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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 artMaster 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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Ceron, Irene Sofia. "The culturalexperiencein a museum from inside out - How side openings and view interferewith users’ perception and preferencesin art galleries." Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280065.
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This thesis discusses the role of side openings in museums, in relation to users’ visiting experience.The research particularly focuses on the feature of view, analysing if the connection with the outsideenvironment provided through windows, results in an enriched museum’s experience and enhancedcultural identity. The analysis is based on the case study of the Nationalmuseum in Stockholm, wherethree rooms with stronger, moderate and weaker connection with the outside environment have beenevaluated through visitors’ surveys. Results show that the public revealed considerable awarenessabout windows and their landscape and yet the view was rarely considered a distracting feature. Theavailable literature on daylight in museums hardly includes view among the acknowledged daylightbenefits, and, also due to the difficulty in controlling the daylight intake, side openings have gained abad reputation in the museum field. However, as in the analysed case study, the view was consideredby many as an enriching part of the visiting experience, this thesis calls for further research on therole of view in exhibition rooms and on how to include it properly in museums’ design.
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Scott, Helen E. "Confronting nightmares : responding to iconoclasm in Western museums and art galleries." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/788.
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Lu, Fangqing. "Medium, mediation and meaning : museum architecture as spatial storytelling : a case study of the Ionic frieze in two Parthenon galleries." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12757/.
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In order to convey the meanings contained within artefacts, museums commonly communicate with the general public primarily through the mediation of an audiovisual interpretative framework. In addition to audiovisual mediation, this thesis demonstrates the idea that museum architecture itself can make a significant contribution to various meanings communicated by artefacts. Drawn from a comparative case-study of the detailed interpretive frameworks of two museums, the thesis investigates the extent to which museum architecture itself should be considered as a medium of spatial-storytelling, providing a rich sensory context for the process of mediation and interpretation. This idea contributes towards a more meaningful embodied experience to the general public in order to support the process of ‘self-learning’, as well as passing on intangible culture through both tangible and intangible media. Through an initial survey and conceptual mapping of 130 museums around the world, two examples were selected effectively that offered a unique opportunity for comparative study as they are effectively exhibiting the ‘same’ material in different ways - the Ionic Frieze at the Parthenon Galleries in the British Museum and the recently opened New Acropolis Museum in Athens. Besides this survey of museums, other research methods included a literature review, interviews architectural analysis and observation of visitor behaviour, as the key data collection tools employed in this research, in order to evaluate the effectiveness of museum architecture as a medium. The thesis concludes that museum architecture offers an engaging environment for communicating meanings through ‘self-learning’, not only in terms of audiovisual techniques, but also through a careful organised embodied experience of an entire space. Moreover, museum architecture provides the artefacts a meaningful physical context in which they can ‘speak’. Culture, as an intangible medium, is recorded in the tangible media of artefacts, and buildings, while also being carried forward into an unknown future.
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Ntalla, Irida. "The interactive museum experience : investigating experiential tendencies and audience focus in the Galleries of Modern London and the High Arctic exhibition." Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/17280/.
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Although there are many studies on interactivity in museums in terms of enhancing learning, achieving educational objectives, structuring and orchestrating visitor engagement, democratising knowledge, exploring social interaction and bringing more audiences in to the museum space, they often do not take the multifaceted nature and context-dependency of interactivity into account. Throughout the thesis, I argue that the practice of digital interactivity in museum spaces should not be fetishized, but it must be examined and understood, depending on the context and the setting it takes place in. The approach undertaken in this study brings philosophical and theoretical perspectives on physical, emotional and technological interactivity and its multiple threads into dialogue with ethnographic research in two exhibition spaces: the permanent Galleries of Modern London, at the Museum of London, and the temporary High Arctic exhibition, at the National Maritime Museum, London. The study extends existing literature in two respects. First, attention is paid to the concerns reflected in different approaches to the digital interactivity in museum spaces: I term factual and poetic interactivity as two techniques and forms directly related to the empirical examples. The analysis and this distinction offer a platform to theorise and discuss nuances and tendencies of digital interactivity in museum spaces. Second, it identifies the multiplicity of modes of interactivity as perceived by visitors and museum professionals in and around two museums, foregrounding not only the technological aspect, but also the content and the processes of interaction through sensorial and embodied means such as touch, play and immersion. Together, the findings foreground and engage with an approach to digital interactivity, which discusses how a complex assemblage of institutional practices, multisensory experiences, and affective and cognitive dimensions are at work and at play in digitally mediated environments.
