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Relevant bibliographies by topics / VATICAN MUSEUM AND GALLERIES

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Academic literature on the topic 'VATICAN MUSEUM AND GALLERIES'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "VATICAN MUSEUM AND GALLERIES"

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Cannon-Brookes, P. "Jaharis Galleries at the Metropolitan Museum." Museum Management and Curatorship 19, no. 2 (January 2001): 209–15. http://dx.doi.org/10.1080/09647770101001902.

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Harper, Jenny. "Museum as Provocateur—Art Galleries and Controversy." Australian and New Zealand Journal of Art 5, no. 1 (January 2004): 57–75. http://dx.doi.org/10.1080/14434318.2004.11432732.

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Elwick, Alex. "Understanding implicit learning in museums and galleries." Museum and Society 13, no. 4 (November 1, 2015): 420–31. http://dx.doi.org/10.29311/mas.v13i4.343.

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Implicit learning, learning we are not aware of, or learning which results inknowledge we do not know we possess or cannot articulate, is often consideredto be a ubiquitous part of life, and yet is rarely studied in real-world contexts. Thispaper presents an attempt to research implicit learning amongst museum andgallery visitors, with the ultimate aim being to understand whether implicit learningtakes place in the museum and how we might begin to unearth such tacit (silent)knowledge. Examples drawn from interviewees with members of gallery ‘friends’associations provide evidence that people often possess knowledge they areseemingly unaware of, directly derived from their museum/gallery experiences. Themethodology explored here acts as a formative means to study implicit learningand the paper suggests how this might be further developed.

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Spring, Christopher, Nigel Barley, and Julie Hudson. "The Sainsbury African Galleries at the British Museum." African Arts 34, no. 3 (2001): 18. http://dx.doi.org/10.2307/3337876.

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Cannon-Brookes, S. "Daylighting museum galleries: a review of performance criteria." Lighting Research and Technology 32, no. 3 (January 1, 2000): 161–68. http://dx.doi.org/10.1177/096032710003200311.

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Cannon-Brookes, Stephen. "DAYLIGHT IN MUSEUM GALLERIES: EVALUATION USING SCALE MODELS." Studies in Conservation 39, sup1 (September 1994): 6. http://dx.doi.org/10.1179/sic.1994.006.

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Hexter, Ralph J. "A visit to the museum: The ovid galleries." International Journal of the Classical Tradition 6, no. 1 (September 1999): 75–88. http://dx.doi.org/10.1007/bf02689212.

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Costa, Roberto. "Building an Indigenous Museum in the Vatican." TSANTSA – Journal of the Swiss Anthropological Association 25 (September 21, 2020): 141–52. http://dx.doi.org/10.36950/tsantsa.2020.025.14.

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Debates around the significance, function and social value of museums are still challenging museum practices and models. In particular, the demands of “source communities” for self-representation and self-emancipation in the global community continue to call into question the role of the museum as a catalyst for promoting social change across cultures. In this paper, I push this question further by discussing the desires of a group of Roman Catholic woodcarvers in central Asmat (Indonesian Papua) to build a museum for exhibiting their carvings in the Vatican. To them, the Vatican is not only the sacred centre of Catholicism but also an integral part of their mythical world of ancestors. After a brief examination of their considerations, I attempt to put their ambitious museum idea into dialogue with current debates on “the postcolonial museum” to highlight how it can dictate new directions for indigenising museums.

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Jokanović, Milena. "Perspectives on Virtual Museum Tours." INSAM Journal of Contemporary Music, Art and Technology, no. 5 (December 15, 2020): 46–57. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.46.

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As a number of world museums have closed their doors for the public due to pandemic of the new Corona virus, curators are thinking of alternative ways of audience outreach: 3D virtual galleries are increasingly created, video guided tours shared, digitized collections put online. The new circumstances unquestionably bring potentials for growth, but carry numerous risks and inconsideration, as well. Many theoreticians argue that the crisis of this scale will undoubtedly fasten the digital transformation in museum and arts sector and consequently, in a much more wide sense influence the identity rethinking. However, the research of audience interest to virtual museum tours show there was a peak of just 3 days visiting these, massively followed by a fast decrease even the social isolation was globally still present and museum buildings still locked. Turning back to the genesis of the virtual museums, in the following paper, we will question why there is no interest to virtual museum content. Do tours answer the needs of the contemporary digital-born audience? Do these represent just a copy of settings from physical galleries or use potentials and logic of the new spaces? Will museums finally transform and enter into so many times nowadays mentioned digital shift answering the need of the new, transmedia perception of audience?

