 pp. - M.A. van Bakel, J. Terrell, Prehistory in the Pacific Islands. A study of variation in language, customs and human biology, Cambridge: Cambridge University Press. 1986, XVI + 299 pp.

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Serebrennikov, Nina Eugenia. "Walter S. Gibson. Pieter Bruegel the Elder: Two Studies. (The Franklin D. Murphy Lectures, 11.) Lawrence: Spencer Museum of Art, University of Kansas, 1991. 81 figs. + 95 pp. $12. - Margaret A. Sullivan. Bruegel's Peasants: Art and Audience in the Northern Renaissance. Cambridge, New York and Melbourne: Cambridge University Press, 1994. 74 illus. + x + 198 pp. $60." Renaissance Quarterly 49, no. 3 (1996): 678–80. http://dx.doi.org/10.2307/2863410.

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9

Wright, Thomas. "The visionary art of Stanley Spencer." Lancet 386, no. 9995 (August 2015): 732. http://dx.doi.org/10.1016/s0140-6736(15)61528-8.

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Takeuchi, Melinda. "Hiroshige: One Hundred Famous Views of Edo. Illustrations by Andō Hi-roshige. Introductory essays by Amy G. Poster and Henry D. Smith, II. Commentaries on the plates by Henry D. Smith, II. New York: George Braziller, 1986. 256pp. $75.00. - Playfulness in Japanese Art. By Nobuo Tsuji. Translated by Joseph Seubert. Lawrence, Kansas: The Spencer Museum of Art, University of Kansas, 1986. 103 pp. $12.00." Journal of Asian Studies 47, no. 2 (May 1988): 367–69. http://dx.doi.org/10.2307/2056206.

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Dissertations / Theses on the topic "Spencer museum of art"

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Rome, Nicole Renee. "University Students in the Museum: A Program Evaluation of the Spencer Museum Student Advisory Board." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338065318.

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Dempsey, Kaitlin. "Coloring Perception: Spencer Finch and the Art of Seeing." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/193022.

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Art History
M.A.
Emanating from a large, gaseous star forming the center of the universe - commonly referred to as the sun - light colors the world. Light is a mystifying, transient element, a source of energy and life that has transfixed mankind for centuries. Also seduced by the wonders of light (and color) is contemporary artist, Spencer Finch. He has embarked on a quixotic mission of trying to measure, capture, and replicate the temporal qualities of light and color. His interest lies in capturing the fleetingness of the moments he experiences. To some extent Finch is successful in his impossible quest. Even in failure, his artworks become a vehicle for exploring the intricacies of human vision and perception. Mixing scientific inquiry and art, Finch utilizes remnants of the past - iconic sites and figures, famous literary texts, etc. - to reflect on personal memories and experiences. His artwork is a means of working out his own questions and ideas about vision and perception. By grounding his work in the known, Finch allows the viewer to enter and understand his works. Viewers are offered a unique chance to consider the ways in which the world is seen and understood. In the end, Finch hopes he is able to offer an almost out-of-body, or maybe just deeply insightful, experience in which vision is called into question, allowing an insight into understanding what it means to perceive.
Temple University--Theses

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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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Turvey, Gerry. "A painter for the people : Stanley Spencer, art, politics and populism." Thesis, University of East London, 1997. http://roar.uel.ac.uk/1243/.

