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1.
Sally Anne Duncan 《Curator: The Museum Journal》2005,48(3):301-316
Speculation about the character and purposes of American art museums has occasioned intense debate since their inception—never more so than today. Whether to be elitist or populist, object‐based or audience‐based forms the crux of many heated arguments. This article asserts that, in the midst of competing philosophies, the successful American art museum has in reality grown from an amalgam of ideas that form a via media or middle path, far more inclusive and pragmatic than is usually noted. This comprehensive philosophy is most effectively demonstrated in the work of Henry Watson Kent at the Metropolitan Museum of Art in New York during the first decades of the twentieth century. The work of Kent and his colleagues at the Metropolitan Museum is here examined as a paradigm for the via media museum practice that speaks to the aspirations of America's current art museum leadership. 相似文献
2.
《Curator: The Museum Journal》2017,60(2):205-215
Gender inequality in the various artistic disciplines is still a socio‐political problem despite the efforts of governments and institutions. The aim of this article was to examine the catalogues of the permanent collections of ten European museums: the Tate Modern, the Centre Pompidou, the MACBA (Museu d'Art Contemporani de Barcelona), the Museo Nacional Centro de Arte Reina Sofía, the Istanbul Modern Art Museum, the MUMOK (Museum Moderner Kunst), the Stedelijk Museum, the Kiasma, the Hermitage Museum and the Astrup Fearnley Museet, and then compare the proportion of women among the artists in their collections. For this purpose, the number of works and artists was counted and analysed in each museum in the sample taking into account the social, political and economic conditions of the institution and relating them to the rest of art institutions. The results show a clear underrepresentation of women artists. 相似文献
3.
Kelly McHugh 《文物保护研究》2016,61(3):126-129
Comparisons are often made between the conservation of cultural material collections, often described as ethnographic, and contemporary art collections, and indeed there are significant parallels. The stewardship of both of these types of collections can challenge traditional tenets of conservation, requiring conservators to ask themselves ‘What are we preserving?’ as preservation extends beyond the physical. The work must be placed in a broader conceptual context and the conservator must seek out those who are deemed to have the most authority – whether it is the artist, the artist's assistants and estate or the source community – to establish this context. Engagement with constituents creates valuable reciprocal relationships, which can benefit the artist, community, and museum. The relationships and the parallel practice of two seemingly disparate fields are examined using examples from the National Museum of the American Indian (NMAI) and the Yale University Art Gallery (YUAG). Conservators at NMAI, a living culture museum containing archeological, historic, and contemporary art collections, are in the unique position of working with community stakeholders with direct ties to historic collections and contemporary artists whose work is actively acquired by the museum. Conservators at YUAG, an encyclopedic museum with a pedagogical directive, are attempting to establish a more rigorous program of artist engagement to direct preservation and understanding of contemporary art collections. 相似文献
4.
Antoniette M. Guglielmo 《Curator: The Museum Journal》2012,55(2):203-214
Abstract This article examines the metaphors used by museum leaders in the early twentieth century. Richard F. Bach’s metaphor for the Metropolitan Museum of Art as an adjunct of factory is positioned as a philosophical resolution between those of two prominent contemporaries: Benjamin Ives Gilman’s metaphor of the art museum as a temple and John Cotton Dana’s metaphor of the museum as a department store, which are often viewed by historians in a dichotomy of unresolved tension. While examining differences in institutional agendas suggested by these metaphors, this article illuminates the common goal among them: Museums explicitly saw themselves as serving an essential role in American society to refine public taste and the aesthetic sophistication of their audiences. A close analysis of the metaphors reveals three historical models that offered varying visitor experiences for exercising good taste. 相似文献
5.
Edith Doron 《Curator: The Museum Journal》2009,52(2):169-182
Abstract Describing actual museum‐wide events developed for the culturally charged arena of the Brooklyn Children's Museum, this article explores the philosophical and pedagogical double binds that have brought multiculturalism to a political impasse. Museums have strived to be valued resources in an increasingly diverse society. In aspiring to broaden their audience base, their work has shifted from developing educational policies that are “object‐centered” to those that are “community‐centered” — a change of strategy affecting everything from programs to exhibit design. Children's museums — distinct (if not marginalized) from the serious work of the traditional art or ethnographic or natural history museum — know and indeed say in their very name — “children's museum” — that they are for the sake of someone and not about something. They have always already been attuned to the visitor at the threshold. 相似文献
6.