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Cedras, Robyn-Leigh. "In the halls of history: the making and unmaking of the life-casts at the ethnography galleries of the Iziko South African Museum." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22756.
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This mini-dissertation is a study of the phenomenon of life-casting and the display of these in the museum space. It looks specifically at the practice as it came into use at the turn of the twentieth century at the South African Museum in the Western Cape. The research aims to place the practice in context with the historical triggers and larger perspectives of the subject of indigenous races. A focus on particular life-casts and its display in designed productions allows the reader insight into knowledge production. I point to this to unpack a loaded history informing deeply seated identity constructs and prejudices. A trajectory of the use of the life-casts is supported by visual records included in this text. The museum's archive also affords a plethora of correspondence and research giving context and insight. A close analysis of the archive exposes the museum's processes and the exchange in consumption and production by museum visitors and related institutions both private and state supported. The making and unmaking of the life-casts acts as proxy for peoples brutally subjugated.
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Bichsel, Benjamin, and Stina Åsell. "ATMOSFÄRSSKAPANDE LJUS I MUSEUM OCH KONSTHALL : En studie om samspelet mellan ljus och rumslighet." Thesis, Jönköping University, JTH, Byggnadsteknik och belysningsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-54172.
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A lot of research on the experience of atmosphere uses physical measurements. However, a recognised idea among lighting designers is that these physical values and the experience of light is not always the same, which makes it relevant to work more with visual observations to understand and analyse spatiality and the effects of light. The purpose of the study was to investigate how spaciousness and atmosphere in museum and art gallery environments can be linked to their lighting and art. This is to provide an increased understanding of how light affects spatiality and how it relates to the room’s atmosphere, and to be able to see how the atmosphere is experienced in connection with the exhibits. The study was conducted through visual observations during site visits, for each evaluated room at each museum and art gallery. The rooms were analyzed using the PERCIFAL and Branzell methods, but the values of illuminance, color temperature, color rendering index, and spectral power distribution were also documented. Additionally, an online survey was sent out to collect further data concerning the experience of atmosphere. Part 1 was quantitative and focused on atmosphere words and was judged on a 7-point scale, while Part 2 was qualitative and focused on the connection between the exhibited object and the room. Here, the respondents responded in text form. The result of the study shows that the experience of atmosphere is affected by the interplay between light and spatiality, and that it is not one lone parameter that is decisive. The respondents thought that an interplay between atmosphere and the exhibited object could elevate the experience of art, and that light was a big part of how the room and its atmosphere was experienced. This shows that there are opportunities to work more with lighting in gallery spaces to create an atmosphere that connect more with exhibitions and objects. The study was limited to art-related exhibitions in Sweden. Due to the study was conducted in a very specific context it can not be said with certainty to be generally valid, though parts of the result pertaining to the atmosphere affecting parameters are likely able to use in other situations.Mycket forskning om atmosfärsupplevelse använder sig av fysikaliska mätningar. En vedertagen idé bland ljusdesigners är dock att fysikaliska värden och det upplevda ljuset inte alltid är detsamma, vilket gör att det blir relevant att arbeta mer med visuella observationer för att förstå och analysera rumslighet och ljusets påverkan. Syftet med studien var att undersöka hur rumslighet och atmosfär i musei- och konsthallsmiljöer kan kopplas till deras belysning och konst. Detta för att ge en ökad förståelse kring hur ljuset påverkar rumsligheten och hur det anknyter till rumsatmosfären, samt att kunna se hur atmosfären upplevs i anknytning till utställningsföremålen. Studien utfördes genom visuella observationer under platsbesök i respektive rum för varje museum och konsthall. Rummen analyserades genom metoderna PERCIFAL och Branzellmetoden, men även fysikaliska värden som belysningsstyrka, färgtemperatur, färgåtergivning och spektralfördelning dokumenterades. Slutligen skickades en digital enkät i två delar ut. Del 1 var kvantitativ och fokuserade på atmosfärsord och bedömdes på en 7-gradig skala, medan Del 2 var kvalitativ och fokuserade på kopplingen mellan utställningsföremålet och rummet. Här hade respondenterna möjligheten att svara i textform. Resultatet i studien visar att atmosfärsupplevelsen påverkas av samspelet mellan ljus och rum, och att det inte är en enskild parameter som avgör. Respondenterna ansåg att ett samspel mellan atmosfär och utställningsföremål kunde förhöja upplevelsen av konst och att ljus hade en tydlig påverkan för hur rummet och dess atmosfär uppfattades. Detta visar på att det finns möjligheter att arbeta mer med ljus i utställningslokaler för att skapa en atmosfär som samspelar mer med utställningar och utställningsföremål. Studien har begränsats till enbart konstutställningar på museer och konsthallar i Sverige. Utifrån att detta arbete genomfördes i denna specifika kontext kan det inte med säkerhet sägas vara generellt giltigt, men vissa delar av resultatet kring de atmosfärspåverkande parametrarna är sannolikt möjliga att överföra i andra situationer.
