A pesquisa analisa os primeiros quinze números da revista Habitat: revista das artes no Brasil, no período compreendido entre outubro de 1950 e abril de 1954. Desses quinze números investigamos num primeiro momento as características que a fazem particular entre as demais revistas do período a decisiva participação de Pietro Maria Bardi e Lina Bo, sua inserção como parte de um projeto cultural moderno, sua ligação com o Museu de Arte de São Paulo (MASP), a diversidade de assuntos que aborda, o contexto histórico e a fundamental presença de seus colaboradores. No segundo momento, enfocamos a arquitetura divulgada em Habitat, sua eleição, os valores que pretende propagar e o diálogo com a crítica internacional, que juntos colaboram para a consolidação da arquitetura moderna no país. / The research analyses the first fifteen editions of Habitat magazine: magazine of Brazilian art, in the period between October 1950 and April 1954. Of these fifteen editions, initially we investigated the characteristics that made the magazine so exceptional among all the other magazines of this same period the crucial input of Pietro Maria Bardi and Lina Bo, the magazines role as a modern cultural project, its connection with São Paulo´s Art Museum (MASP), the diversity of subjects covered in the magazine, its historical context and the fundamental participation of its collaborators. Secondly, we focused on the architecture shown in Habitat magazine, its selection, the values it expounded and the dialogue it had with international critics, that together, collaborated for the consolidation of modern architecture in the country.

A pesquisa analisa os primeiros quinze números da revista Habitat: revista das artes no Brasil, no período compreendido entre outubro de 1950 e abril de 1954. Desses quinze números investigamos num primeiro momento as características que a fazem particular entre as demais revistas do período a decisiva participação de Pietro Maria Bardi e Lina Bo, sua inserção como parte de um projeto cultural moderno, sua ligação com o Museu de Arte de São Paulo (MASP), a diversidade de assuntos que aborda, o contexto histórico e a fundamental presença de seus colaboradores. No segundo momento, enfocamos a arquitetura divulgada em Habitat, sua eleição, os valores que pretende propagar e o diálogo com a crítica internacional, que juntos colaboram para a consolidação da arquitetura moderna no país. / The research analyses the first fifteen editions of Habitat magazine: magazine of Brazilian art, in the period between October 1950 and April 1954. Of these fifteen editions, initially we investigated the characteristics that made the magazine so exceptional among all the other magazines of this same period the crucial input of Pietro Maria Bardi and Lina Bo, the magazines role as a modern cultural project, its connection with São Paulo´s Art Museum (MASP), the diversity of subjects covered in the magazine, its historical context and the fundamental participation of its collaborators. Secondly, we focused on the architecture shown in Habitat magazine, its selection, the values it expounded and the dialogue it had with international critics, that together, collaborated for the consolidation of modern architecture in the country.

Conservators treat and repair a huge array of damaged and degrading materials on a regular basis. As such, there are many techniques and protocols in place to deal with these problems successfully, be that via preventative or interventive methods. However, there is need for new and innovative techniques that offer long term stabilisation to materials and objects that are prevalent within museum collections. As an alternative to some of these conservation techniques, hydration with supercritical carbon dioxide was investigated here. Both modern and historic, hardwood and softwood samples were successfully hydrated using this technique. The addition of a co-solvent (methanol) to the supercritical fluid solvent stream was used as a method to increase the solubility of water in carbon dioxide, and therefore improve levels of hydration. To evaluate the extent of any damage being caused during the supercritical fluid treatment, microstructural and macrostructural analytical techniques were carried out. The supercritical hydration technique allowed historic wood to be hydrated and stabilised. Strength properties were seen to be maintained or improved after the supercritical treatment, providing conservators with a viable method of hydration. A feasibility study looking at the cleaning and characterisation of historic leather samples was investigated using spectroscopic methods. The sensitivity of Diffuse Reflectance Infrared Fourier Transform spectroscopy on historic leather was explored. Additionally, changes in elemental composition on the surface of the leather were monitored using Scanning Electron Microscopy Energy Dispersive spectroscopy. Cleaning historic leather via a supercritical carbon dioxide solvent stream showed the greatest potential for future work. However, the characterisation of unattributed historic leather is a vast and complex task that would require the expertise of a leather conservator, if the investigation were to be continued.