Pamela Carter‐Birken 《Curator: The Museum Journal》2008,51(2):171-178
Abstract What does the term “interpretation” mean when it's encountered in museums of modern and contemporary art — and is something missing? Studies conducted by the Phillips Collection in Washington, D.C., the Walker Art Center in Minneapolis, and the University of Leicester in England reveal that visitors want more information about art. In this article, interviews with the directors of the Phillips and the Walker (as well as other museum professionals and academics) examine interpretative practices today and suggest plans for tomorrow. When preparing future interpretive materials, the author advocates that museums expose visitors to the idea that they make their own meaning when viewing art. 相似文献
7.
The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print. 相似文献
8.
Kate Moomaw 《文物保护研究》2016,61(3):130-136
Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making. 相似文献
9.
Charles Alan Watkins 《Curator: The Museum Journal》1994,37(1):25-35
Museums today face a crisis of confidence arising from two issues: (1) the erosion of a historically unreliable funding base, and (2) a challenge for audience by entrepreneurial elements in the culture. Other issues center on a growing public idea that museum work can be shared by entities such as theme parks and exhibition halls and the perception that education should be shaped as recreation. Museum responses to these problems have exacerbated their vulnerability as unique institutions. Certain dichotomies in the museum world help to explain this situation: (1) professionalism versus the audience, (2) connoisseurship versus the public experience, (3) the centrality versus the peripherality of objects in museums, (4) museums as businesses versus museums as educators, and (5) visitor expectations versus available resources. Resolution of the conflicts requires museums to remember that they are communication systems capable of teaching hard information, to stop emulating the forces that threaten to destroy them, and to pay attention to certain lessons understood in the business world. Museums also must find stable and reliable funding, reinvigorate the museum accreditation program, and pay attention to what museums really exist for. Museums are still necessary only when they function as true museums. 相似文献
10.
Briley Rasmussen 《Curator: The Museum Journal》2010,53(4):451-464
Abstract This essay addresses the pioneering work of Victor D’Amico, the first director of education at the Museum of Modern Art (MoMA) and an influential art educator. During his tenure at MoMA, D’Amico explored the role of museums in developing creativity through direct aesthetic experience and the larger social implications of art museum education. Victor D’Amico led the Education Project at MoMA, which began as a part‐time school partnership program in 1937. By the time he retired in 1969, he had become an internationally recognized leader in the field of art museum education. Yet today his influence is little known and seldom discussed. This essay focuses on two important programs he developed at MoMA: his most widely acclaimed and influential program, the Children’s Art Carnival (1942‐1969), and the groundbreaking art education television series Through the Enchanted Gate (1952‐1953). 相似文献
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12.
Danielle Rice and Philip Yenawine are veteran art museum educators who have wrestled for decades with the thorny issues involved in teaching about and learning from art objects in the museum setting. While there is general agreement within art museums today that the object should be the focus of educational practice, debate continues as to the most effective processes for facilitating learning. Gallery teaching is one of the most contested arenas, with much of the disagreement centering on the place of information in teaching beginning viewers. In art museums, the issue of what and how to teach is complicated by the fact that many people, including artists, museum professionals, psychologists and educators consider art primarily as something to be enjoyed, and they posit this enjoyment in direct opposition to learning about art. Partly because of this, the function of art museum education and gallery‐based instruction is still evolving. 相似文献
13.
Peter Linett 《Curator: The Museum Journal》2007,50(2):201-218
Abstract Reviewing the published legacy of museum scholar Stephen E. Weil, this paper analyzes the development of Weil's thought and appraises his contributions to museum discourse. It traces two shifts in Weil's published writings: first, the broadening of his interests from the legal field and the art world to the situation and purposes of museums generally; second, the liberalization of Weil's museological politics, which gradually altered his early view of the (art) museum as a private, sacrosanct realm and led to his later calls for museums to act as community servants. The paper also examines Weil's rhetorical strategies, with particular attention to the hypotheticals and analogies for which he was well known, and offers a provisional evaluation of the extent of his influence on museum debate and practice. 相似文献
14.
安娜·克林丽娜 《自然科学博物馆研究》2018,(1):80-83
创建于1907年的国家达尔文博物馆是俄罗斯历史最悠久的自然历史博物馆之一,由亚历山大·科茨等四人共同创办,该馆每年为不同的观众举办50~60个不同主题的展览。在国家达尔文博物馆中设立的俄罗斯自然历史博物馆协会发挥着联系俄罗斯各自然历史博物馆的作用。 相似文献
15.