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McCredie, Athol. "Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University." Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.
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This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.
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Krammes, Brent M. "What kind of gallery is a book?: Representation in U.S. print culture, 1880-1940." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5795.
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This dissertation is wrapped up in a comparison of book and museum, which raises questions about the visual technology of the printed page itself: a black and white space. Articles and histories on paper production of the nineteenth century stress the necessity of bleaching wood pulp or rags in order to produce “beautiful,” “polished,” “virginal,” “clean” white paper. Bleaching paper to create a normalized, aestheticized whiteness, upon which to craft the cultural capital of the book, largely anticipates the later use of whiteness in the modern art gallery, where whiteness becomes a “neutral” or “objective” or “normal” color upon which to hang visual art or print words. In certain contexts, especially during Reconstruction and later during the Harlem Renaissance, authors saw the black and white contrast of the printed page as a symbol of racial segregation—whiteness and blackness following strictly ordered patterns. This dissertation thus investigates the shifting symbolism of black text on a white visual field between 1880 and 1940.
Several of the subjects of my dissertation have been largely overlooked by critics, (Celia Thaxter, Simon Pokagon, Melvin Tolson), although previous studies have examined the way books of modernist poetry become display spaces—the white space of each page like a wall or frame which affords the lyric poem similar attention to modernist visual art, and imitating styles of display made famous by Alfred Stieglitz in his galleries. Poets thus become curators as well as authors. My dissertation expands these studies to include works written before the modernist period (Thaxter and Pokagon), and after it (William Carlos Williams, E. E. Cummings, and Tolson), as well as analyze alternate material technologies of book production that vastly impact the visual experience of reading. Moreover, I also consider the political reasons for these material changes to the book, including racial representation, so that my work simultaneously explores both the aesthetics and politics of printed text.
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Kotyzová, Markéta. "Současný stav a budoucnost muzejních knihoven v Čechách." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312225.
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(in English): The thesis presents overview of current state of museum libraries in Bohemia. It relies on the results of questionnaire specifically made for this purpose. Focus is also on library collections of museum libraries (acquisition, processing, accessibility and conservation), self-presentation of libraries on Internet, means of financing of such institutions and their activities. The thesis also overviews history of museum libraries on the case of four individual institutions, legal regulations pertaining to them and to their collections, as well as cooperation possibilities between other museum libraries, general libraries or other institutions. The thesis concludes with resume of strengths and weaknesses of current state of affairs in the field and anticipates future development of museum libraries. The text contains numerous charts and tables [Author's abstract].
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Van, Zijl Carol Wendy. "A model for service rendering to meet the information needs of South African artists." Diss., 2000. http://hdl.handle.net/10500/17785.
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This dissertation analysed the information needs and information-seeking behaviour of visual artists. An empirical survey was conducted on a sample of the more informationliterate visual artists in South Africa. A model of the information environment of South African visual artists was developed. This model provides a basis for another model which represents the optimal service that should be rendered to meet the needs of this user group. It was found that the general information needs of South African artists are fairly adequately met, but that there are several shortfalls, especially in serving their more complex information needs. The most important problems are the lack of training in the use of information sources and services, inadequate marketing of services and inadequate coverage of South African art. It was also found that greater coordination between service providers is urgently required, especially in the provision of information about South African art.M. (Information Science)
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Benson, Bernadine Carol. "Addressing heritage crime in Gauteng, South Africa : an integrative exposition." Thesis, 2013. http://hdl.handle.net/10500/13055.
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This research explored, described and explained the nature and the extent of heritage crime as it manifested in the Gauteng Province of South Africa for the period 2006-2010. Gauteng was selected since it is deemed to be the hub of the legal trade. An operational definition of heritage objects was drafted for this study as ‘objects of artistic, cultural, historic or archaeological value regardless of age, housed in or curated by museums or galleries within Gauteng, and which are both tangible and moveable.’ Heritage crime for the purpose of this study was the illegal removal of any heritage object from a museum or gallery.
