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Perceived constraints to art museums/galleries participationJun, Jinhee 15 November 2004 (has links)
Research on constraints to leisure and recreation participation has focused on various types of activities in which people would like to participate, are currently participating, or have stopped participating. However, little attention has been made to identify constraints associated with art activities participation.
The objectives of this study were to 1) identify factors which limit people's attendance to art museums/galleries; 2) address the issue of the internal heterogeneity between two constrained leisure behaviors; 3) reveal the role of previous participation, interest in future participation, gender and lifecycle in the perception of constraints to art activities; and 4) show the validity of segmentation criteria which are previous participation, interest in future participation, gender and lifecycle.
Data from the Survey of Public Participation in the Arts (SPPA 1997) was used in this study. Total sample was divided into four categories by previous participation and interest in future participation. Further, the categories 'participants with interest' and 'non-participants with interest' were sub-divided based on gender and lifecycle. The results revealed that time, cost, access and availability were considered as the most significant constraints to art activity participation across all segments. However, the array and intensity of constraints differed depending on the types of constrained leisure. In addition, different types of constraints were experienced with different intensity by segments defined by previous participation, interest in future participation, gender and lifecycle. The analyses demonstrated that previous participation, interest in future participation, gender and lifecycle were important segmentation criteria in constructing homogeneous groups with respect to perceived leisure constraints.
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Crossfit design maximizing building potential across broad time and modal domains /Goodale, Benjamin, January 2009 (has links)
Thesis (M.Arch.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 72-75).
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The university art museum and interdisciplinary faculty collaborationRothermel, Barbara Ann January 2013 (has links)
The university art museum can make a significant contribution to the academic and cultural life of the parent institution. While there are many roles of art museums within institutions of higher education, there is a common thread -- the conviction that interdisciplinary exhibitions and programs expand the relevance of the art museum within the academic community. In this study, I examine interdisciplinary collaborations between the university art museum and faculty from diverse academic disciplines at American institutions of higher education. What relationships, if any, exist between academic programs and art museums at universities? What institutional structures are keys and barriers to successful collaboration between the university art museum and academic programs? What factors determine the success of interdisciplinary collaboration between the university art museum and diverse academic programs? In order to fully explore the possibilities of interdisciplinary collaboration, qualitative analysis of current initiatives at university art museums throughout the United States was necessary. The conceptual framework of interdisciplinary exhibitions and programs is thus established. Secondly, case studies examine the organizational culture of the institutions and challenges of interdisciplinary collaboration at the University of Virginia Art Museum, the Joel and Lila Harnett Museum of Art of Art at the University of Richmond, and the Philip and Muriel Berman Museum of Art at Ursinus College. As well, my professional experience, through a retrospective account of projects at the Daura Gallery at Lynchburg College, provides insights into both the potential and process of interdisciplinary collaboration. While I am mindful that this informs my conviction that interdisciplinarity and collaborative practice is essential to the university art museum, the partiality that existed at the onset of the study was recognized and subjected to a rigorous research and methodology that imparts validity and authenticity to this inquiry. While the “publish or perish” convention of the academy supports discipline-specific research and individual publication, I contend that the university art museum must engage in interdisciplinary dialogue through which perceptions are changed and new meanings are unveiled while respecting the integrity of the disciplines involved. This study of institution-wide interdisciplinary collaboration between university art museums and the academic institutions of which they are part reveals what is being done through innovative exhibitions and programming to promote the interconnectedness of ideas and issues. Collaboration with diverse academic disciplines reaffirms the traditional expectations of the museum of investigation, inquiry, and intellectual challenge. Purposive exhibitions grounded in collaboration between academic disciplines can generate debate, critique, and conversation. In doing so, the university art museum is an indispensable component of the university’s mission and asserts its relevance to the institution and its role in the educational experience through collaboration between the university’s academic programs and the university art museum.
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Museums : the roles of lighting in designOliveira, Fernanda Sa January 2011 (has links)
No description available.
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Mediating and negotiating culture in an art museumDent, Sandra 05 1900 (has links)
Cross cultural education in art museums is an interesting and complex issue.
While cultural exhibitions have received attention in research, studies have usually
focused on the nature of the exhibitions and have not explored the audience's
understanding about culture in relationship to the exhibition.
This qualitative study explores how and what First Nations cultures have been
mediated by a civic art museum and negotiated by the museum audience, and the
relationship between the two. Observations of the exhibition and audience and
interviews with 99 adults in the museum were collected and analyzed to identify patterns
and relationships. Analysis of the exhibition found the mediation of culture was
distinguished by a partnership of the museum and First Nations cultures which reflected
both their languages and voices. Audience responses illustrated a range of affective,
factual and conceptual responses. Positive affective responses reflected the stimulation
and satisfaction with learning which occurred. Visitors indicated enlightenment, exposure
and revision of previously held ideas and assumptions, similarities and differences among
cultures, and insight into perspectives of others.
Partnership between the museum and the exhibition of masks from Northwest
First Nations cultures is seen as a complex undertaking requiring reflection and
examination of these two cultures. Visitor responses to the exhibition indicates learning,
thinking and innumerable ways individuals construct meanings and understanding from
art museum experiences.
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The experience of progression through architectural space as related to art museumsThomson, David Frederick 08 1900 (has links)
No description available.
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The development of a children's gallery suitable for Ball StateMcJilton, Mildred C. January 1952 (has links)
There is no abstract available for this thesis.
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The implications of conceptual art and the deinstitutionalization of schools upon the educational curriculum of art museumsGuip, David H. January 1972 (has links)
The purpose of this thesis was the identification of two new phenomena in the culture, and their implications upon the educational curriculum of art museums. The prognostication of theoretical constructs and curriculum models to accommodate such phenomena were made for practical application in art museums.
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The face of museums : the state of docent programs in art museums today /Ryu, Christine Y. January 2006 (has links) (PDF)
Final Project (M.A.)--John F. Kennedy University, 2006. / "July 18, 2006"--T.p. Includes bibliographical references (p. 112-115).
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Re-inventing the extinguished pastReichard, Jamie. January 2008 (has links)
Thesis (M.Arch.)--University of Detroit Mercy, 2008. / Includes bibliographical references (p. 83).
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