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Barrette, Bill. "The Egyptian Galleries at the Metropolitan Museum of Art." Museum International 37, no. 2 (June 1985): 81–84. http://dx.doi.org/10.1111/j.1468-0033.1985.tb00555.x.

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Dissertations / Theses on the topic "VATICAN MUSEUM AND GALLERIES"

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Cannon-Brookes, Stephen W. A. "Daylight in museum galleries : quantitative evaluation using scale models." Thesis, Cardiff University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363467.

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Riding, Deborah. "Challenging the rules of engagement : co-creation of knowledge in the public art museum." Thesis, University of Chester, 2017. http://hdl.handle.net/10034/620832.

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This research examined perceptions of knowledge about art in the gallery and explored the potential of co-creation as a possible model with which to genuinely learn with our audience. Data for the study was generated at a gallery I have been based at throughout the period of undertaking the research. Participants were recruited from this gallery from groups implicated in knowledge co-creation: educators, curators, gallery assistants and audience members. Participants took part in a group workshop at the gallery facilitated by an artist educator, designed to provide opportunities to develop new knowledge together. Following the workshop, participants were interviewed and their experiences analysed. Other data generated through the workshop, as well as analysis of organisational documentation, and reflection on my own practice as a gallery educator, have been drawn together through a bricolage approach. Through analysis of data, I have constructed a situated taxonomy of knowledge types in the gallery and a conceptual model of co-creation. Key paradigms of knowledge have been identified, and the issues associated with the authoritative nature of institutional knowledge presented as a significant barrier to co-creation. Findings indicate that a fundamental shift in the epistemological stance of the gallery is required. A new not-knowing paradigm has been constructed to accommodate models of co-creation shown to be successful in generating a collaborative learning experience, which I have termed ‘learning-with’.The material being presented for examination is my own work and has not been submitted for an award of this or another HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis was undertaken collaboratively, the nature and extent of my individual contribution has been made explicit.

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Girardot, Kendra Sue. "Teaching and learning in the art museum galleries: tour guide strategies and approaches." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406885494.

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8, ASHRAE Technical Committee 9., Cecily M. Grzywacz, Phil Maybee, Jan Holmberg, and Monika Fjaestad. "Chapter 21 ASHRAE Handbook Applications 2007 : Museums, Galleries, Archives and Libraries." Högskolan på Gotland, Avdelningen för Kulturvård, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-311.

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Inom ramen for Energimyndighetens projekt “Spara och bevara” har Högskolan på Gotland bearbetat och översatt kapitel 21 i “2007 ASHRAER HANDBOOK Heating, Ventilation and Air-Conditioning APPLICATIONS”. ASHRAE är namnet på den amerikanska ingenjörsorganisationen American Society of Heating, Refrigerating and Air-Conditioning Engineers, Inc. baserad i Atlanta i USA. Bearbetningen är gjord av Tekn.Dr. Jan Holmberg vid Högskolan pa Gotland i samarbete med konservator Monika Fjaestad vid Riksantikvarieambetet. Syftet med denna publikation är att på svenska sprida de utomordentligt väl underbyggda översikter av problem att beakta vid förebyggande konservering och energibesparing i historiska hus och kyrkor, som presenteras i kapitel 21.

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Iordanidou, Chrysavgi. "Daylight openings in art museum galleries : A link between art and the outdoor environment." Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-215338.

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This thesis is investigating how the typology of daylight openings in art museum galleries is affecting the connection to the outdoor environment. Museum architecture nowadays emphasizes on the museum’s public role and interaction with the urban context, with transparency as the key to this approach. Considering the benefits and challenges of introducing natural light in art museum galleries, its controlled use enhances the experience of both the artworks and the space. The different typologies of daylighting and their design parameters have a direct impact on the connection to the outdoor environment and the shaping of views. Two case studies are analyzed in order to investigate various daylight openings designs, their integration in the exhibition space and the relationship they form with the exterior. Examining the findings, a discussion is developed on the range of factors that affect the connection to the outdoors. The thesis concludes that the design of daylight openings determines the way and the degree the galleries communicate with the exterior environment.

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Roth, Diana Eibner. "A luz natural como elemento compositivo na arquitectura contemporânea." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1997. http://dited.bn.pt:80/29893.

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Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.

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This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.

