Avsikten med denna C-uppsats är att undersöka hur samtalet kring svensk konstmuseiarkitektur förts i inhemsk dagspress och fackpress. Detta för att kunna identifiera vilka de rådande diskurserna varit under ett sekel av svensk konstmuseiarkitektur. Två underliggande frågeställningar som också varit relevanta är huruvida dessa diskurser förändrats avseende konstmuseets form, arkitektoniska symbolvärde eller placering i stadsbilden samt huruvida dessa diskurser kan avslöja något om samhällets syn på t.ex. bildning, demokrati och kultur under drygt hundra år. För att kunna göra utföra denna undersökning valdes fyra svenska konstmuseum som objekt för analysen: Göteborgs konstmuseum; Kalmar konstmuseum; Jönköpings läns museum samt Bildmuseet i Umeå. Med hjälp av analysen har jag kunnat identifiera fem tydliga diskurser rörande konstmuseiarkitektur i Sverige. En diskurs som varit rådande under hela seklet är den om modernitet som något positivt; att museet ska framstå som modernt, samtida eller nytt, rent arkitektoniskt sett. Bland de övriga diskurserna finns "stilbrott", där museibyggnadens arkitektoniska kontrast till sin omgivning uppfattas negativt om den är allt för stor, samt en diskurs där "transparens" - med ett fokus på luft, ljus och rymd - ses som en essentiell del av konstmuseiarkitekturen. Denna undersökning pekar att de flesta diskurserna kring arkitektur är allt annat än statiska utan förändras i takt med andra sociala förändringar som påverkar konstmuseets roll i stort. / The purpose of this bachelor thesis is to examine the discourse regarding art museum architecture in Swedish print media, with a focus on trade press magazines and daily newspapers, in order to identify the prevailing discourse(s) over the course of roughly a century. By using Norman Fairclough’s critical discourse analysis several articles in print media have been analysed, regarding the architecture of four museums built over a period of almost one hundred years: Gothenburg Museum of Art; Kalmar konstmuseum (Kalmar Art Museum); Jönköping County Museum and Bildmuseet in Umeå (Museum of Visual Arts). Five main discourses have been identified, with one predominantly present during the entire century: the importance of the museum architecture being ”modern”, ”new” or ”contemporary”. Other discourses include one that appeared after the emergence of modernism where parts of the general public associate obvious contrast between the building and its surroundings as a negative trait, and another one with an emphasis on transparency as a positive trait focusing on light and space. Overall, the discourses concerning domestic art museum architecture has been anything but static and has evolved in conjunction with changes in general architecture discourse, the symbolic value of the art museum, and social structures in the society as a whole.

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A new cultural policy developed in Sweden in the 1960’s in order to renew the activities of mseums in a more socially relevant direction. The dissertation examines whether the museums adopted the new policy and to what extent the objectives were achieved. The thesis analyses three main areas: the new cultural policy and the attempts to implement it; activities in selected museums along with different intellectual trends that shaped their activities; and the debate between different “thought collectives” (L. Fleck) regarding museums’ missions and objectives as well as expectations within the museum sector. How did the various “actors” relate to the objectives of the new cultural policy? The thesis confirms the potential of the museums as generators for renewal and innovation in terms of democracy and development of the society. There was a clear shift in attitudes from values associated with the “Cultural heritage museum” towards the in this thesis introduced idea of the “Community museum”. The study shows how museums tried to introduce activities relating to current political and social issues, which supports the principal hypothesis in the study, that the museums became more socially relevant during the investigated period. However, during the 1980s, there could be seen a clear recurrence back to the idea of “Cultural heritage museum”. The movement in opposite directions illustrates the museums’ strong ties to the earlier traditional ”styles of thought” (Fleck) and their role as cultural guardians, which severely restricted their capacity for innovation and new ways of thinking. Nevertheless, the Swedish Exhibition Agency (Riksutställningar) performed a role as a searhead for the new cultural policy, corresponding with the heterodoxy and new style of thinking represented by the “Community museum”. A number of persons dominating the debate within the museum sector had a crucial importance in the shift towards the concept of “Community museums”. A revitalisation of the exhibitions, pedagogy and content was accomplished, often as a result of the Swedish Exhibition Agency’s efforts to develop the medium. During the period 1965–1990 Swedish museum exhibitions moved towards a temporary and more socially oriented content. According to Steven Conn’s principal thesis “Do museums still need objects?” the importance of objects gradually declined during the last century. In line with this development, the new Museum of Work had no objects/collections of its own. Furthermore, the arrival of new technology in the late 1980’s gave preconditions for reshaping knowledge and contributed to new attitudes towards communication. Museums were now seen as centres for social contact and communication. The role of museology as an academic discipline in the reprogramming of the museums towards a more socially oriented approach is another important issue. Museology has been criticized by those who – int the debate – questioned the entire idea of “Community museum”.

