Thesis (Ph.D) -- University of Western Sydney, Nepean. / Related works: Leading with passion: change management on the 21st century museum. Includes bibliographical references.

Thesis (PhD(Visual Studies))--University of Pretoria, 2007. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (M. Arch.)--Carleton University, 2004. / Includes bibliographical references (p. 78-81). Also available in electronic format on the Internet.

Thesis (Ph.D.)--Ohio University, November, 2004. / Includes bibliographical references (leaves 229-242)

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Lauren S. Weingarden, Florida State University, College of Arts and Sciences, Program in Humanities. Title and description from dissertation home page (viewed Jan. 25, 2006). Document formatted into pages; contains xi, 169 pages. Includes bibliographical references.

abstract: Art museums are institutions with a mission to not only preserve art and culture for the public, but to provide visitors with an educational experience. This qualitative case study includes three art museums in the Phoenix Metropolitan Area: a university art museum, a large public museum in Downtown Phoenix, and a contemporary art museum in the city of Scottsdale. This research study sought to identify the ways in which eight art museum employees from the education and administration departments identify their institutions as educational. Data was collected and analyzed through the methods of direct observations and field notes, one-on-one interviews, and photographs of educational programming. After examining these art museums and conducting eight interviews, a description of each observation is displayed using examples of photographs and field notes. Although findings suggest a variety of educational programs for a range of visitors in each institution, all three museums offered comparable programs, activities, and events. This research study revealed similar ideas, themes, and perspectives between art museum educators and administrators. Findings indicate the importance of collaboration between both museum departments in order to ensure the success of their museums. All eight participants in the study had a passion for art and art museums as well as visitor education. Additionally, participants had concurrent thoughts in their interviews regarding concepts of educational programming, cultural diversity approaches, art museum fundamental roles, and overall educational goals. / Dissertation/Thesis / Masters Thesis Art 2018

abstract: The general field of interest of this study was art education in the context of art museums in the United States. The vehicle of a mixed method, descriptive research design was used to investigate whether museum educator and curator participants had tendencies to use personal or communal approaches (Barrett, 2000) to teaching art interpretation to adult visitors. While the personal approach to art interpretation focused on individuals' responses to artworks, the communal approach emphasized the community of art scholars' shared understandings of artworks. Understanding the communities of practice of the participants was integral to the discovery of meaning in the study's findings. Wenger (1998) introduced the theory of community of practice to explain how individuals, who are united in a particular context, shared similar perspectives, learned socially from each other, and gained a sense of identity through their routines and interactions. The study examined how museum educators' and curators' separate communities of practice influenced their members' teaching approaches through the development of distinct teacher personae. Teacher personae reflected the educational values and priorities of museum educators' and curators' communities of practice. And, teacher personae had tendencies to adopt personal or communal approaches to art interpretation. / Dissertation/Thesis / Doctoral Dissertation Curriculum and Instruction 2014

[pt] Esta pesquisa foi realizada no Museu de Arte Moderna do Rio de Janeiro no ano de 2004, tendo como foco de atenção as crianças, os jovens e os professores que aderiram, em visitas escolares, ao Programa Educativo, e os profissionais responsáveis por esse atendimento. A partir da observação direta de registros escritos e de imagens, buscou conhecer e compreender as interações entre crianças, jovens, adultos e obras de arte no espaço do Museu e refletir sobre essas interações no que se referem ao desenvolvimento da sensibilidade estética e da capacidade de apreciação crítica. Reconhecendo a infância como uma construção social e compreendendo as crianças e jovens como atores sociais, procurou, no referencial teórico da Sociologia da Infância, na filosofia antropológica de Walter Benjamin e na psicologia de Lev Semenovich Vigotsky, as bases fundamentais de interpretação. Ao perceber a arte como fonte da subjetividade humana, patrimônio e direito a ser legitimado, e o museu e a escola como parceiros potenciais na tarefa da formação artística e cultural de todos, a pesquisa procurou, nas redes de significado que se formam entre os indivíduos envolvidos e as obras de arte expostas, subsídios para a construção de um texto que se inspira na etnografia como metodologia para a descrição e análise da realidade observada. / [en] This research was realized at the Museum of Modern Art in Rio de Janeiro in 2004, having its main interest in the children, youngsters and teachers that joined, during school visits, its Educational Program, as well as the professionals who attended the visitors. This paper sought to understand the interactions between children, youngsters, adults and works of art within the space of the museum and reflect about those interactions concerning the aesthetic sensitivity and critical appreciation through direct observation, visual and written records. Recognizing childhood as a social construct and understanding the children and youngsters as social actors, sought theoretical references in the sociology of childhood, in the anthropological philosophy of Walter Benjamin and in the psychology of Lev Semenovich Vigotsky the fundamental bases for its interpretation. Understanding art as a source of human subjectivity and legitimate right, as well as the museum and the school as potential partners in the artistic and cultural education of all, this research sought in the meaningful nets woven between every individual involved and the exhibited works of art, resources for writing a text inspired by ethnography as a methodology for the description and analysis of the observed reality.

