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<p>Syftet med arbetet har varit att skapa informationsmaterial till Eskilstuna konstmuseum som är anpassat efter målgruppen. Detta önskades eftersom inget liknande material fanns sedan tidigare på konstmuseet. Målet var att besökare och potentiella besökare snabbt skulle kunna få en överblick av vad museet hade att erbjuda. Men också för att ge besökare en möjlighet att kunna få förståelse för vad som visas och hur utställningarna är uppbyggda, utan att behöva gå en guidad tur.</p><p>Detta har gjorts till större delen genom analyser och litteraturstudier, men utprovningar har också varit en stor del av arbetet.</p><p>Resultatet blev två broschyrer som togs fram enligt riktlinjer för informationsdesign, en informationsbroschyr och en broschyr om samlingen.</p>

Internship experiences in art museums can help students to compare the theories they have learned in school and the tasks in the real working place. Since the researcher is the supervisor of the interns in Museum of Contemporary Art, Taipei (MOCA), an appropriate internship program should be developed. Therefore, the purposes of this these are to discuss the art museums, interns and school¡¦s attitude toward internship program; to examine the internship program in MOCA; and to provide suggestions to improve internship programs. To achieve these goals, the research conducts a thorough literature review, case interviews and participant observation. MOCA and the other three public art museums are taken as examples to analyze and compare their internship programs. The opinions of MOCA¡¦s interns and the schools¡¦ teachers which cooperated with MOCA are collected. The results show that an internship program has several functions such as education, professional training, museum promotion, and interns can be part of the human resources in art museums. Though art museums provide internship programs to students and schools, they should also plan the programs according to their own characteristics and make the programs flexible to accommodate different situations. As for MOCA, it should strengthen the management of internship, let interns know their assignments and tasks precisely, and keep well communication with students. The thesis raises the following suggestions on internship: 1. Art museums should prepare internship programs to benefit both interns and museums, such as increase intern¡¦s training courses and find out specialties of interns. Furthermore, an internship database should be established in each museum as reference. 2. Interns should learn more about the museums in advance. They should have a positive attitude to learn, and evaluate their tasks and goals frequently during the internship. 3. School and museum should consider themselves as partners to arrange the internship placement properly.

This thesis analyzes the educational function of art museums, how education in art museums evolved and how an art museum can conduct an educational mission. The concept of the material collections as the educative origin of art museums will be discussed alongside the history of collections in Europe. In addition to the concept of collection, the importance of educational programmes of art museums will be highlighted. Having derived a general notion of the educational function of art museums, the thesis will seek to answer questions such as how museology evolved in Turkey and whether the turkish museology has an educational concern. In accordance with these questions two turkish contemporary art museums will be investigated as case studies.

This report is a case study of the presentation of craft at the Renwick Gallery, the craft museum of the Smithsonian American Art Museum (SAAM). The Renwick, founded in 1976, is a curatorial department of SAAM, focusing in modern and contemporary American craft. Through an examination of the museum’s galleries and exhibitions, interviews with staff, and an analysis of educational programming, this thesis explores how the Renwick defines craft implicitly and explicitly. Giving a context for this study is a history of the Renwick Gallery, as well as history of craft and its definitions. With these histories as background, the ways that the Renwick, and thus its visitors, understand craft is explored. The qualities specific to craft in the literature and manifest at the Renwick are examined in order to determine how they influence the presentation of craft at the Renwick. / text

This thesis examined an interactive, intergenerational gallery entitled MoMA Art Lab: People, located within the Museum of Modern Art in New York City. It is composed of various stations that visitors can explore, which include activities appropriate for people of all ages. The motivation for this research came after noticing a lack of family programming in art museums that truly engaged both the adults and children in family groups. Often the children would be active but the parents would sit passively nearby. This was not the case in the MoMA lab, where people of varying ages interacted with both the stations and each other as they explored the activities. This study sought to focus on the aspects of the lab that most often led to the engagement of adults who visited the lab as part of an intergenerational group. In order to examine possible reasons why the lab was able to engage adults, I conducted a case study that involved observing nine groups who entered the lab, interviewing seven of them, and also interviewing five educators in the Family Programs department who held significant roles in the development and running of the lab. The findings revealed that the aspects of MoMA Art Lab: People that most engaged adults were stations focused on art-making and were designed in a way conducive to conversation. / text

