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1.
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   

2.
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   

3.
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   

4.
Abstract Given the Victorian origins of the idea of a national portrait gallery, how relevant are such institutions today? The rebirth of the National Portrait Gallery in Washington, D.C. has involved a reinvestigation of notions of greatness, national identity, and the ongoing vitality of portraiture as an artistic form. Who should be deemed crucial to the telling of our national history? The evolution of thinking in our own day about the nature of national identity has undergone a dramatic shift. We have made decisions that might curl a Victorian's toes.  相似文献   

5.
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   

6.
How do visitors to fine art museums experience exhibitions? Can we classify their experiences? What are the factors that drive different types of visitor experience? We set out to answer these questions by analyzing from sociological, psychological, physiological, and behavioral perspectives the responses of 576 visitors to a special exhibition 11: 1 (+ 3) = Eleven Collections for One Museum mounted at the Kunstmuseum St. Gallen, Switzerland, from June to August 2009. Our five‐year research project, eMotion: Mapping the Museum Experience, interpreted computer‐modeled movement‐tracking and physiological maps of the visitors in complement with entrance and exit surveys. We tested individual aspects of the visitor, such as her or his expectations of the exhibition prior to seeing it; his or her socio‐demographic characteristics; her or his affinity for art, mood just before and receptivity just after the visit; and spatial, individual, and group‐related behavior patterns. Our study breaks down three types of exhibition experience that we call “the contemplative,” “the enthusing,” and “the social experience.” The results yield new information about aesthetic arousal, cognitive reaction, patterns of social behavior, and the diverse elements of the exhibition experience.  相似文献   

7.
Museums, art galleries, botanical gardens, national parks, science centers, zoos, aquaria and historic sites are important public learning institutions. The free‐choice learning offered in these settings is closely linked to visitors' intrinsic motivation, making it important to understand the motivational factors that impact on visitors' experiences. This paper presents data from a questionnaire administered to visitors at three sites: a museum, an art gallery, and an aquarium. Similarities and differences among the sites are reported in relation to visitors' expectations, perceptions of learning opportunities, engagement in motivated learning behaviors, and perceptions of the learning experience. The importance of learning to museum visitors and the unique opportunities and challenges of the museum in relation to other educational leisure settings are discussed. The authors argue that the study of motivational factors might contribute to the development of a common theoretical foundation for interpretation in museums and other informal learning settings.  相似文献   

8.
Studies exploring very young children visiting museums and art galleries are few. The majority of research about museum and gallery visitors explores family group interactions. This paper examines the findings of a study involving three‐ and four‐year‐old children visiting an art exhibition in a national museum on more than one occasion. The children's construction of knowledge about being a museum visitor and exhibitor indicates their ability to develop an appreciation of art and an understanding of the purposes of museums and art galleries.  相似文献   

9.
This article reports on a study of young children and the nature of their learning through museum experiences. Environments such as museums are physical and social spaces where visitors encounter objects and ideas which they interpret through their own experiences, customs, beliefs, and values. The study was conducted in four different museum environments: a natural and social history museum, an art gallery, a science center, and a hybrid art/social history museum. The subjects were four‐ to seven‐year old children. At the conclusion of a ten‐week, multi‐visit museum program, interviews were conducted with children to probe the saliency of their experiences and the ways in which they came to understand the museums they visited. Emergent from this study, we address several findings that indicate that museum‐based exhibits and programmatic experiences embedded in the common and familiar socio‐cultural context of the child's world, such as play and story, provide greater impact and meaning than do museum exhibits and experiences that are decontexualized in nature.  相似文献   

10.
Over a period of six years, the Queensland Art Gallery / Gallery of Modern Art and Chinese artist Cai Guo-Qiang developed and realized the major art installation Heritage (2013). The artwork comprises 99 life-sized imitation animals congregating at a waterhole and covers 1104 m2 of floor space. This paper reviews aspects of the commission, construction, and completion of Heritage – a very large-scale, technically complex contemporary installation. From commission to acquisition, the project was a highly collaborative undertaking and is an interesting example of unconventional conservation. This paper, written from curatorial and conservation perspectives, describes this cooperative endeavour.  相似文献   

11.
This article first looks at the relationship between museums and art galleries and their potential audiences and, in particular, the under-represented sector of young visitors. It examines the main findings from the limited research available on young visitors, and goes on to discuss theories delineating the differences between the cultures, identities and values of culture consumers and culture providers. The second part of the article looks at what specific museums have done towards being more inclusive in their appeal, and then reports the findings of a survey of young people in relation to New Zealand's Auckland Art Gallery. The survey found that young people's ideas of what constitutes modern, relevant art do not match standard art criteria, and that most exhibitions and marketing methods do not mesh with their worldview. The article concludes by using data from the survey to suggest ways of engaging more young people with public art galleries.  相似文献   

