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This research aims to establish a new way of understanding the ‘problem’ of children and young people’s participation. The problem is that the reality of participation has not lived up to its theoretical promise of enabling children and young people to meaningfully shape their environment on their own terms. With a reflexive approach, the research reformulates the relationship between the theory and reality of children and young people’s participation through investigating two case studies of participation projects in museums and galleries in the UK. In the literature review the problem of participation is situated within the policy, organisational and personal contexts; at each level of context, it is argued that there are fundamental, intractable reasons why the promise of participation cannot be realised in practice. In the case studies participation in practice is investigated in an in-depth way from a range of perspectives, focusing on the framing, practice and experience of the projects through discourse analysis of project documentation, observation of the projects in practice, and interviews with the participants. In the case studies the theoretical contradictions of participation emerge in practice; while the organisations attempt to enable the participants to engage with the project on their own terms, the top-down organisation of the project mean that controls over the participants are unintentionally created. The participants engaged with and experienced the projects in different ways and types of participants were identified in terms of how the projects were navigated. It was found that all participants were able to draw a positive experience from the projects even though there were problematic aspects. In response to the intractable problems of participation, in conclusion it is suggested that ‘spaciousness’ may be a more useful concept, focusing on enabling young people to make sense of their ambivalent experience in organisations in their own way.

<p>Samtida diskursiva skeenden som en ekonomisering av det kulturella fältet och en estetisering av det ekonomiska fältet kan förklara att nya samarbetsformer mellan kultur och näringsliv möjliggjorts. Samarbetena har dock ännu inte konceptualiserats. Genom att vända blicken bort från sponsringsbegreppet och istället förstå samarbetenas dynamik skapad i samarbetet per se, möjliggörs ett perspektiv, där förståelsen samarbetenas dynamik tillåts införliva social interaktion och utveckling av attityder, värderingar, trosföreställningar och målsättningar. Utbytesrelationen kan då förknippas med andra former av utbyten än ekonomiska transaktioner, däribland kunskapsutbyte och lärande.</p><p>Denna studie som syftar till att förstå samarbeten mellan kultur och näringsliv har utvecklats runt två empiriska undersökningar av samarbeten som uppfattades gå bortom sponsringsbegreppet. Fallstudierna utgjordes av samarbetet mellan S-Lab, en forskningsgrupp inom Telia och realtidskonstnärerna i Splintermind samt projektet ”Hör upp Stockholmare!”, i vilket konst- och designhögskolan Konstfack samarbetade med Gallerian, ett köpcentrum i centrala Stockholm.</p><p>Tillsammans med tidigare teori och utvidgad förståelse, har tolkningen av de studerade fallen inneburit en studie i syfte att förstå samarbetenas dynamik. Den kunskapsmodell som använts har av den anledningen varit den abduktiva. Studien har resulterat i en modell över samarbeten mellan kultur och näringsliv, vilken kategoriserar samarbetsformerna efter varaktig och strategisk funktion. Samarbeten, vare sig det rör sig om kortsiktiga projekt eller långsiktiga relationer möjliggörs då ingå i ett samlat teoretiskt ramverk, vilket bidrar till ökad förståelse för samarbetena. Framförallt för de samarbeten som faller utanför sponsringsbegreppet</p>

An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.

This report contains the details of internship completed at the National WWII Museum in New Orleans, Louisiana. It will discuss the structure and practices of the Museum’s Entertainment Department through a 480 hour internship. Alongside Victoria Reed, the Director of Entertainment, I assumed the role of Entertainment Production Assistant in June of 2015. I completed this internship with the purpose of earning an Arts Administration degree at the University of New Orleans. The Entertainment Department at the National WWII Museum is but a fraction of what makes this organization a successful attraction in the city of New Orleans and the country. The Museum is a rapidly growing institution and there is much potential to expand past traditional museum exhibits with its Entertainment Department. This report will concentrate on the internship roles and responsibilities, strengths, weaknesses, opportunities, and threats of this specific department. It will also address best practices and recommendations specific to the Entertainment Department.

This report examines an internship experience as the Auction and Fine Art Department Assistant at New Orleans Auction Galleries with discussion of the Company’s history, operating structure, and role in the auction market. In addition, an evaluation of the Company’s strengths, weakness, opportunities and threats and a discussion of the auction industry’s best practices used by international auction houses as they related to New Orleans Auction Galleries is also found. The report concludes with recommendations made by the intern, for the Company’s future sustainability in the auction market.

As museums continue to shift from being object-centered to visitor-centered, they also need to reconsider their exhibition development practices to become more relevant to their communities. In alignment with this premise, this double case study investigates two exhibitions that were curated using the supported interpretation (SI) model for visitor-centered exhibitions. They were the Mixing It Up: Building an Identity exhibition, taking place at the gallery of the Tempe Center for the Arts in Arizona, and Contemporary Latino Art: El Corazón de San Antonio, an exhibition that took place at the former Texas A&M University-San Antonio’s Educational & Cultural Arts Center. In this dissertation, I examine how SI was implemented at these two exhibitions and how it can be implemented at future ones in other art centers or similar venues. Supporting questions explore the strategies and processes that were used at Mixing It Up and El Corazón, and insights on how the model worked in these two instances. This study was informed by the constructivist paradigm of inquiry. In it, I used a hermeneutic/dialectic methodology and qualitative methods of data collection. At the Mixing It Up exhibition, I conducted observations and unstructured interviews using a maximum variation sampling strategy, and I also analyzed secondary data gathered through one of the interactive components of the exhibition. At El Corazón, I worked exclusively with secondary data gathered through the visitors’ participatory opportunities embedded in the exhibition interface. Moreover, I used self-reflection and Serrell’s (2006) Framework for Assessing Excellence in Exhibitions from a Visitor-Centered Perspective as a professional development tool to go deeper into an understanding of SI and its implementation at these two exhibitions. The findings of this study reveal that both exhibitions included interpretive elements that encouraged visitor participation and validated a multiplicity of voices. But they also show that those components made the exhibitions more meaningful for visitors allowing them to make personal connections with the art on display by themselves or with others. Additionally, as this study investigates how SI worked at these two exhibitions, it also sheds light into possible ways in which it can be implemented at other institutions in the future, and provides recommendations for future applications of it as well as areas for further research. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2017. / October 10, 2017. / art museum education, interactive exhibitions, Latinx art exhibitions, supported interpretation (SI) exhibitions, supported interpretation (SI) model, visitor-centered exhibitions / Includes bibliographical references. / Pat Villeneuve, Professor Directing Dissertation; Carolyn Henne, University Representative; Jeff Broome, Committee Member; Ann Rowson Love, Committee Member; Linda Schrader, Committee Member.