The focus of this thesis was to gather data by survey on the utilization of VMFA resources by Virginia, K-12 public and private school teachers. Currently there is a lack of research on how teachers utilize art museum resources. I sent a Web-based survey to 800 teachers in the state of Virginia. One hundred seventy six teachers responded and the data was analyzed to determine their backgrounds and utilization of VMFA resources. All data was entered into tables in both numerical form and percentages. My analysis of the data showed that teachers utilize resources most frequently for art history discussion and studio project motivation. In their classrooms, teachers most frequently use poster kits and video/DVD from VMFA.

An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.

This dissertation reconstructs and investigates the origins of the Pérez Art Museum Miami. In 2013, the museum re-opened in a new, county-funded building to great acclaim and international attention, but the museum’s origins in the 1970s have been largely forgotten. A result of the 1972 “Decade of Progress” bond vote by county taxpayers that allocated funds to build a new art museum, the museum opened as the Center for the Fine Arts in 1983 as a non-collecting institution dedicated to displaying traveling exhibitions. The new institution represented the combined efforts of local government, business, and art to construct not only a place in which to view art but also as part of an overall plan to create a great metropolitan area. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Thesis (M.A.)--University of Delaware, 2009. / Principal faculty advisor: Lawrence Nees, Dept. of Art History. Includes bibliographical references.

This qualitative case study focuses on the efforts of the education staff at the Meadows Museum of Art as they planned and implemented INsights and OUTlooks – an inclusive educational program, meaning that it was designed for sighted and non-sighted visitors. Although this is an inclusive program, the study concentrates mostly on how it was designed to make art accessible to visitors with visual impairments. The researcher interviewed the staff in charge of leading the program, observed two program sessions, and attended staff meetings related to INsights and OUTlooks to gain a better understanding of how it functions. Current literature (Andrus, 1999; McGinnis, 2007) within the field of art education suggests that staff at art museums should adopt inclusive practices as they design programs and exhibitions. This study explores the process of creating such a program, the tools and approaches utilized to make art accessible to visitors with visual impairments, and the benefits of being inclusive. Research studies such as this one add to the existing but limited literature regarding inclusive programming in art museums. / text

Final Project (M.A.)--John F. Kennedy University, 2004. / "August 30, 2004"--T.p. Includes bibliographical references (p. 127-135).

The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.

It is widely acknowledged that without volunteer guides, or docents, most museums and galleries would find it impossible to offer education programmes as they are known today. Docents work in the critical interface between visitors and works of art, yet often they are viewed as being passive, and often ineffective, transmitters of the gallery's educational message. The literature on gallery education emphasizes docent "management", or the methods used to recruit, train, and supervise docents. But gallery staff must consider the docent’s beliefs, values, and viewpoints about art, and about education, for improvement of education programmes to occur. This study describes, and analyzes, the docent’s perspective of gallery education programmes, and the extent to which docents are actively engaged in the ongoing process of learning to help others learn. In order to obtain their perspective, six docents in two art galleries were engaged in long, semi-structured, and repeated interviews. These interviews were audiotaped and transcribed. Categories derived from the teacher's practical knowledge, such as subject, curriculum, instruction, self, and milieu, were used as a framework to describe and analyze the docent's practical knowledge. It was found that though the docents did indeed hold a coherent body of knowledge that originates in their practice, their theoretical knowledge of art was often an inadequate base on which to build an interpretation of the gallery's exhibitions. Differences were found in the educational goals of the gallery, and between the institution, and the docent’s educational values and purposes. Educators need to be aware or the shifting, complex, and sometimes paradoxical nature of the docent’s role. The docent’s perspective must be considered in the successful planning and implementation of education programmes. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

No description available.

Mak King Huai Kevin. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2008-2009, design report." / Subtitle on thesis t.p.: Photographic gallery & image archive center, Central, Hong Kong. / Includes bibliographical references (p. [84]-85). / Chapter 0a --- thesis statement --- p.5 / Chapter 0b --- thesis abstract --- p.13 / Chapter 0c --- definitions --- p.14 / Chapter 1 --- Vibrant Surface of Metropolitan City --- p.17 / Chapter 2 --- Stillness : detached from Vibrant Surface --- p.22 / Chapter 3 --- Still Space --- p.32 / Chapter 3.1 --- hidden courtyards : access / space / qualities / Chapter 3.2 --- cases studies / Chapter 4 --- Still Photography --- p.24 / Chapter 4.1 --- city > photographic image / Chapter 4.2 --- cases studies / Chapter 5 --- Design Strategy --- p.45 / Chapter 5.1 --- Site / Chapter 5.2 --- Programme / Chapter 5.3 --- Space / Chapter 6 --- Detailed Design --- p.57 / bibliography --- p.82