Ob Kunstmuseum oder ethnographische Sammlung, ob Militärhistorisches Museum oder Münzkabinett: In einem vielfältigen Angebotsspektrum ringen große und kleine Museen um die Gunst der Besucher. Die Struktur des Zielpublikums ist dabei in der Regel sehr weit gefasst, da im Sinne des Bildungsauftrags möglichst viele soziale Milieus oder Altersgruppen angesprochen werden sollen. Das Informationsmaterial zur Vermittlung der Ausstellungsinhalte, wie Ausstellungskataloge, Audioguides, Flyer oder der Internetauftritt der jeweiligen Institutionen, enthält eine Vielzahl von weiterführenden Informationen, die in der Regel nur teilweise zielgruppenspezifisch aufbereitet werden, da die Adressaten jeweils nur schwer eingegrenzt werden können. (...)

El estudio tiene como objeto crear una metodología de trabajo que permita tratar de forma normalizada una colección pública de fondos artísticos que no tiene entidad jurídica de museo. El método empleado incluye tanto técnicas de revisión bibliográfica como trabajo de campo para la identificación de recursos en Internet y para la adaptación e importación de datos textuales en una aplicación informática. El trabajo se estructura en ocho capítulos que comienzan con la determinación de conceptos, así como la identificación y clasificación de fuentes de información artística. A continuación estudia las entidades que custodian y difunden la información y las técnicas que se aplican para ello, desde una perspectiva internacional para concluir con el panorama local. El último segmento desarrolla los conocimientos implantando una metodología a través de una herramienta informática y su validación con los registros de la sede del Rectorado de la Universidad Politécnica de Valencia. El trabajo demuestra la necesidad de utilizar en cualquier colección, técnicas y procedimientos probados en instituciones museísticas. De esta forma se garantizaría la compatibilidad de los resultados del tratamiento de la información: los sistemas de documentación de museos. El método implementado concluye la posibilidad de aplicar a cualquier información artística, con sus peculiaridades, unas técnicas de tratamiento estandarizadas. / The aim of this study is to develop a methodology that allows dealing with an artistic public collection which is not an established museum in a standardized way. It has been used a scientific method, including bibliographic review techniques as well as research work, which has been essential to identify Internet resources and to adapt and import textual data in a computer application. It is organized in eight chapters that begin with conceptual determinations, and the identification and classification of the artistic information sources. Then, the work studies the organizations that custody and spread the information and the procedures used for it, from an international perspective to a local view. The last chapter develops this knowledge implementing the method through a computer application and its validation with the Rectorate of the Polithecnic University of Valencia's records. This work demonstrates the need to use techniques and procedures experienced or previously tested at museums in any collection. In this way, compatibility of the results of the information treatment is ensured: the museums' documentation systems. The implemented method comes to the conclusion that it is possible to apply standardized techniques of information treatment to any artistic information, with its peculiarities.

Situé au cœur du Hainaut, le musée de Mariemont doit son existence à la volonté de Raoul Warocqué, riche industriel, homme politique et philanthrope qui lègue en 1917 son château et les collections qu’il renferme à l’État belge. Formé ainsi d’un contenant et d’un contenu, le musée de Mariemont incarne bien, du moins jusqu’à l’incendie du château en 1960, ce qu’Anne-Doris Meyer a appelé les « musées de collectionneurs », dont bon nombre d’exemples voient le jour à la charnière des 19e et 20e siècles, en Belgique comme à l’étranger.<p>De l’histoire du musée de Mariemont, on ne retient généralement que le geste qui lui a donné naissance. Aucune étude ne s’était penchée jusqu’ici sur ce qui se passe après le décès de Raoul Warocqué. En comblant cette lacune, cette thèse offre l’opportunité d’examiner comment une collection privée se mue en musée public, comment les pouvoirs publics veillent à concilier le souhait du bienfaiteur et les missions du musée, quelles difficultés ils ont rencontrées dans la gestion de ce patrimoine d’origine privée et quelles solutions ils y ont apportées. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Die dritte Sektion der Dresden Summer School behandelte die für die wissenschaftliche Arbeit am Museum zentralen Aspekte Datenbanken, Inventarisierung und Provenienzforschung. Alle diese Punkte sind eng mit dem Thema Digitalisierung verbunden, greifen die genannten Arbeitsbereiche doch mittlerweile standardmäßig auf Datenbanken und elektronische Systeme zur Erfassung, Dokumentation und Erforschung der musealen Bestände zurück. (...)