Quilts are a unique medium that is deeply layered with meaning, highly gendered, intimately tied to social and cultural communities, and richly interdisciplinary. Though quilts are utilitarian in origin, their circulation and display take them far beyond the home--to art galleries, history museums, state fairs, quilt shows, and philanthropic auctions. As they move, individuals and institutions make significant intellectual and emotional investments in how quilts are classified, judged, and valued. In this highly politicized work, individuals and institutions shape public culture through debates about quilts' utility, workmanship, and aesthetics; they create and display quilts to further their cultural heritage, manifest their faith, delineate aesthetic values, reinforce disciplinary boundaries, and elevate their artistic status. This project uses four representative case studies to demonstrate the cultural work that women and institutions conduct using quilts and to explore what is at stake in that work. Through research into the Iowa State Fair quilt competition and the Michiana Mennonite Relief Sale Quilt Auction, I reveal how women employ their quilts and quilt displays to promulgate their values and shape their communities. In case studies of larger institutions--the Smithsonian Institution and the American Quilter's Society--I investigate how quilts intersect with other artistic and historic objects in their creation, interpretation, and display. Each chapter includes historical research, observations from site visits, and evidence from qualitative interviews--research that provides a historical view of each institution and an analysis of how they currently categorize, judge, and display quilts. Together, these case studies reveal that individual efforts at quilt display intersect in broader public culture, where conversations about how to value and interpret quilts are also essential conversations about aesthetics, community values, disciplinarity, and the value of women's work.

Este trabalho acompanha a produção e a circulação transatlântica de uma das muitas imagens do Haiti: o Haiti popular, paisagem estético-antropológica amplamente proliferada na metade do século XX. Com a ajuda de uma série de fontes documentais e tendo o antropólogo franco-suíço Alfred Métraux (1902-1963) como um dos principais guias, a pesquisa explora a construção de três experiências institucionais no país nos anos 1940: o museu do Bureau d\'Ethnologie, fundado em 1941, a biblioteca/museu do projeto Unesco em Marbial, concebida em 1948, e o Centre d\'Art, inaugurado em 1944. Embora distintos, esses experimentos, que agregam os campos da museologia, da educação e da produção científica, compartilham não só um propósito semelhante o de fornecer ao Haiti uma cultura tradutível em objetos, formas e imagens , mas também uma mesma rede de circulação de pessoas: intelectuais, artistas, políticos e gestores haitianos e estrangeiros encarregados de sua produção. A análise proposta segue, com base em um exercício de imaginação etnográfica com os documentos, o trânsito de pessoas, coisas e ideias presentes na formação de tais instituições, desvendando o sentido do Haiti popular que passa a ser pendurado em paredes, apoiado em estantes e exibido em exposições. / This work follows the production and the transatlantic circulation of one of the many images of Haiti: the popular Haiti, an aesthetic-anthropological landscape widely proliferated in the middle of the XX century. Through a series of documentary sources and having the Franco-Swiss anthropologist Alfred Métraux (1902-1963) as main guide, the research explores the creation of three institutional experiences in the country in the 1940s: the Bureau d\'Ethnologie (1941), the Unesco museum / library in Marbial (1948) and the Centre d\'Art (1944). Despite its different natures, these experiments, which combine the fields of museology, education and scientific production, share not only a similar purpose - to provide Haiti a culture translateable into objects and images -, but also the same network of people in charge of its production: haitian and foreign intellectuals, artists, politicians and bureaucrats. The research is therefore an exercise of ethnographic imagination with the documents that follows the flow of people, things and ideas present in the emergence of these institutions, unraveling the meanings of the popular Haiti that was in this period displayed on walls, shelves and exhibitions.