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Richard, Sophie. "International Network of Conceptual Artists : dealer galleries, temporary exhibitions and museum collections (Europe 1967-1977)." Thesis, Anglia Ruskin University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436467.

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Sin, Song-Chiew James, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Arts, culture and museum development in Singapore." THESIS_FPFAD_XXX_SinSongChiew_ J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/240.

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This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine art
Master of Arts (Hons)

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Zamani, Pegah. "Views across boundaries and groupings across categories the morphology of display in the galleries of the High Museum of Art 1983-2003 /." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/31823.

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Books on the topic "VATICAN MUSEUM AND GALLERIES"

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Calvesi, Maurizio. Treasures of the Vatican: St. Peter's Basilica, the Vatican museums and galleries, the treasure of St. Peter's, the Vatican grottoes and necropolis, the Vatican palaces. New York: Portland House, 1987.

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Paisley Museum and Art Galleries. Paisley Museum & Art Galleries. Paisley: Renfrew District Council Museums & Art Galleries Service, 1985.

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Museums and art galleries. Mulgave, Vic., Australia: Images, 2003.

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Mathers, Kathryn. Mus eums, galleries & new audiences. London: Art & Society, 1996.

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Fryz-Więcek, Agnieszka. The national museum in Krakow: Galleries collections : museum guide. Edited by Muzeum Narodowe w. Krakowie. 2nd ed. Krakow: MNK, 2008.

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Tony, Bennett. Art galleries, who goes?: A study of visitors to three Australian art galleries, with international comparisons. Redfern, NSW: Australia Council, 1991.

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Francesco, Buranelli, Duston Allen, and Museo storico (Vatican City). Padiglione delle carrozze, eds. Museum of the Papal Carriages in the Vatican. Vatican City: Edizioni Musei vaticani, 2006.

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Katarzyna, Murawska-Muthesius, and Folga-Januszewska Dorota, eds. National Museum in Warsaw: Guide : galleries and study collections. Warsaw: Muzeum Narodowe w Warszawie, 2001.

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Andrew, Duncan. Nicholson London museums & galleries guide. London: Nicholson, 1995.

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Reisman, Arnold. The transformation of Istanbul: Art galleries reviving decaying spaces. [United States]: Booksurge, 2009.

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Book chapters on the topic "VATICAN MUSEUM AND GALLERIES"

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Johnson, Kay. "Decolonising Museum Pedagogies." In Adult Education, Museums and Art Galleries, 129–40. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_11.

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Jayme, Bruno de Oliveira, Kim Gough, Kathy Sanford, David Monk, Kristin Mimick, and Chris O’Connor. "Museum Hacking as Adult Education." In Adult Education, Museums and Art Galleries, 215–27. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_18.

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Segall, Avner, and Brenda Trofanenko. "The Victoria and Albert Museum." In Adult Education, Museums and Art Galleries, 53–63. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_5.

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Peacocke, Emma. "Facing History: Galleries and Portraits in Waverley’s Historiography." In Romanticism and the Museum, 57–86. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137471444_3.

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Gray, Clare. "St Mungo Museum of Religious Life and Art." In Adult Education, Museums and Art Galleries, 15–25. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_2.

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Laine, Anna. "Engagements in the ethnographic museum and contemporary art galleries." In Practicing Art and Anthropology, 87–93. London, UK ; New York, NY, USA : Bloomsbury Academic, 2018. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003086444-5.

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Negri, Massimo. "The British Galleries at the Victoria and Albert Museum." In Revisiting Museums of Influence, 97–100. Abingdon, Oxon ; New York : Routledge, [2021]: Routledge, 2020. http://dx.doi.org/10.4324/9781003003977-20.

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MacLeod, Suzanne. "Galleries of Modern London, Museum of London, UK, 2004–10." In Museums and Design for Creative Lives, 134–43. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429398698-16.

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Clapot, Marie. "Insights From an Educator Crafting Scent-Based Experiences in Museum Galleries." In Bridging Communities through Socially Engaged Art, 34–37. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9781351175586-4.

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McIntyre, Darryl. "Creating New Pasts in Museums: Planning the Museum of London’s Modern London Galleries." In People and their Pasts, 131–45. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230234468_8.

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Conference papers on the topic "VATICAN MUSEUM AND GALLERIES"

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RUF, BORIS, and MARCIN DETYNIECKI. "IDENTIFYING PAINTINGS IN MUSEUM GALLERIES USING CAMERA MOBILE PHONES." In The Singaporean-French Ipal Symposium 2009. WORLD SCIENTIFIC, 2009. http://dx.doi.org/10.1142/9789814277563_0013.