The annual crime statistics released by the South African Police Services (SAPS) contain no reference to heritage crime of any sort. Therefore this research attempted to quantify the incidents of thefts experienced by museums and galleries in Gauteng for the period 2006-2010. Using a mixed method approach, data were gathered by qualitative and quantitative surveys. A total of 28 qualitative interviews were conducted. These data were integrated with the quantitative data which permitted the achievement of the strategic aims set out for this research. The following aims were achieved:
• The roles and responsibilities of the custodians of the national estate were clarified; • International conventions designed to assist in combating crime perpetrated against cultural property were discussed;
• The national legislation which guides the management, preservation and protection of heritage objects as well as the trade therein within South Africa was examined;
• Policing agencies at the forefront of combating heritage crime were interviewed and international best practices were identified and compared with that which the SAPS are doing to address crime of this nature. These police agencies are situated in Italy, the United Kingdom, the USA and Germany;
• The dynamics of the reported incidents of loss/theft were examined. Several anomalies were identified. Among these are the identification of the typologies of items being targeted and the possible identification of the type of thief perpetrating these crimes.
• Through analysis of incidents it was also possible to highlight that the majority of thefts occur during the time when museums and galleries are open and that the items stolen are usually on open display (not affixed to the surface and not behind a barrier of any sort).
Through the analysis of the data for legal trade and the theft incidents it was possible to design a Framework depicting the interface between the legal and illegal markets for trade in heritage objects. The research also provides law enforcement with minimum guidelines to ensure that crimes of this nature are addressed more effectively.D.Litt. et Phil.
Department of Criminology (Police Science)
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Johnson, Kay. "Unsettling exhibition pedagogies: troubling stories of the nation with Miss Chief." Thesis, 2019. http://hdl.handle.net/1828/11132.
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Museums as colonial institutions and agents in nation building have constructed, circulated and reinforced colonialist, patriarchal, heteronormative and cisnormative national narratives. Yet, these institutions can be subverted, resisted and transformed into sites of critical public pedagogy especially when they invite Indigenous artists and curators to intervene critically. They are thus becoming important spaces for Indigenous counter-narratives, self-representation and resistance—and for settler education. My study inquired into Cree artist Kent Monkman’s commissioned touring exhibition Shame and Prejudice: A Story of Resilience which offers a critical response to Canada’s celebration of its sesquicentennial. Narrated by Monkman’s alter ego, Miss Chief Eagle Testickle, the exhibition tells the story of the past 150 years from an Indigenous perspective. Seeking to work on unsettling my “settler within” (Regan, 2010, p. 13) and contribute to understandings of the education needed for transforming Indigenous-settler relations, I visited and studied the exhibition at the Glenbow Museum in Calgary, Alberta and the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island. My study brings together exhibition analysis, to examine how the exhibition’s elements work together to produce meaning and experience, with autoethnography as a means to distance myself from the stance of expert analyst and allow for settler reflexivity and vulnerability. I developed a three-lens framework (narrative, representational and relational/embodied) for exhibition analysis which itself became unsettled. What I experienced is an exhibition that has at its core a holism that brings together head, heart, body and spirit pulled together by the thread of the exhibition’s powerful storytelling. I therefore contend that Monkman and Miss Chief create a decolonizing, truth-telling space which not only invites a questioning of hegemonic narratives but also operates as a potentially unsettling site of experiential learning. As my self-discovery approach illustrates, exhibitions such as Monkman’s can profoundly disrupt the Euro-Western epistemological space of the museum with more holistic, relational, storied public pedagogies. For me, this led to deeply unsettling experiences and new ways of knowing and learning. As for if, to what extent, or how the exhibition will unsettle other visitors, I can only speak of its pedagogical possibilities. My own learning as a settler and adult educator suggests that when museums invite Indigenous intervention, they create important possibilities for unsettling settler histories, identities, relationships, epistemologies and pedagogies. This can inform public pedagogy and adult education discourses in ways that encourage interrogating, unsettling and reorienting Eurocentric theories, methodologies and practices, even those we characterize as critical and transformative. Using the lens of my own unsettling, and engaging in a close reading of Monkman’s exhibition, I expand my understandings of pedagogy and thus my capacities to contribute to understandings of public pedagogical mechanisms, specifically in relation to unsettling exhibition pedagogies and as part of a growing conversation between critical adult education and museum studies.Graduate