Thesis work «Specificity of the contemporary historical museum expositions» is devoted to the analysis of the actual for the XXI century process of transformation of the modern museum appearance based on a new ideas of the exhibition artists. Greater emphasis is laid on a contemporary museum conceptions that were developed on the West in XX-XXI century. Unfortunately, they are not well-known to native reader, so work was undertaken to translate books in English into Russian. The deepened classification of the historical museum exhibition was created on the base of foreign materials. Application of exhibition techniques described in the dissertation will increase attractiveness of Ekaterinbourgs museums. In instance of depiction and analysis achievements in construction museum exhibition created by foreign artists, thesis presents and investigates museum areas, created by Ekaterinbourgs group of exhibition designers and artists «The white square» and «Museum technologies» and a huge studio of creators from the Urals regional institute of museum design. Comparative study European styles and artists creative scripts of constructing the exhibition with ones, made by Ekaterinbourgs artists, distinguishes global and local problems, which appear during the design, creation and construction of exhibition. The dissertation tries to solve some of the declared problems and to offer ways of development the art of museum exhibition. The practical significance of the thesis is in the fact that it can be used as an instruction to the museum exhibition design and construction. / Магистерская диссертация «Специфика экспозиций современных исторических музеев» посвящена анализу актуального для XXI века процесса смены изменения облика современного музея на основе новых идей художников-экспозиционеров. В исследовании уделяется внимание современным концепциям, которые были разработаны на Западе в конце XX – начале XXI века. К сожалению, они малоизвестны отечественному читателю, поэтому была проведена работа по переводу английских текстов на русский язык. На основании материалов зарубежных авторов создалась более углубленная схема классификации экспозиций исторических музеев. Применение некоторых предложенных техник в наших музеях увеличит их привлекательность для посетителей. На примере описания и анализа достижений в создании экспозиций зарубежными коллегами, в магистерской диссертации представлены и исследованы музейные пространства, созданные екатеринбургскими коллективами экспозиционеров «Белый квадрат» и «Музейные технологии», а также бригадой Уральского регионального института музейных проектов. Сопоставление европейских стилей и школ создания экспозиции с отечественными методами помогло выявить общие и частные проблемы, с которыми сталкиваются художники-экспозиционеры при дизайне экспозиций. В исследовании предпринята попытка к решению поднятых проблем, намечены векторы развития экспозиционного искусства. Практическая значимость исследования заключается в том, что оно может быть использовано в качестве пособия по созданию музейной экспозиции.

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This essay studies how women are represented in three museum exhibitions. The exhibitions are the Museum Gustavianum exhibition of the history of the University from the 1800s to the present day, the viking exhibition Valsgärde and the Uppsala University Coin Cabinet. The methods used in the study are Thick Description and Wera Grahn’s analyticcal tool, Five Questions to an Exhibition. As the theoretical foundations of my study I have used Hirdman's gender system and Butler’s concepts of performance and the heterosexual matrix.   The results of the study show that women and men are displayed in different places in the exhibitions. The language and the way of speaking about women in the exhibitions often differed from how the men were presented. It also became clear that there were few items related to women in the exhibitions. Based on how women are represented in the exhibitions, one can conclude that museums are part of the gender system as maintainers and co-creators.

This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.

This study analyzes two successful exhibitions on American slavery in the South: In Bondage and Freedom: Antebellum Black Life in Richmond, Virginia, 1790-1860 by the Valentine Museum and Before Freedom Came: African American Life in the Antebellum South by the Museum of the Confederacy. It puts the exhibitions in the context of the social history movement, and explains the difficulties exhibiting a sensitive topic. It examines the creation of the exhibitions, the controversies because of the subject, both real and potential, and the overwhelmingly positive reaction.

O trabalho trata da avaliação da exposição “Na Natureza não existem Vilões" do Museu do Instituto Butantan. Realizou-se uma pesquisa histórica e uma pesquisa de público para se saber a opinião e o nível de aprendizado obtido após a visitação. Como conclusão, sugerem-se modificações na exposição para tornar a comunicação das mensagens propostas mais eficiente. / This paper evaluates the exhibit “There are no villains in Nature" of the Butantan Institute Museum. A historical research and an audience poll were carried out in order to find out the visitors’ opinion of the exhibit and what they learned during their visit. A proposal of changes in the exhibit, to make its message more effective is presented at the end of the discussion.