Das Münzkabinett ist – obwohl zentral im Georgenbau am Residenzschloss untergebracht – eines der weniger intensiv besuchten Museen der Staatlichen Kunstsammlungen Dresden.1 Dies liegt vor allem an der durch laufende Baumaßnahmen bedingten Begrenztheit der Präsentationsräume. Während die 30.000 Bände umfassende Spezialbibliothek und der Studiensaal interessierten Fachbesuchern Detailstudien ermöglichen, steht der Sammlungspräsentation aufgrund des Umbaus der Ausstellungsräume nur ein kleines Rondell im Hausmannsturm des Residenzschlosses zur Verfügung. (...)

Ob Kunstmuseum oder ethnographische Sammlung, ob Militärhistorisches Museum oder Münzkabinett: In einem vielfältigen Angebotsspektrum ringen große und kleine Museen um die Gunst der Besucher. Die Struktur des Zielpublikums ist dabei in der Regel sehr weit gefasst, da im Sinne des Bildungsauftrags möglichst viele soziale Milieus oder Altersgruppen angesprochen werden sollen. Das Informationsmaterial zur Vermittlung der Ausstellungsinhalte, wie Ausstellungskataloge, Audioguides, Flyer oder der Internetauftritt der jeweiligen Institutionen, enthält eine Vielzahl von weiterführenden Informationen, die in der Regel nur teilweise zielgruppenspezifisch aufbereitet werden, da die Adressaten jeweils nur schwer eingegrenzt werden können. (...)

Since its foundation between 1410 and 1414 the University of St Andrews has acquired what can be considered to be ‘artefacts of significance’. This somewhat nebulous phrase is used to denote items that have, for a variety of reasons, been deemed to have some special import by the University, and have been displayed or otherwise presented in a context in which this status has been made apparent. The types of artefacts in which particular meaning has been vested during the centuries under consideration include items of silver and gold (including the maces, sacramental vessels of the Collegiate Church of St Salvator, collegiate plate and relics of the Silver Arrow archery competition); church and college furnishings; artworks (particularly portraits); sculpture; and ethnographic specimens and other items described in University records as ‘curiosities’ held in the University Library from c. 1700-1838. The identification of particular artefacts as significant for certain reasons in certain periods, and their presentation and display, may to some extent reflect the University's values, preoccupations and aspirations in these periods, and, to some degree, its identity. Consciously or subconsciously, the objects can be employed or operate as signifiers of meaning, representing or reflecting matters such as the status, authority and history of the University, its breadth of learning and its interest and influence in spheres from science, art and world cultures to national affairs. This thesis provides a comprehensive examination of the growth and development of the University's holdings of 'artefacts of significance' from its foundation to the mid-19th century, and in some cases (especially portraits) beyond this date. It also offers insights into how the University viewed and presented these items and what this reveals about the University of St Andrews, its identity, which changed and developed as the living institution evolved, and the impressions that it wished to project.

En España, al igual que en el resto de países europeos a finales del siglo XIX y principios del XX, se hace exhibición de "lo primitivo": personas (indígenas procedentes de los nuevos territorios colonizados) y objetos (piezas de arte y artefactos de la cultura material de los indígenas procedentes de las colonias). Algunas de estas muestras coinciden con las primeras exposiciones organizadas en España: Exposición General de las Islas Filipinas en Madrid (1887), Exposición Universal de Barcelona (1888) y Exposición Internacional de Barcelona (1929). El presente trabajo analiza la presencia o ausencia de "lo primitivo" (personas y objetos) en los principales acontecimientos expositivos españoles, su relación con acontecimientos homónimos en otros países europeos y su posible recepción en colecciones museísticas (museos de antropología, etnología y misionales). / In Spain, as in the rest of European countries at the end of the nineteenth century and beginning of the twentieth, aboriginal from the new colonized territories and "primitive" objects (art and artefacts from the material culture of the colonies) were also exhibited. Some of these events coincide with the first organized Exhibitions in Spain: General Exhibition of the Philippines Islands in Madrid (1887), Barcelona World Exhibition (1888) and Barcelona International Exhibition (1929). This work analyzes the presence or absence of "the primitive" (people and objects) in the major Spanish exhibitions, the relationship with similar events in other European countries and the possible reception in museum collections (museums of anthropology, ethnology and missionary).