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Andriyana, Eka, Nuning Damayanti, and Ira Adriati. "Analysis of Popo Iskandar’s Works as Collections of National and International Museum and Galleries." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338079.

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Chin, Irene. "Le Corbusier’s Musée à croissance illimitée: A Limitless Diagram for Museology." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.584.

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Abstract: “Let us imagine a true museum, one that contained everything, one that could present a complete picture after the passage of time, after the destruction by time…” This paper considers La Musée à croissance illimitée, an unrealized proposal from 1939 by Le Corbusier in which a series of galleries elevated on pilotis and organized about a square courtyard would extend – infinitely. The paper unfolds as an analysis of the museum and its relationship to history and time, structured by the form of Le Corbusier’s proposal. Four themes establish the parameters of the investigation – spatial organization, notions of monumentality, relationship to site, and ideas of growth – and Le Corbusier's resistant approach is considered as a method of criticality. Order-less, face-less, place-less, end-less. To categorize the Museum of Unlimited Growth as such is not to suppose conditions without, conditions of lack, or absence; but rather is a means to consider the proposal as an absolute – a degree zero that subsumes and thus allows for conditions of possibility. The themes set up a dialectical reading of the project, as its negations are bound to the assertive, positivity of the idea of a limitless spiral. Perpetually unfolding and folding in on itself, the Musée resists the forces of time. It is the ur- museum, a concept that negates the historiography of museums before and proposes an impossible model for museums to come. Keywords: museum; limitless; growth; spiral. Palabras clave: museo; límites; crecimiento; espiral. DOI: http://dx.doi.org/10.4995/LC2015.2015.584

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Hennessey, Michael P., Alex J. Beaulier, and Cheri Shakiban. "Modeling and 3D Printing of Ruled Surfaces." In ASME 2015 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/detc2015-46494.

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Ruled surfaces play an important role in disciplines such as applied mathematics, mechanical engineering, and architecture. We present a general methodology for creating handheld-sized 3D printed models of such surfaces, which can be useful for educational, research, and design purposes. The process begins with a mathematical description of the surface, either by means of establishing a series of line segment endpoint coordinates followed by a “connect the dots” approach or continuously sweeping a portion of a line throughout 3D space using a time-varying homogeneous transformation, thereby defining an array of line segments on the surface. Next, MATLAB is used to numerically generate the endpoint coordinates which are imported into SolidWorks via Excel and employs a custom macro to permit graphical display of the line segments in a part file. The array of line segments is then stitched together “manually” into a surface, thickened into a part, and printed out in plastic using a 3D printer. The methodology is illustrated for some simple surfaces in addition to several well-known exotic surfaces that have an architectural theme to them. Specifically, we showcase Antoni Gaudi’s conoids and elliptic hyperboloids from La Sagrada Familia, in addition to a twisted circular drum arch and a Solomonic column, both of which are seen in southern European architecture, in particular they are present at either the Museum of Cycladic Art in Athens or at The Vatican (includes museum). In summary, the work presented should be of general interest to the 3D printing, ruled surface, and architecture communities.

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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.

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Wang, Zhan, Bin Zheng, Wenlong Xu, Gang Wang, and Mingsheng Liu. "Variable Air Volume System Application in Museums." In ASME 2007 Energy Sustainability Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/es2007-36058.

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Relative humidity and temperature control is key in museums, galleries, libraries and archives. Normally constant volume (CV) air handling units (AHUs) with reheat coils are applied in these buildings. Setting a low supply air temperature limits the highest humidity level; however, reheat coils have to be used to maintain space temperature due to constant supply airflow. As a result, simultaneous heating and cooling exists with excessive energy consumption. It is well known that variable air volume (VAV) technologies can reduce simultaneous heating and cooling as well as fan power. This paper presents the detail VAV system retrofit for the existing CV system, control sequence development and system performance evaluation in a museum facility at Omaha, Nebraska. Variable Frequency Drives (VFDs) were installed for the supply fan on the AHUs. Space humidity and temperature, heating and cooling energy consumption, and fan power were measured. The measurements showed that the space humidity and temperature was maintained within the required range under VAV operation while the reheat consumption was reduced by up to 85% and the fan power consumption was reduced by 90% under partial cooling loads.

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