This thesis is a qualitative case study of a 5th grade field trip program at the Georgia Museum of Art in Athens, Georgia. The value – educational, social, and otherwise – of direct experiences with artworks in the museum setting has been demonstrated in numerous studies (Adams & Sibille, 2005; Burchenal & Grohe, 2007; Burchenal & Lasser, 2007; Henry, 1992; Hubard, 2007), and the single-visit field trip program has been a staple of educational programming at many art museums across the United States. However, much of the recent literature in art education focuses on the benefits of multiple-visit field trip programming (Burchenal & Grohe, 2007; Burchenal & Lasser, 2007), in effect “abandoning” the single-visit program. Given that the single-visit field trip remains a standard in the field, this study sought to explore the ways museum educators can maximize the value of the one-shot field trip model in art museums. Through observations of a 5th grade class on their field trip to the Georgia Museum of Art, interviews with program stakeholders (including museum educators, museum director, the school art teacher, and program donor), and collecting the students’ perspective through written questionnaires, this study revealed insight into the one-visit field trip. An analysis of the various issues and perspectives involved with this type of programming substantiated the hypothesis that there is valuable information to be learned from looking closer at the single-visit program. The findings suggest that by situating itself authentically in its own community, the art museum can make single-visit field trip programs more relevant to students’ lives by employing culturally responsive teaching practices. / text

Temos aktualumas – plintant mokymosi visą gyvenimą idėjai, užsienio muziejuose yra skiriama daug dėmesio suaugusiųjų edukacijai, kuriamos įvairiausios specializuotos edukacinės programos, užsiimama jų meninių ugdymu. Lietuvos muziejų edukacinėje veikloje trūksta tokių programų, darbo su suaugusiais žmonėmis patirties. Tyrimo problema yra ta, kad Lietuvoje nėra mokslinių duomenų apie tai, kokie suaugusiųjų meninio ugdymo ypatumai atsiskleidžia muziejų edukacinėje veikloje ir tai yra dar mažai tyrinėta edukologinė sritis. Tyrimo objektas – suaugusiųjų meninio ugdymo ypatumai dailės muziejų edukacinėje veikloje. Tyrimo tikslas – atskleisti suaugusiųjų meninio ugdymo ypatumus dailės muziejų edukacinėje veikloje. Tyrimo uždaviniai: 1) aptarti suaugusiųjų psichosocialinius raidos ypatumus; 2) apibūdinti muziejų edukacijos sampratą, veiklos formas, raidos aspektus; 3) atskleisti suaugusiųjų švietimo muziejų edukacinėje veikloje specifiką bei meninio ugdymo galimybes; 4) ištirti suaugusiųjų meninio ugdymo ypatumus vykdant edukacinę veiklą dailės muziejuje. Tyrimo metodai: atliktas mokslinės literatūros bei muziejų edukacinę veiklą sąlygojančių dokumentų sisteminė analizė, nestruktūrizuotas interviu, pusiau struktūrizuotas interviu, kokybinė duomenų analizė. Tyrimo rezultatai: 1. Suaugusiojo raidos stadijos labiau priklauso nuo socialinio žmogaus amžiaus, nes pastarasis daro didesnę įtaką žmogaus brandai, nei nuo biologinio. 2. Muziejų edukacija – tai mokymosi galimybė muziejaus... [toliau žr. visą tekstą] / With the promotion of lifelong learning, foreign museums pay considerable attention to adult education and are engaged in their art education by developing different specialized educational programmes. However, Lithuanian museums lack such programmes and work experience of adult teaching. The absence of scientific data on what particularities of adult education are displayed during educational activities in Lithuanian museums posed a problem for the study and showed that little research has been conducted in this field. The research focused on the particularities of adult art education in the activities of art museums and aimed at revealing them. To that end, the paper sets: 1) to discuss psychological and sociological development characteristics of adults; 2) to describe the conception of museum education, its forms of activities and aspects of development; 3) to reveal the specifics of adult education in the museum educational activities and the possibilities for art education; and 4) to look at the particularities of adult art education while carrying out educational activities in the museum of art. The research methods employed systematic analysis of scientific sources and the legislation regulating educational activities of the museums, the unstructured interview, the semi-structured interview, and the quantitative data analysis. The research produced the following results: 1. Stages of adult development are better determined by social rather than biological age of a... [to full text]

"The essence of architecture is the power of adaptation to fresh facts.” Berthold LubetkinThis creative project was my way of exploring if a convergence of art and technology in architecture can exist today.This exploration involved two focus points: one was movement and the other was glass technology.Movement was used for the exploration of the spatial relationships within an interpretation of our society today: the movement on the site as well as the inner motion of the single building elements.Glass was my modern technology tool for translating artistic ideas within architecture. It acts as a mediator between inside and outside space, between art and technology and creates a connection to the ‘understanding’ of our society.This paper is presented in five parts. The first part is the introduction to my thesis and the theoretical research about art and technology. Second is the process which I used for this project. The project is the third part. The fourth part is about glass, which represents my way of exploring the convergence of art and technology within architecture today. The last part of this paper is the overall conclusion. / Department of Architecture

Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1997. / Includes bibliographical references.