Thesis (Ph. D.)--University of Hong Kong, 2005.

Thesis (M.Arch.)--University of Hong Kong, 1998. / Includes special report study entitled : Object, phenonmenon, theme in Chinese scholar landscape garden. Includes bibliographical references. Also available in print.

Thesis. 1976. M.Arch.--Massachusetts Institute of Technology. Dept. of Architecture. / Microfiche copy available in Archives and Rotch. / Bibliography: leaf 74. / M.Arch.

Thesis (Ed. D.)--Boston University, 1989. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 227-230).

Final Project (M.A.)--John F. Kennedy University, 2005. / "August 29, 2005"--T.p. Includes bibliographical references (p. 125-133).

Thesis (M.S.)--Drexel University, 2000. / Includes bibliographical references (leaves [26-27]).

This research investigated how constructivist approaches are conceptualized and implemented in “gallery tour and studio workshop” programs at three art museums, and the relationship that exists between the gallery and studio learning. To address these questions, I examined how administrators from each museum designed programs and supported educators, how educators facilitated teaching, and how students responded to the gallery and studio learning. I employed a basic qualitative multi-case study. This method suited my research—an investigation of three cases (three iterations of a program at each museum)—because I aimed to understand the uniqueness of each case while examining a range of similar and contrasting cases. Data collection methods included observations of program sessions, interviews with museum administrators and museum educators, casual conversations with participating students, photos of students’ artworks, and museum documents. The cases offer examples of educators’ teaching approaches, which reflect—or do not reflect—constructivist tenets, as well as factors that influence the connection—or lack of connection—across gallery and studio learning. Specifically, the findings indicate that a smaller students-educator ratio and knowing students’ information in advance helped ensure a conducive learning environment. Another relevant factor was the educators’ facilitation of dialogue. Students became more involved in interpreting artworks when educators were most responsive to their ideas, and less involved when educators asked leading or less open-ended questions. Program themes, reflections on the tour prior to the studio session, and motivating questions for studio activities helped ensure connections between gallery and studio. Additionally, exploratory studio activities and small group discussions in the studio helped students make unique choices within their art projects, whereas step-by-step demonstrations led to prescriptive artworks. Further, students’ responses reflected the sequencing of the program: ways of discussing artworks travelled from the galleries to the studio, and student artworks referenced visual elements from artworks displayed in the galleries. While the findings of this research are not generalizable, they provide insight into methods and approaches that might be adopted by museum administrators, museum educators, and art educators who aim to provide school students meaningful and well-connected museum “gallery tour and studio workshop” educational programs.

Thesis. 1977. M.Arch.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography : leaf 23. / M.Arch.

This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.

Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.