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The Inner Landscape A matrix of cognitive and environmental structures A geometric interface of mind and nature A gallery in the wood / Master of Architecture

This thesis explores the possible resolution of colliding autonomous architectural entities. The manifestation of this resolution occurs in the design of an art museum that utilizes the memory of the Victorian national spirit. The realization of this program underlies the author's continued pursuit to define the entities of boundary and threshold. This entire enquiry is presented through the utilization of photographs, drawings, and supporting text. / Master of Architecture

The purpose of this study is to provide the fields of art education and museum education with gallery teaching practice that uses students’ prior knowledge of art making as the means to guide interpretation of art in the museum. This study develops touring methods that maintain the identity of the student artists in the context of adult artists’ works in the museum. This investigation is an action-based research study of how a museum educator can develop touring practice to use art objects to enable students to think reflectively on their art making. The results of this study identify the characteristics of an art museum tour that is centered on students and art making. This study demonstrates a framework for teaching in the museum that incorporates constructivist learning theory, social and active learning, a concepts-based approach to art learning, and develops student cognition. / text

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts (Heritage Studies), 2017 / This research report is a critical analysis of the Free State1 art scene from 1950-1989, conducted primarily through an account of the Bloemfontein Group. It argues that this period is a significant indicator of a shift in the city’s art scene, from an earlier, formalist focus to a more conceptual orientation in the art scene in Bloemfontein. An important aspect of this research is the significance of the formation of the Bloemfontein Group, and the extent of their role and influence during this period, which together can be seen as a key catalyst in the shift to conceptual art. Through extensive archival research, I have constructed a visual timeline of the art scene in Bloemfontein, including significant events in the wider Free State region. The construction of the timeline is a crucial part of the unravelling and interrogation of undiscovered conceptual developments relating to museum practices in the Free State. This is in turn informed by conversations and debates about the history of exhibitions, the origins of an art collection, and more specifically, how an art phenomenon such as the Bloemfontein Group not only contributed to a contemporary artistic identity in the Free State, but was also the driver behind the establishment of the Oliewenhuis Art Museum in Bloemfontein. The methodology in this research report is based primarily on archival research and interviews:  The Free State archives (newspaper clippings from the Friend newspaper were the most useful);  Oliewenhuis Art Museum research library (where invaluable information was found on the Group itself, including more newspaper clippings, information on the individual artists, with specific emphasis on Professor Fred and Mrs Dora Scott);  William Humphrey’s Art Gallery’s research library where I found additional archival documents on the Group’s exhibition at the gallery in 1966.  The Johannes Stegmann Art Gallery archives at the University of the Free State 2 and  Louis, Willem and Fred Scott’s personal archives Interviews were conducted with the following individuals with the aim of gathering further insight into the timeline. The interviewees were selected on the basis of either their involvement during the timeframe under question, their being descendants of the Scott family, or a surviving member of the Bloemfontein Group:  Rina Lubbs (surviving member of the Free State Art Society, Social Committee and Volksblad art critic from 1969-1984);  Anna-Rosa Witthuhn (surviving member of the Free State Art Society and Social Committee);  Doctor Fred Scott and Professor Louis Scott (sons of the belated Doctor Frik and Dora Scott);  Eben van der Merwe (surviving member of the Bloemfontein Group);  Stefan Hundt (former curator of Oliewenhuis Art Museum from 1993-1997) and  Professor Suzanne Human (Head of Department of History of Art and Image Studies, University of the Free State). Throughout the Research Report I refer to different terminology that enabled me not only to construct a consistent discussion but also to demonstrate the systematic methodology I formulated to conduct the research. By using archival documentation such as newspaper clippings as primary resource to enable research on a time frame, which had never been researched before, I was prompted to apply the terminology to categorize and sort the archival material and also to explain to the reader the methodology to some extent. Visual map: I commenced the Research Report with a visual map of artworks made by the Bloemfontein Group. I used the word ‘map’ deliberately to outline/map/illustrate visual examples of the Bloemfontein Group’s artworks. The function of the visual map is to introduce the reader to artworks produced by the Bloemfontein Group on a whole without limiting the artworks to 24 pieces that were donated to Oliewenhuis Art Museum. The works are not placed in a particular order as the map merely serves to visually introduce the reader to the nature of the artworks of the Bloemfontein Group. Timeframe: Primary resources used to conduct the research were archival material. This mostly included newspaper clippings, photographs, letters, official museum records, exhibition invitations and press releases. Therefore my methodology included a large amount of ordering, numbering and systematising archival material sourced. This enabled me to order the research in different timeframes e.g. 1950, 1960, 1970 and 1980. The timeframe assisted me in examining the archival material intently and to uncover a narration of the Bloemfontein art scene within the specific timeframe. I realised that this specific timeframe indicated the majority of the art-related progression in Bloemfontein and was a crucial process as the ordering of the records lead me to design a chronological timeline within the timeframe. Chronological timeline: The methodology and my process further progressed as I ordered the timeframe into a chronological timeline that included exhibitions held in the timeframe, important progressions of art related events and important individuals that steered the mind-set of artists, art patrons and art supporters. By ordering and systematising the events and exhibitions within a specific timeframe, I was aided in my understanding of the narrative that emerged within the timeline I designed. The unravelling of the exhibitions and happenings held within a timeframe also assisted me to illustrate the timeline. Illustrated timeline and exhibition timeline: By illustrating the timeline I attempted to add imagery viz: artworks produced for specific exhibitions or illustrations of artworks produced that align with the timeframe, exhibitions or exhibition openings, exhibition invitations and photographs of leading societies or individuals. This was vital as the newspaper clippings very rarely offered imagery of artworks or exhibitions that took place. This extremely time consuming task was an essential part of the research as it enabled me to understand the timeline better and to initiate visual debates about the local art environment versus national art-related debates. Due to the lack of imagery available, some illustrations were repeatedly used also to emphasise a statement or to make the image emblematic of developments specific to the Bloemfontein region. / XL2018