Text in English with abstracts in English, Sesotho, isiZulu and Afrikaans. Translated titles in Sesotho, isiZulu and Afrikaans / In the thesis, I critically examine the art acquisition policy of the Unisa Art Gallery (UAG) during and after apartheid in South Africa. The Unisa Art Gallery acquisition policy (UAGAP) is investigated against the transformation imperatives as informed by national policies on arts and culture. I take the view that the process of art acquisition does not exist outside of the sociopolitical discourse. Although the thesis is registered in the subject of Art History, the research adopts a multidisciplinary approach as it straddles the domains of visual art and cultural policy. Therefore, its focus on acquisition policy requires a combination of methodologies that can accommodate the intended research objectives. The study is based on the hypothesis that the collecting of art and acquisition policies are still untransformed from the Eurocentric paradigm of thought. I adopt Afrocentricity and decoloniality as theoretical frames of analysis. University museums are public cultural institutions, and the South African Constitution guarantees the right to culture. Therefore, the reluctance of public institutions to uphold the imperatives demonstrates a level of resistance to transformation. In the study, I investigate circumstances that influence the positive or negative way the UAGAP seemingly responds to the socio-economic and political imperatives of national policies in post-apartheid South Africa. Data analysis shows that there is no explicit relation between the White Paper on Arts, Culture and Heritage (WPACH) (DAC 1996) and the UAGAP. Another finding is that artworks collected in the past were mainly informed by epistemologies which were predominantly Eurocentric, whereby especially the black society has little or no say in the development of university museum policies. Lastly, the perception of arts practitioners is that the pace of transformation of university art collection policies is slow. The findings give rise to a recommendation that government should go beyond “the arms-length approach” (Deacon 2010) in the transformation of arts institutions, and intervene. Another recommendation is that unless the government White Papers are translated into law, they will continue to be ignored by public institutions. / Kule thesisi, ngiphenya ngendlela egxekayo ukutholakala komsebenzi wobuciko. Umgomo omayelana nokutholwa komsebenzi wobuciko kwisikhungo Sombukiso Wobuciko saseNyuvesi yaseNingizimu Africa (Unisa Art Gallery) ngesikhathi sombuso wengcindezelo nangemuva kwesikhathi sombuso wengcindezelo eNingizimu Africa. Umgomo omayelana nokutholakala kwemisebenzi yobuciko yesikhungo Sombukiso Wobuciko eNyuvesi yaseNingizimu Africa uphenywa kubhekwe kwezinto ezinhle ezilethwa yizinguquko njengoba lokhu kugunyazwa yimigomo yezwe kwezobuciko kanye namasiko. Ngithatha umbono othi uhlelo lwezokutholakala kobuciko alwenzeki ngaphandle kwemithelela yezenhlalakahle yabantu kwezepolitiki. Yize ithesisi ibhaliswe kwisifundo soMlando weZobuciko, ucwaningo lwamukela indlela equkethe izifundo eziningi njengoba le thesisi ifinyelela emikhakheni yomsebenzi wobuciko obukwayo kanye nakumgomo wosiko. Ngakho-ke, impokophelo yale