12.
哈萨克斯坦共和国国家博物馆是中亚地区最年轻、规模最大的博物馆。本文介绍了该馆的基本情况,并详细介绍了该馆的古代与中世纪历史展厅、历史展厅、民族志展厅、黄金大厅等重点展厅展示的历史文化遗产以及创新的展示技术等。  相似文献   

13.
The contemporary directions of art galleries worldwide are changing as social patterns and demands, as well as visitor expectations of their experiences at art galleries, change. New programs and strategies are being developed in galleries to make these institutions more appealing to people who would not normally visit them, and one such strategy is the staging of special events. However, because galleries are staging an increasing number of special events, the factors motivating visitors to attend these institutions are changing. Visitors hope to have different experiences and encounters in the gallery during special events. This paper presents the findings from a study in Australia about visitors’ motivations to attend special events in galleries. It highlights the different factors that motivate visitors to attend the gallery specifically for a special event in comparison to visiting the gallery's permanent collections.  相似文献   

14.
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   

15.
Radio frequency identification (RFID) is a mature technology used across many industries. However, beyond satisfying industry mandates, many in the publishing industry have stepped back from pursuing the potential of RFID. Why? Publishing was first introduced to RFID in 2003 through retailer mandates which created a negative cloud around RFID. Many focused exclusively on the technology and the cost of compliance, rather than the business benefits. Since then, the primary focus has continued to be on the technology. For a publishing industry facing new sources of competition and serious supply-chain issues, the time has come to stop focusing on the technology and start thinking about the benefits. RFID is really all about lowering costs and achieving greater efficiencies. The potential for RFID to reduce warehouse and distribution costs, in-store theft and out-of-stock conditions is exciting, as are the larger opportunities to improve forecasting, customer experience and planning. RFID is new to the book industry and there is still a lot to learn. Understanding the technology is important. But, RFID is not just a technology. It is an enabler for reducing costs, improving profitability and enhancing competitiveness. It is essential that the industry go beyond the technology and start realizing these opportunities.  相似文献   

16.
Over the past two decades, museums and galleries have significantly expanded the scope and diversity of programs and exhibitions offered to children, families and schools. Parents and teachers are increasingly interested in curated public play spaces for children in the early years (from birth to eight years old), and they actively search for accessibility, affordability and quality when planning young children's excursions. In 2013, the Ipswich Art Gallery (in Queensland, Australia) developed and presented Light Play, an interactive exhibition designed especially for children up to the age of eight. Light Play promoted the use of light as a creative material for making ephemeral art through collaborative play, experimentation and discovery‐based learning. As part of the exhibition, a formal research project was run as an integral component of Light Play. Our research documented the qualities that lead to successful creative play experiences for young children in art museums by examining three key aspects of the exhibition: the participants, the environment, and the program. This paper discusses the findings of that research, in relation to making financial and human resource investments in interactive and immersive exhibitions and play spaces for children in the early years.  相似文献   

17.
Abstract

This article reports on the “2019 Best Practices from World Libraries” Photo Gallery Project initiated by the International Connections Committee (ICC) of the International Relations Round Table (IRRT) at the American Library Association (ALA). The project was inspired by a 2018 ALA-IRRT Emerging Leader’s project, Toward Increasing Engagement of International New Professional Leaders in ALA Activities, which followed a survey study developed to explore IRRT’s ability to engage its international members. The article shares the project planning process and the key actions taken to build a virtual and physical gallery for the 2019 ALA Annual Conference in Washington, DC, as well as highlights example programs from the project which demonstrate how libraries around the world are building stronger communities. Finally, the authors consider how the project may be improved upon and further developed in the future.  相似文献   

18.
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19.
The 1930s represent a contentious period between the radio and newspaper industries. In the middle of the press-radio war, a new technology, the broadcast radio facsimile, emerged with the potential to bring together the warring industries. Although the radio facsimile was short lived, its story, seen through the lens of the press-radio war, provides an interesting look at the forces shaping a new technology.

Envisioned as a technology that would allow subscribers to receive the newspaper via a radio receiver, the facsimile presented an interesting dilemma: Who would control the creation and dissemination of news—the newspaper or radio industry? This article explores this question through an examination of industry narratives about the facsimile. In analyzing the discourses, this study focuses on how the newspaper and radio industries envisioned the future of the facsimile. Was the facsimile viewed as a means for cooperation or as a point of contention?  相似文献   

20.
Abstract The public seems more likely to take issue with what history museums say than with what art, anthropology, and natural history museums say. In part, this is because these disciplines are understood to be challenging, not least because of the often opaque language and methods designed to impart psychic distance from their content. Exhibitions in these disciplines work by equipping and requiring us to step back before we step in, thereby making it easier to process difficult subjects. One such exhibition which was potentially emotionally charged did not provoke controversy. Did the disciplines through which the story was approached remove the story temporarily from the highly charged slave narrative and place it in a different, less contested—because more reified—context, a different kind of narrative? If so, was that a constructive contribution or a missed opportunity?  相似文献   

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