朱广骊 《自然科学博物馆研究》2020,(5):78-86
《解读科学中心与博物馆中的互动:走向社会文化视角》一书运用社会文化视角,以众多实践案例为基础,对科学中心与博物馆中产生的各种互动进行了详细的论述。同时也对互动之于博物馆教育活动的重要性,如何才能开展有益的互动以及展品是如何促进学生学习等问题做了相关阐述。通过此书可以为博物馆教育工作者、学校教师以及在校学生带来一些启发和思考,并在一定程度上促进博物馆开展教育活动的进步。 相似文献
16.
Lynda Kelly 《Archival Science》2004,4(1-2):45-69
Museums present different contexts for learning, particularly when compared with places such as schooos, universities and
libraries. They have been described as free-choice learning environments visited by a broad range of people. Museums have
the opportunity to shape identities—through access to objects, knowledge and information visitors see themselves and their
culture reflected in ways that encourage new connections, meaning making and learning. However, across the world museums are
finding themselves competing with other leisure and learning experiences in an increasingly global world. The long history
of audience research in the cultural sector demonstrates the interest museums have had in their visitors over time. This paper
outlines the development of audience research in museums, the context within which it operates, and describes the processes
of audience research through a series of case studies drawn from the work of the Australian Museum Audience Research Centre.
It is argued that the shift in museums from mission-led program development to balancing content and audience needs through
a transaction approach requires a broader research-focused agenda. While traditional ways of conducting evaluations are necessary
and useful, to remain viable audience research needs to be more strategic, working across the sector in new ways and utilising
new methods. How programs impact on users and facilitate learning about a wide range of key issues that museums are concerned
with is a leadership role that audience research can take across both the cultural sector and other free-choice learning contexts.
To achieve this, a communities of practice approach is suggested as a potential framework for audience research in the contemporary
museum. 相似文献
17.
Eilean Hooper‐Greenhill 《Curator: The Museum Journal》2004,47(4):428-449
Abstract During 1999–2002, the British government invested £3 million (roughly $5.5 million) in an unprecedented set of initiatives that explored the potential of museums and galleries for educating students in novel and compelling ways. The Museums and Galleries Education Program (Phase 1), or MGEP1, consisted of 65 projects linking schools and museums of all kinds. Projects took many forms and were spread across England, reaching students between the ages of 5 and 16. They also enlisted the talents and energies of creative professionals, such as artists and media producers, and involved parents, community members, and museum workers. This paper describes MGEP1, gives a “before and after” picture of museums and education in England, and assesses the program's impact. Learning outcomes for pupils and teachers are discussed, and the importance for museum education policy and practice is outlined. 相似文献
18.
Public memories and private tastes: The shifting definitions of museums and their visitors in the UK
Gayle McPherson Author Vitae 《Museum Management and Curatorship》2006,21(1):44-57
There is no doubt that museums now operate in a distinctly different market to those of the past. Rottenberg [Rottenberg, B. (2002). Museums, information and the public sphere. Museum International, 54(4), 21-28] identifies the two major trends in museums in the latter years of the 20th century as being ‘the prevalence of a new market-orientated ideology that stressed the importance of revenue generation’ and ‘the introduction of new technologies that transfixed not only the museum profession, but also the world’. The main impact, which these and other changes have had is the revision of the museum into a setting for recreational experiences [Foley, M. and McPherson, G. (2000). Museums as leisure. International Journal of Heritage Studies 16(2), 161-174; Stephen, A. (2001). The contemporary museum and leisure: Recreation as a museum function. MuseumManagement and Curatorship 19(3), 297-308], rather than an educative one. This paper attempts to address some of these shifts in ideology and purpose.The main concern that museums face as they become more ‘recreation-focused’ is that they will lose what has long been believed to be their ‘integrity’, and thus stray from their original missions to preserve and educate, with critics suggesting that they may simply become arenas for pleasure rather than education.This paper concludes that in future, it seems inevitable that museums will become ‘hybrid places, combining recreation and learning, allowing visitors diversions from the intense stimuli of strolling through galleries and viewing multitudinous objects’ [Kotler, N. (2004). New ways of experiencing culture: the role of museums and marketing implications. Museum Management and Curatorship, 19(4), 417-425], with entertainment and education working together to fulfil the museum's mission. Museums need not be afraid of using entertainment, but should embrace it as a tool for learning, potentially attracting a wider and more diversified public. 相似文献
19.
常娟 《自然科学博物馆研究》2018,(3):85-92
《让孩子爱上博物馆》一书着重分析了建构主义理论在博物馆儿童教育中的应用,并针对博物馆儿童观众的研究成果分析做了深入阐述,对于全面指导博物馆儿童早期教育项目的设计与执行具有现实意义。受该书启发,本文最后以系统学视角,对教师、家长、博物馆从业者等不同主体促进孩子爱上博物馆提出了相关建议。 相似文献
20.