thesisi kumgomo wokutholakala komsebenzi wobuciko ifuna inhlanganyela yezindlela zokuhlaziya ezingaxuba phakathi izinhloso zocwaningo eziqondiwe. Ucwaningo lususelwa kwihayiphothesisi/isihlambiselelo esithi imigomo emayelana nokuqoqwa kwemisebenzi yobuciko kanye nokutholakala kwemisebenzi yobuciko ayikaguquki kwizimpande zemibono yaseNtshonalanga/yaseYurophu. Ngamukela imibono egxile kubu-Afrika nemibono eqeda ubukoloni njengezinhlaka zemibono yokuhlaziya. Izikhungo zokugcina amagugu asenyuvesi zingamaziko wamasiko omphakathi, kanti uMthethosisekelo waseNingizimu Afrika unikeza ilungelo lokwenza usiko. Ngakho-ke, ukuba manqikanqika kwamaziko ombuso ukuphakamisa ubuhle bamasiko ngokuhlukahlukana kwawo njengokomgomo kukhombisa izinga lokunqaba ushintsho. Kulolu cwaningo, ngiphenya izimo ezinomthelela phezu kwendlela enhle noma embi uhlelo lwe-UAGAP elibonakala libheka ngayo nezindaba ezimayelana nenhlalakahle yabantu kwezomnotho nakwezepolitiki, ezindabeni zemigomo yezwe esikhathi sangemuva kombuso wengcindezelo eNingizimu Africa. Ukuhlaziywa kwedatha kukhombisa ukuthi abukho ubudlelwane obubonakalayo phakathi kwe-White Paper kwezoBuciko, ezamaSiko kanye nama-Gugu (WPACH) (DAC 1996) kanye nohlelo lwe-UAGAP. Okunye okutholakele ukuthi imisebenzi yobuciko eqoqwe esikhathini esedlule beyincike kakhulu kuma-ephistemoloji ebegxile kwingqubo yase-Yurophu/yaseNtshonalanga, kanti-ke, umphakathi ompisholo ikakhulu akukho nokuncane noma akukho ongakukhuluma mayelana nemigomo yokuthuthukiswa kwezikhungo zokugcina ubuciko bamagugu. Okokugcina, umqondo wabasebenzi kwezobuciko uthi izinhlelo zezinguquko zemigomo yokuqoqwa kwemisebenzi yobuciko emanyuvesi zihamba ngonyawo lonwabu. Ulwazi olutholakele kucwaningo luphakamisa isinqumo sokuthi uhulumeni kufanele asebenze ngomgomo owodwa “the arms-length approach” (Deacon 2010) kuhlelo lwezinguquko kumaziko obuciko, bese angenelele. Esinye isinqumo ukuthi ngaphandle kokuthi ama-White Paper kahulumeni ashicilelwe abe wumthetho, amaziko ombuso azoqhubeka nokuwashaya indiva. / Mo polelotheong eno, ke tlhatlhobile pholisi ya phitlhelelo ya botsweretshi ya Lefelo la Botsweretshi la Unisa (UAG) ka tsela ya tshekatsheko ka nako ya, le morago ga tlhaolele mo Aforikaborwa. Pholisi ya phitlhelelo ya Lefelo la Botsweretshi ya Unisa (UAGAP) e batlisisiwa e bapisitswe le ditlhokego tsa phetogo jaaka di kaelwa ke dipholisi tsa bosetšhaba tsa botsweretshi le setso. Ke akanya gore tirego ya phitlhelelo ya botsweretshi ga e diragale kwa ntle ga puisano ya politiki ya loago. Le fa e le gore polelotheo e kwadisitswe mo setlhogong sa Hisetori ya Botsweretshi, patlisiso e tsaya boitlhagiso jwa melebomentsi jaaka fa e paraletse mo mefameng ya botsweretshi jwa pono le pholisi ya setso. Ka jalo, go tota ga yona pholisi ya phitlhelelo go tlhoka motswako wa mekgwa e e ka amogelang maikemisetso a patlisiso a a lebeletsweng. Thutopatlisiso e ikaegile ka tshitshinyo ya gore dipholisi tsa kokoanyo le phitlhelelo ya botsweretshi di sa ntse di sa fetoga go tswa mo mogopolong wa setso sa Yuropa. Ke tsaya boikaego jwa Aforika le tloso ya bokoloniale jaaka letlhomeso la tiori la tokololo. Dimusiamo tsa diyunibesiti ke ditheo tsa setso tsa setšhaba, mme Molaotheo wa Aforikaborwa o sireletsa tshwanelo ya setso. Ka jalo, go belaela ga ditheo