This thesis examines the concepts of value creation, capture and exchange in limiting the liability of newness for nonprofit museums entering the sector. There has been considerable examination of cultural value in relation to museums. However, little is known about how value is created, captured and exchanged for stakeholders in new museums. It is posited that value creation, capture and exchange constitute a value cycle. Through this value cycle management in new museums detects and limits the liability of newness. The ability to detect and limit the liability of newness enables the continuation of the museum. If the liability of newness is not limited, it may mean that a new museum exits the sector or is transformed. The concept of a value cycle is derived from an examination of the nonprofit management literature, aspects of the for-profit management literature and the arts and museum management literature. Value creation is a key concept in the three literature areas. Value creation in this context, is specifically defined as the worth of the physical manifestation of the museum. It resides in the building and the collection, services and programs within the building. It is suggested that this value needs to be transformed and consumed by a range of stakeholders. The transformation of value creation is denoted as value capture. Value capture is the appeal of programs, projects and activities. Value capture includes how well the products and services align with particular stakeholders, how accountable the managers are to stakeholders and how products and services are consumed by stakeholders. The measure of how managers have been able to capture value is in the realm of value exchange. Value exchange is the merit of programs, projects and activities. Value exchange is in the form of revenue raised through sponsorship; continuation of revenue investment by the principal stakeholder, the state; time and money transacted by visitors; and intangible exchange such as leadership and reputation enhancement through collaborations. A Value Cycle Framework of New Entrant Museums is then developed as a working analytical tool to assess how the value cycle operates and how the liability of newness is detected and limited by museum management. x The Value Cycle Framework is used to assess four cases. These case studies include the National Museum of Australia as a purpose built new entrant; the Australian National Maritime Museum as a purpose built new entrant; the Mint as a recycled new entrant; and the Earth Exchange as a refurbished new entrant. Each case is assessed discretely using secondary and primary source material and analysing qualitative data generated from interviews with key stakeholders. The cases are then compared in order to track similarities and differences in relation to value creation, capture and exchange. The research findings suggest that a value cycle is operating in relation to new entrant museums. This value cycle is dynamic and non-sequential. Until value creation is floated for a range of stakeholders it is difficult for managers to know the worth of their content, location or their building. Value creation is a nominal starting point, signifying the arrival of a new entrant in the museum marketplace. However, value capture is the zone that is the most vulnerable and volatile for managers of new museums. Typically in these case studies value capture includes a disruptive episode, such as a review process that indicates the liability of newness. Managers within the museum who can respond and resolve contradictions between museological beliefs and the demands of stakeholders (and in so doing limit the liability of newness) are likely to continue museum operations. Senior executives who find such reconciliation more difficult, jeopardize the future operations of the museum to such an extent that the museums close or are transformed within the museum sector. Through these four case studies a revised Value Cycle Framework is developed as an analytical device. This analytical framework can assist in understanding the processes involved in new entry for museums.

This thesis explores the desirability of Australia???s State museums to be inclusive of diverse cultures. In keeping with a cultural studies approach, and a commitment to social action, emphasis is placed upon enhancing the ability of State museums to fulfil obligations and expectations imposed upon them as modern collecting institutions in a culturally diverse nation. By relating the desirability and ability of State museums to attaining social justice in a multicultural Australia through broadening the concept of Australia???s heritage, the thesis is firmly situated within post-colonial discourse. The thesis analyses State multicultural, heritage, and museum legislation, in New South Wales, Victoria, and Queensland, with regard to State museums as agents of cultural policy. Results from a survey, Greeks and Museums, conducted amongst Australia???s Greeks in Sydney, Melbourne and Brisbane, reveal an anomaly between their museum-going habits and the perception of those habits as expressed by government policies promoting the inclusion of Australians of a non-English speaking background in the nation???s cultural programmes. In exploring the issue of inclusiveness, the thesis highlights the need for cultural institutions to shift the emphasis away from audience development, towards greater audience participation. The thesis outlines an initiative-derived Queensland Model for establishing an inclusive relationship between museums and communities, resulting in permanent, affordable, and authoritative collections, while simultaneously improving the museums??? international reputation and networking capabilities. By using the example of one of the nation???s non-indigenous communities, and drawing upon material obtained through the survey, and a catalogue containing photographs and lists of Greek textile collections found in the Powerhouse Museum (MAAS), Sydney, the National Gallery of Victoria and the Immigration Museum, Melbourne, the Queensland Art Gallery and the Queensland Museum, Brisbane, as well as collections owned by private individuals, the thesis focuses on the role played by museums in constructing social cohesion and inclusiveness.

