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伯顿·K·利姆 《自然科学博物馆研究》2018,(1):71-76
皇家安大略博物馆融合自然历史和世界文化于一身,藏品超过1250万件,大量开展国际范围的研究。2017年参观人数超过130万人次。该馆设有27个永久的世界文化和自然历史展厅、2个儿童动手实践探索展厅和4个用于临时展览的展区。该馆收集了两只鲸鱼的骨架,将其中一只鲸鱼的心脏做塑化处理后在主展厅展出,将在加拿大各地和其他国家和地区进行巡回展出。 相似文献
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近年来，新晃档案馆在投入80万元强化硬件建设的同时，在档案的收集、整理和编研上不断创特色，谋突破。目前该馆有馆藏档案5万余卷，其中民国档案2235卷。特别是一批红军长征途径新晃的史料和实物犹为珍贵。该馆还征集有侗族特色档案，编写了《夜郎史话》、《侗民族资料》，并举办夜郎文件展厅，展示神秘悠远的古夜郎侗文化、稻作文化、巫傩文化和竹文化。 相似文献
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打造文化亮点 外延服务功能——前进中的遵义市图书馆 总被引：1，自引：0，他引：1
本文介绍了遵义市图书馆近两年业务建设与发展历程,展示了该馆在以读者为中心,营造学习环境,打造文化亮点,顺应社会需求,外延文化功能等方面所取得的成就。 相似文献
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大连海事大学的校史展厅包括照片及实物档案展览,是1999年校庆时重新布置的,再现了学校历史,展示了学校风貌,已成为对师生进行爱校、爱国教育的基地,学校的窗口.上至党和国家领导人,下到各地中小学生以及国外来宾,只要来到我校,大部分都要参观展厅. 相似文献
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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
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Jane Alexander 《Curator: The Museum Journal》2014,57(3):347-362
How can art museums use interpretive technology to engage visitors actively in new kinds of experiences with works of art? What are the best strategies for integrating technology into the visitor experience? In 2012, the Cleveland Museum of Art responded with Gallery One, an interactive art gallery that opened to stakeholders on December 12, and went through a six‐week testing period before its public opening on January 21, 2013. Gallery One drew from extensive audience research and was part of a major building and renovation project in which CMA reinstalled and reinterpreted the entire permanent collection in new and renovated gallery spaces. The end result was an innovative and robust blend of art, technology, design, and a unique user experience that emerged through the collaboration of staff across the museum and with outside consultants. 相似文献
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Barbara J. Soren 《Curator: The Museum Journal》2000,43(4):324-342
Abstract This article describes how two art museums have used the results of audience research for institution‐wide planning. Results and outcomes are reported from a visitor audit at the Tate Gallery (now Tate Britain), and from a survey of Black cultural tourists and local African Americans visiting The Art Institute of Chicago. A follow‐up interview five years later with the head of communications at the Tate Gallery highlights how exhibit developers and museum staff used visitor feedback and response to improve visitor care, and ultimately visitor experience. A conference presentation a year after the audience research was conducted at the Art Institute and an exhibition two years following are indications of the extent to which the African American audience research project had an institutional impact. The article concludes with a review of helpful methods and suggestions for other institutions. 相似文献
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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
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David R. Howell 《Curator: The Museum Journal》2015,58(4):423-433
Since the devolution of political authority was introduced to Wales, the museums and culture sector has been increasingly influenced by the political sector. One aspect of the culture sector to become a focus for Welsh politicians has been the idea of establishing a National Gallery for Wales. This has increased pressure on the National Museum Wales, the body which would be responsible for creating a National Gallery, to revisit its approach to the display of national art collections and associated narratives. However, in an effort to create something resembling a National Gallery, has National Museum Wales ultimately fallen short in achieving wider goals of developing a Welsh narrative through the nation's art holdings? This paper explores how effective the National Museum has been in exploring national narratives through its displays, by focusing on audience engagement with exhibitions. A visitor study, conducted between 2012 and 2014, explored the way in which visitors engaged with works of art that might be classified as being “Welsh.” Following this three year period, it became clear that visitors were not viewing Welsh art work as a viewing priority, and tended to not enter the one exhibition area to present a strong Welsh narrative connected to the display of art. In a context where visitors appear to systematically disengage with a national narrative—a narrative seen to be a priority by Welsh politicians and the museum hierarchy—why is this failure occurring? How might it be confronted? And ultimately does, or should, this emphasis matter in the first place? 相似文献
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This paper discusses the benefits of using Latent Class Analysis (LCA) versus K‐means Cluster Analysis or Hierarchical Clustering as a way to understand differences among visitors in museums, and is part of a larger research program directed toward improving the museum‐visit experience. For our comparison of LCA and K‐means Clustering, we use data collected from 190 visitors leaving the exhibition Against All Odds; Rescue at the Chilean Mine in the National Museum of Natural History in January 2012. For the comparison of LCA and Hierarchical Clustering, we use data from 312 visitors leaving the exhibition Elvis at 21 in the National Portrait Gallery in January 2011. 相似文献
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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
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《文物保护研究》2013,58(5):306-320
AbstractBeing prepared to address an attack on a painting requires considerable input from both scientific and conservation personnel. When tailoring an appropriate and effective incident response, a well-developed knowledge of the collection, the museum layout, and staffing is also essential. This article discusses the nature of attacks on paintings and the materials and techniques used to mitigate the effects of malicious damage. Previous research into response procedures and the testing of attack substances is also summarized. The primary focus of the article traces the redevelopment of the National Gallery incident response grab bag that caters to various types of attack. Discussions center on developing the customized content of the new bag, material testing, and a practice run-through to establish a response procedure. Ultimately, the practicality and efficacy of the grab bag are demonstrated. 相似文献
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Mark O'Neill 《Curator: The Museum Journal》2007,50(4):379-399
“Welcome to the future of museums” is one of the many rave head‐lines that greeted the reopening of Kelvingrove Art Gallery and Museum in Glasgow, Scotland, after a $60 (£30) million refurbishment. This article charts the course of the project over the 16 years it was in development, tells how it survived a number of major setbacks, and recounts the key strategic decisions that led to the creation of an object‐based, visitor‐centered, storytelling museum that was more successful than we dared hope. The project team aimed to integrate the demands of research, design, conservation, education, and communication in order to bring visitors and objects—in all their richness and complexity—into meaningful contact. This process has been rewarded with unprecedented visitor numbers‐3,000,000 in the first year, in a city of 600,000 people. 相似文献
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Explore a Painting in Depth, an experiment presented in the Canadian Collection of the Art Gallery of Ontario, consisted of a booth that offered seating for two visitors and, opposite them, The Beaver Dam, a 1919 landscape painting by the Canadian artist J. E. H. MacDonald. In a 12‐minute audio‐guided Exercise for Exploring, visitors were invited to engage in a creative process with the imagery of the painting. This paper sketches how the experiment evolved, presents the background of the Exercise for Exploring, and surveys the effects of the exhibit on a wide range of visitors. The question is raised: How can facilitating visitors' creative responses to artworks be part of the museum's educational mandate and its arsenal of interpretive resources? More broadly: Do strategies that foster and privilege visitor creativity, as well as honor the creativity of artists, affect the accessibility and relevance of the museum for the general public? 相似文献