tsa setšhaba go tsweletsa ditlhokego go bontsha go kgaratlha kgatlhanong le diphetogo. Mo thutopatlisisong, ke batlisisa mabaka a a tlhotlheletsang mokgwa o o siameng gongwe o o sa siamang o go lebegang e kete UAGAP e tsibogela ka ona ditlhokego tsa ikonomiloago le sepolitiki tsa dipholisi tsa bosetšhaba tsa Aforikaborwa ya morago ga tlhaolele. Tokololo ya data e bontsha gore ga go na kgolagano e e tlhamaletseng magareng ga Pampiritshweu ya Botsweretshi, Setso le Ngwaoboswa (WPACH) (DAC 1996) le UAGAP. Phitlhelelo e nngwe ke ya gore ditiro tsa botsweretshi tse di kokoantsweng mo nakong e e fetileng di ne di ikaegile bogolosegolo ka diepisetemoloji tse di neng di na le phekeetso e kgolo ya setso sa Yuropa, moo tota setšhaba sa bantsho se nang le tshwaelo e e seng kalo gongwe se se na tshwaelo epe mo go tlhamiweng ga dipholisi tsa dimusiamo tsa diyunibesiti. Kwa bokhutlong, kakanyo ya badiragatsi ba botsweretshi ke gore kgato ya diphetogo ya dipholisi tsa kokoanyo ya botsweretshi jwa diyunibesiti e bonya. Diphitlhelelo di baka katlenegiso ya gore puso e tshwanetse go dira go feta “molebo o o sa gateleleng taolo gongwe tekanyetso” (Deacon 2010) mo diphetogong tsa ditheo tsa botsweretshi, mme e tsereganye. Katlenegiso e nngwe ke ya gore kwa ntle ga gore Dipampiritshweu tsa puso di fetolelwe go nna molao, ditheo tsa setšhaba di tlaa tswelela go di ikgatholosa. / In hierdie tesis ondersoek ek die kunsaankoopbeleid van die Unisa Kunsgalery (UKG) tydens en ná apartheid. Die kunsaankoopbeleid van die Unisa Kunsgalery (KABUKG) word volgens die nasionale transformasiebeleid oor kuns en kultuur beoordeel. Kunsaankope staan na my mening nie los van die sosiopolitieke diskoers nie. Ofskoon hierdie tesis onder die vak Kunsgeskiedenis ingeskryf is, word ʼn multidissiplinêre benadering gevolg aangesien die navorsing die terrein van die visuele kunste en dié van kultuurbeleid bestryk. Om die navorsingsdoelwitte te behaal, is ʼn kombinasie van metodologieë dus nodig. Die studie berus op die hipotese dat die versameling van kunswerke en die aankoopbeleid steeds Eurosentries gerig is en nie getransformeer het nie. Ek neem Afrosentrisiteit en dekolonialiteit as teoretiese ontledingsraamwerke. Universiteitsmuseums is openbare kultuurinstellings en die Suid-Afrikaanse Grondwet waarborg burgers die reg op kultuur. Openbare instellings se onwilligheid om die opdragte uit te voer, dui op ʼn weerstand teen transformasie. Ek verken die omstandighede wat bepaal hoe die KABUKG ná apartheid op die sosioëkonomiese en politieke opdragte reageer. Die dataontleding toon dat daar tussen die Witskrif oor Kuns, Kultuur en Erfenis (WKKE) (DAC 1996) en die KABUKG geen verband bestaan nie. Voorts is bevind dat kunswerke wat in die verlede aangekoop is, oorwegend Eurosentries was. Buitendien het swart mense tans weinig of geen seggenskap in universiteite se museumbeleide. Ten slotte is die tempo waarteen universiteite se aankoopbeleide transformeer volgens kunspraktisyns uiters traag. Daarom word op grond van die bevindings aanbeveel dat die regering sy armlengtebenadering (Deacon 2019) tot die transformasie van kunsinstellings laat vaar, en ingryp. As witskrifte nie wet gemaak word nie, sal openbare instellings aanhou om hulle te ignoreer. / Arts and Music / D. Phil. (Art)