This thesis examines the ways in which the process of exhibition development and the politics this involves affects the practice of history in the museum. It does this by establishing the broad parameters of history practice in the museum and places this in relation to academic practice, focusing on the New Zealand context and specifically upon Auckland War Memorial Museum. From this basis the thesis examines the development of City exhibition at Auckland Museum as a large-scale museum history exposition. The development process for this exhibition was created with the aim of changing the traditional Museum approach so as to create a more engaging and scholarly history exhibition than is traditional. At the same time however, there was also an aim of retaining the appearance of the traditional Museum within this programme of change. These aims were to be met by the innovation of the collaboration between an academic historian and the Museum's practitioners in the development process.The research is based upon a detailed investigation of the roles played by the exhibition team members and the decisions, negotiations and compromises that they made through the development process. Beginning with their original intentions and concepts for the exhibition its metamorphosis into the exhibition as it was installed in the Museum gallery is traced. Emphasis is placed on the resonance that the various decisions and changes carried into the finished exhibition. The findings indicate that the Museum's traditions of developing and displaying knowledge exerted a strong conservative effect over the exhibition development in conflict with the programme of change. This conservatism vied with the authorial intentions of the exhibition development team. As a result of this influence the exhibition developed leant towards the conventional. The unexpectedly orthodox outcome resulted from the absence of critical museological practice. The thesis argues that although Auckland Museum had undergone extensive restructuring, including the introduction of new exhibition development processes and a new outlook as an organisation, the conception of history in the Museum had not changed. Ultimately this precluded that the practice of history in the institution would advance through the revised exhibition development process. However, the development of City did help achieve the updating of social history in the Museum and remains a platform upon which a more critical approach to the past can be built.

Western museums are public institutions, open and accessible to all sectors of the population they serve. Increasingly, they are becoming more accountable to the governments that fund them, and criteria such as visitation figures are being used to assess their viability. In order to ensure their survival in the current climate of economic rationalism, museums need to maintain their audiences and attract an even broader demographic. To do this, they need to ensure that visitors feel comfortable, welcome and secure inside their spaces. They also need to give visitors clear entry points for engaging with and valuing the objects and knowledge on display in exhibitions. This thesis maps a grammar of three-dimensional space with a strong focus on the interpersonal metafunction. Building on the social semiotic tools developed by Halliday (1978, 1985a), Halliday and Hasan (1976), Martin (1992) and Matthiessen (1995), it identifies two interpersonal resources for organising space: Binding and Bonding. Binding is the main focus of the thesis. It theorises the way people�s emotions can be affected by the organisation of three-dimensional space. Essentially, it explores the affectual disposition that exists between a person and the space that person occupies by focussing on how a space can be organised to make an occupant feel secure or insecure. Binding is complemented by Bonding. Bonding is concerned with the way the occupants of a space are positioned interpersonally to create solidarity. In cultural institutions like museums and galleries, Bonding is concerned with making visitors feel welcome and as though they belong, not just to the building and the physical environment, but to a community of like-minded people. Such feelings of belonging are also crucial to the long-term survival of the museum. Finally, in order to present a metafunctionally diversified grammar of space, the thesis moves beyond interpersonal meanings. It concludes by exploring the ways textual and ideational meanings can be organised in three-dimensional space.

Degree awarded (2003): MA, Department of Tourism and Hospitality Management, George Washington University / This thesis focuses on the issue of dissonance in the interpretation of atrocity at museums and other cultural heritage sites. The existing debates in the field are outlined in an extensive literature review encompassing general and specific references. The basic conceptual framework of the dark tourism phenomenon is elaborated through case studies in Washington D.C., illustrating the variety of interpretative dilemmas faced by museum directors and curators. The cases include the permanent exhibition at the U.S. Holocaust Memorial Museum, the Enola Gay exhibition at the National Air and Space Museum, and the National Museum of the American Indian on the Mall. The identified controversies are analyzed, and recommendations for mitigating existing conflicts and suggestions for future research are offered. / Advisory Committee: Prof. Donald E. Hawkins (Chair)