The subject of the Master's Thesis Arts Museum Marketing Strategy is a synthesis of theoretical basis from the arts marketing field and the development of marketing strategy of an art museum, supplemented by a specific analysis and draft of a new marketing strategy of the museum Villa and Collection Panza in northen Italy. The goal of this thesis is not only to summarise generally applicable theoretical concepts for the marketing strategy development or redesign of an art museum but especially its application on a particular example with a real potential of practical use. The theoretical part of this thesis was created by a systhesis of available literature while the practical part was primarily based on authors personal observation and interviewing from the position of a museum trainee.

“The Artist as Curator: Diego Velázquez, 1623-1660” reconsiders the career of Diego Velázquez at the court of Hapsburg king Philip IV as a major episode in the history of curatorial practice. By this it means to examine the ways Velázquez’s activities as a painter and his activities as curator of the Hapsburg art collection transformed each other. Velázquez’s paintings express ambitions and attitudes towards his predecessors that would motivate Velázquez’s reorganization of parts of the royal collection that included their works. In turn, the collection and display of paintings in royal exhibition sites would cultivate in Velázquez a knowledge of art and its history that would inform the paintings he produced at court. Velázquez was a singularly art-historical painter, many of whose works investigate the nature of art itself. This dissertation seeks to prove that these aspects of Velázquez’s work were cultivated in the early modern museum that was the Alcázar palace, where he was surrounded by a veritable history of art under the Hapsburgs. The dissertation has five chapters; each closely examines a significant project in Velázquez’s trajectory as artist-curator at the Hapsburg court. The first uses the first major installation that Velázquez would witness at the Hapsburg court to set up the problematic of the dissertation as a whole - namely, that meaning was made on the walls of galleries, and that if Velázquez was going to make his name at court, it would be by engaging the royal art collection as it appeared on gallery walls. The second investigates Velázquez’s first curatorial project, the redecoration of the Octagonal Room; it argued that Velázquez’s interest in art itself—an interest characteristic of his painting practice—found a new medium in his work as curator of this gallery. The third chapter reexamines The Rokeby Venus as a function of what Velázquez witnessed over the course of the assembly of the Vaults of Titian, where paintings of nudes were exhibited all together; it thus demonstrates the impact of the royal art collection and its display on his creative imagination as a painter. The fourth chapter considers the culminating curatorial project of Velázquez’s career—the redecoration of the Hall of Mirrors—in tandem with the suite of paintings he made for it—the painting cycle including Mercury and Argus, examining the ways that these two projects mutually informed one another. The final chapter proposes that Las Meninas again evidences Velázquez’s curatorial and painterly imaginations at work simultaneously; then it uses the painting as a point of entry into the reception of both of these aspects of Velázquez’s work at the Hapsburg court, arguing that to make art after Velázquez was to acknowledge both. All together, these chapters tell the story of Velázquez’s increasing engagement with the royal art collection, from the start of his career at the Hapsburg court through his legacy beyond it.