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This thesis is a study of the paintings of Stanley Spencer (1891-1959) and is designed to challenge received accounts of his work. Its theoretical perspective is that of 'cultural materialism' and its purpose is to place Spencer and his pictures within the social, cultural and political history of their time. It begins by outlining the four critical constructions of 'Stanley Spencer' that it challenges and by describing Spencer's somewhat oppositional location in the institutional complex of the artistic field. Then, rather than adopt a conventional chronological narrative, sets of paintings are studied in relation to their social context or historical moment. Here, several fresh arguments are advanced about particular aspects of Spencer's work. Thus, features of his landscape output are interpreted as at odds with a mainstream tradition sponsoring dominant notions of 'Englishness'; his original and politically charged solution to the problem of representing industrial labour is discussed; he is claimed as a Realist painter and his role, alongside others, as a sympathetic investigator of everyday life is examined; the 'stoic response' to the First World War of Spencer and his peers is identified and differentiated from the 'traditionalist response' of the powerful and the better known 'radical response' of the war poets; his libertarian sexual politics is specified and the utopian dimension of his erotic pictures clarified; his paintings of Christ and resurrection are then placed in the context of radical Protestant traditions. Thus, rather than limiting itself to the biographical reductionism of earlier accounts or the narrower art-historical approach of more recent 'revisionist' writing, this study offers a way of understanding Spencer's work which emphasises its populist, radical and, in effect, political dimensions. His art emerges as a profoundly public one - offering ordinary life and experience as worthy of representation in forms aspiring to public display and soliciting a new reading practice from viewers confronting them.

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Griffith, Meghan E. "Lilly Martin Spencer and Robert Scott Duncanson: Following Nineteenth-Century Ideals." Marietta College Honors Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1244570258.

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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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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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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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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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Books on the topic "Spencer museum of art"

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Museum, Fogg Art, ed. A noble collection: The Spencer albums of old master prints. [Cambridge, Mass.]: Fogg Art Museum, Harvard University Art Museums, 1992.

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Spencer, Niles. Niles Spencer: Whitney Museum of American Art at Equitable Center, April 25-June 20, 1990. New York, N.Y. (945 Madison Ave., New York 10021): The Museum, 1990.

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Helen Foresman Spencer Museum of Art and University of Kansas, eds. A carved Loango tusk: Local images and global connections. Lawrence, Kan: University of Kansas, 2009.

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G, Kretsinger Rose, and Helen Foresman Spencer Museum of Art., eds. The romance of the patchwork quilt. New York: Dover Publications, 1988.

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Helen Foresman Spencer Museum of Art., ed. Art with a mission: Objects of the arts and crafts movement : Spencer Museum of Art, the University of Kansas, March 31-May 26, 1991. [Lawrence, Kan.]: The Museum, 1991.

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Havig, Bettina. Carrie Hall blocks: Over 800 historical patterns from the collections of the Spencer Museum of Art, University of Kansas. Paducah, KY: American Quilter's Society, 1999.

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1935-, Addiss Stephen, Welch Matthew 1958-, and Wolfgram Juliann, eds. Japanese quest for a new vision: The impact of visiting Chinese painters, 1600-1900 : selections from the Hutchinson collection at the Spencer Museum of Art. [Lawrence]: Spencer Museum of Art, University of Kansas, 1986.

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

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Hauser, Kitty. Stanley Spencer. London: Tate Pub., 2001.

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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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Book chapters on the topic "Spencer museum of art"

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

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

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

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

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

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

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

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

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Hubard, Olga. "The Structure of Open Dialogue." In Art Museum Education, 22–38. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_3.

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Hubard, Olga. "Interrogating the Thematic Approach." In Art Museum Education, 39–50. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_4.

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Conference papers on the topic "Spencer 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, 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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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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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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Bartseva, Aleksandra, Georgy Boos, Anatoly Chernyak, Alena Kuznetsova, and Evgeniy Rozovskiy. "MUSEUM LIGHTING IN RUSSIA: STATE OF THE ART." In Proceedings of the 29th Quadrennial Session of the CIE. International Commission on Illumination, CIE, 2019. http://dx.doi.org/10.25039/x46.2019.po118.

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Canning, Erin. "Evaluating and documenting affect in the art museum." In 2018 3rd Digital Heritage International Congress (Digital Heritage) held jointly with 2018 24th International Conference on Virtual Systems & Multimedia (VSMM 2018). IEEE, 2018. http://dx.doi.org/10.1109/digitalheritage.2018.8810096.

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Reports on the topic "Spencer 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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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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Miller, Naomi J., and Scott M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian American Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1044507.

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