Magistro darbe „Lietuvos dailės muziejų edukacinė veikla: problemos ir perspektyvos“, analizuojama šiuolaikinėje muziejininkystėje aktuali edukacinės veiklos sritis, nes muziejai realizuoja esmines kultūros funkcijas: socializacijos, integracijos, kūrybinę, pažintinę, komunikacijos, informacijos, vertybinę ir kitas. Tyrimo tikslas — atskleisti Lietuvos dailės muziejų edukacinės veiklos problemas ir perspektyvas. Tyrimo objektas — Lietuvos dailės muziejų edukacinės veiklos problemos ir perspektyvos. Remiantis moksline, istorinė pedagogine, psichologinė bei metodine literatūra išaiškinta dailės, muziejaus sampratą, funkcijas, bei aptarta Lietuvos dailės muziejų edukacinę patirtis. Išanalizuotos muziejinės edukacijos ypatumai, ištirti dailės muziejų edukacinės veiklos dalyvių požiūriai į rengiamą ir vykdomą edukacinę veiklą. Iškelta darbe hipotezė, kad įvertinant moksleivių, mokytojų ir muziejininkų požiūrį į Lietuvos dailės muziejuose vykdomą ir rengiamą edukacinę veiklą, galėsime atskleisti problemas ir perspektyvas ir pateikti rekomendacijas kaip reikėtų tobulinti muziejų edukacinę veiklą. Darbą sudaro įvadas, trys dalys, literatūros sąrašas ir priedai. Pirmoje dalyje analizuojama dailės muziejaus mokslo objektas, metodai samprata ir funkcijos. Lietuvos dailės muziejaus dabartinė būklė ir teisinė bazė. Antroji dalis skirta dailės muziejaus edukacinei veiklai, analizuojama muziejaus paskirtis tenkinant gyventojų kultūrinius poreikius, muziejaus kaip švietimo institucijos... [toliau žr. visą tekstą] / SUMMARY In the Master‘s Thesis „The Educative Activities of Lithuanian Arts‘ Museums: the Problems and the Perspectives“, the educative activities that is an urgent sphere of the modern museology, because museums are engaged in realization of the essential cultural functions, such as socialization, integration, creative and cognitive communication, information, assessing and so on, are analyzed. The object of the investigation – to disclose the problems and perspectives of the educative activities of Lithuanian arts museums. On the base of the scientific, historical pedagogical, psychological and methodical references, the definitions of arts and a museum as well as their functions; the educative experience of Lithuanian arts museums is discussed upon as well. The peculiarities of museum education are analyzed; the attitudes of the participants of the educative activities at museums towards the developed and executed educative activities are explored. The hypothesis provided in the Paper: an assessment of the attitude of schoolchildren, teachers and museum employees towards the developed and executed educative activities at Lithuanian arts museums will enable us to disclose the problems and perspectives as well as to provide recommendations for improving the educative activities of museums. The Paper consists of the Introduction, three parts, the list of references and annexes. In the Part One, the scientific object of an arts museum, its methods, concepts and functions are... [to full text]

Thesis (M.A.)--University of Alabama at Birmingham, 2007. / Description based on contents viewed Feb. 4, 2008; title from title screen. Includes bibliographical references (p. 69-73).