Thesis (Ph.D.)--Tufts University, 2001. / Adviser: Andrew McClellan. Submitted to the Dept. of Interdisciplinary Studies. Includes bibliographical references (leaves 492-531). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ed. D.)--Illinois State University, 1988. / Title from title page screen, viewed September 2, 2005. Dissertation Committee: Jack Hobbs (chair), Susan Amster, John McCarthy, William Talone. Includes bibliographical references (leaves 99-103) and abstract. Also available in print.

This thesis investigates the evolution of curatorial practice in Britain and the United States in the first four decades of the twentieth century through an analysis of the formative years of two museums, the Wallace and Frick Collections, and of two academic programmes, the Fogg Art Museum Course at Harvard University and the Courtauld Institute of Art at the University of London. Through these case studies, this study charts the emergence and development of a specialised curatorial knowledge base that was influenced by traditions of connoisseurship and criticism and shaped by discussions surrounding art history’s disciplinary parameters taking place in the museum, the press, the art market and the university. This investigation makes visible the processes through which art museum curators, keepers and directors collaborated in the creation and standardisation of their own expertise and contends that this quest was fundamentally intertwined with struggles for authority, agency and professional recognition. The manifestation of this expertise resulted in a renegotiation of institutional power dynamics and gave rise to a new type of art museum leader: the connoisseur-scholar, who performed an important function in the art museum’s transition from a space dominated by gentlemanly amateurs to one in which academically trained art historians increasingly assumed positions of authority. Asserting that the formation of this knowledge base cannot be separated from the academic institutionalisation of art history and curatorial training, this study demonstrates that individuals operating in the spheres of the art museum and the university were engaged in a dialogue through which the core values of these respective endeavours were realised. Detailing these processes and relationships and locating them within the context of a shift towards aesthetic idealism, this thesis provides insight into the historical origins of modern-day curatorial practice in Britain and the United States.

No description available.

The problem of this thesis is to determine the evolution of the architectural design of the Kimbell Art Museum building from its origin as a concept to its realization in the completed structure. This study has two objectives.The first is to discover the process by which the physical museum building cam into being. The second is to trace the conceptual evolution of the Kimbell Art Museum building. This problem has three parts, each of which has been made the subject of a chapter. The first, "Concept Development," sets forth the pre-design concepts of the founder, the director, and the architect. The second, "Design Development," establishes a chronological sequence of architectural design presentations. The third, the "Conclusion," compares the pre-design concepts to the finished building.

Wong Kam Ming, Michael. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1997-98, design report." / Includes bibliographical references. / Acknowledgements / Introduction / Chapter 1.0 --- Existing state / Chapter 1.1 --- Project background / Chapter 1.2 --- Project objectives / Chapter 1.3 --- Client / Chapter 1.4 --- Project finance / Chapter 1.5 --- Users / Chapter 1.7 --- Content / Chapter 1.8 --- Site constraints / Chapter 1.9 --- Schedule of accommodation / Chapter 2.0 --- Design process / Chapter 2.1 --- Site selection / Chapter 2.2 --- Facts & issues / Chapter 2.3 --- Design responses / Chapter 3.0 --- Final project / Chapter 3.1 --- Introduction / Chapter 3.2 --- Design strategy / Chapter 3.3 --- Site aspect / Chapter 4.0 --- Specific design concern / Chapter 4.1 --- The road for art / Chapter 4.2 --- Art exhibition areas / Chapter 4.3 --- Independent activity area / Chapter 4.4 --- Open studio at roof / Chapter 4.5 --- Administration block / Chapter 4.6 --- Supporting facilities area / Chapter 4.7 --- Building services / Chapter 5.0 --- Appendix / Chapter 5.1 --- Interviews / Chapter 5.2 --- Precedents studies / Chapter 5.3 --- Technology requirements / Chapter 5.4 --- Bibliography

Tse Hoi Yan. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report." / Includes bibliographical references (p. 27). / INTRODUCTION --- p.01-03 / RESEARCH --- p.04-21 / SITE-MONGKOK --- p.22-33 / DESIGN PROCESS --- p.34-49 / FINAL DESIGN --- p.50-73 / BIBLIOGRAPHY --- p.74

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

This research study provides answers to questions pertaining to current practices in the art museum field regarding socially responsive programming and the motivations for developing and implementing such programs. Socially responsive programming is programming that encourages dialogue and debate about social, economic and political issues in order to promote honesty, fairness, concern for the rights and welfare of others, empathy, and compassion (Desai & Chalmers, 2007). The study engaged a mixed methods approach by utilizing a survey and three case studies. The purpose of the survey was to gauge the position of the field in relation to their values and support of socially responsive programs. Janes’ and Conaty’s (2005) four characteristics of socially responsive museums: seeing social issues and acting to create social change (idealism); building and sustaining strong relationships with the community (intimacy); investing time for reflection and resources to fully understand social issues (depth); and judging the museum’s worth, not based on building size, prestige of collections, or attendance numbers, but on the quality programs a museum provides to the community (interconnectedness) guided the construction of the survey and served as an analytical tool for the case studies. The survey sample resulted from distributing the survey through major museum-themed listservs. The survey also aided in identifying three exemplars of socially responsive museum. These institutions, Museo de Arte Contemporáneo de Monterrey, the Columbus Museum of Art, and the San Angelo Museum of Fine Arts, comprised a purposeful sample in order to further investigate museum staff members’ motivations for creating and instituting socially responsive art museum practices. / text

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.