The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measurements are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96). Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios 4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had "iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide with the Roman "iiii." At the end, by mistake, folio 94 has "xciii" and folio 95 has "xciiii."

Doctor of Philosophy / Department of History / Bonnie Lynn-Sherow / American Indian material culture collections are protected in tribal archives and transnational museums. This dissertation argues that the Plains Indian people and Euroamerican people cross pollinated each other’s material culture. Over the last two hundred years’ interpretations of transnational material culture acculturation of the 19th - Century North American Plains Indians has been interpreted in venues that include arts and crafts, photography, museums, world exhibitions, tourism destinations, entertainments and literature. In this work, exhibit catalogs have been utilized as archives. Many historians recognize that American Indians are vital participants and contributors to United States history. This work includes discussions about North American Indigenous people and others who were creators of material culture and art, the people who collected this material culture and their motives, and the various types of collections that blossomed from material culture and oral history proffering. Creators included Plains Indian women who tanned bison hides and their involvement in crafting the most beautiful art works through their skill in quillwork and beadwork. Plains Indian men were also creators. They recorded the family’s and tribe’s histories in pictograph paintings. Plains Indian storytellers created material that was saved and collected through oral tradition. Euroamerican artists created biographical images of the Plains Indian people that they interacted with. Collections of objects, legends, and art resulted from those who collected the creations made by the creators. Thus today there exists fine examples of ethno-heirlooms that pay tribute to the transnational acculturation and survival of the American Indian people of the Great Western Northern American Plains. What is most important is the knowledge, and an appreciation for the idea that a transnational cross-pollination of cultures enriched and became rooted in United States history.

This paper demonstrates the overall success of bringing non-traditional audiences to a New Orleans Museum of Art (NOMA) exhibition, "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present." It also highlights the success of some of its public programs. However, the process of attracting these audiences to the museum falls short in its attempts at developing long-term relationships with NOMA. The first chapter provides historical background on NOMA and offers an overview of the "Passionate Visions" project. Chapter Two describes, in relative detail, the project's community outreach component and implementation of its public programs. It closes with an analysis of short range and long term impacts. The final chapter further analyzes the project experience, inclusive of the management style of the project director, issues surrounding conflict of interest and ethics, and the degree of NOMA's commitment, or lack thereof, to long-term non-traditional audience inclusiveness.

This report details an internship with the Louisiana Children’s Museum’s development office, which started in February 2014; transitioned from internship to employment in May 2014; and concluded in June 2014 after the Museum’s fundraising event, Circus Magic Night. In this paper, I will provide an overview of the Museum’s history, programs, and organizational structure, as well as describe my internship experience and contributions over a period of five months and 480 hours. Additionally, I will analyze LCM’s strengths, weaknesses, opportunities, and threats; discuss relevant best practices; and finally, offer recommendations that propose solutions to some of the challenges I observed as the development/special events intern and as the new special events coordinator.

The thesis catches  up a phenomenon in contemporary exhibition practice: the presentation of art beyond traditional platforms such as museums and galeries. It is the Berlin based nightclub Berghain that in this case study is object for an analysis of an alternative art space. The two photographies Ostgut Freischwimmer rechts and Ostgut Freischwimmer links of the german artist Wolfgang Tillmans were to be seen there after being sold to art museums in Switzerland exhibited together with other works of the collection at Fondation Beyeler. The comparison of the club as the new and alternative and the museum as the traditional and institutional is the specific concern of the work: on which institutional structures is the staging of art based  on and how can they be altered and contrasted by means of place and exhibition features. The meaning of art is determined by its physical setting and the institutional and ideological constituencies that are lying behind it. This interconnection is examined by terms of Henri Lefebvre social space and Arthur C. Danto and George Dickie. Contextualisation, categorisation and the creation of an aura of theory as well as established roles and hirarchies determine the institutionalized artwold and are reverted in the attempt to create an alternative space. The creation of the new is based on its differentiation from the traditional and is therefore to be seen as a concept, a repetition of structures that is filled with new contents. In his function of curator to both of the exhibitions, Wolfgang Tillmans extends his artistical practice over the medium of photography - by this way, the pictures meaning is transcending its visuality and interacts with the space, communicating different values in different situations. The comparison of the the two exhibition sites shows: silence is replaced by sound, contemplation is replaced by movement, history and context by nowness and momentarity.  But still is the exhibition of art is bound to structures. The question therefore should not concentrate on finding an alternative beyond institutional structures, but on which kind of institution it could be that expresses the intended meaning of an art work. By this terms, the argument can be traced back to Wolfgang Tillmans himself and both his personal, artistic and curatorial world view:  imagining an anti-hirarchical culture in which no one is to claim the truth further than in its own immediate moment of experiencing it

The master's thesis is focused on aspects of brand building in the art and cultural heritage markets. It analyzes the understanding of cultural products, a brand and a process of building a brand in relation to institutions managing a cultural property. The thesis examines the phenomena and circumstances related to basic artistic products brand creation and their relation to cultural institutions' branding processes. Based on practical examples, it provides a comprehensible methodology of brand evaluation, brand identity, brand image and potential strengths and weaknesses of the brand. Specific situations and strategies based on proposed methodology are presented using examples from significant institutions. The thesis introduces a systematic approach to brand building in culture and provides recommendations for cultural institutions management.

Philosophiae Doctor - PhD / On 15December 2011, the now ousted South African President Jacob Zuma officiated the opening of the Gallows Memorial Museum at the Pretoria Central Correctional Facility, a project undertaken by the Department of Correctional Services. This Project saw the gallows at what was previously Pretoria Central Maximum (C-Max) Prison, which had been dismantled in 1996 following the abolition of the death penalty in South Africa, restored and reopened as a museum. At the top of the notorious 52 steps that condemned prisoners climbed to reach the execution room, the then president unveiled a dedicated wall with individualised plaques for each of the political prisoners who had died there between 1960 and 1989. “Today” the president announced, “all 134 names are officially being enshrined for eternity so that future generations will know what this country went through, so that we never go through a similar horror ever again. The Museum is meant to act as an anti-death penalty monument, to honour the anti-apartheid activists who were hanged by the apartheid state and to encourage “healing.” This was to be “a place where the political prisoners who were hanged there can be honoured and the past can be buried. Reflecting the African National Congress (hereafter ANC)- centered dominant narrative of resistance in South Africa, Zuma emphasised the executions of ANC cadres. He failed to note that the Pan Africanist Congress was the organisation that had lost the greatest number of its members to judicial executions.

Mediante o fenômeno das visitações massivas aos espaços expositivo-institucionais de arte na atualidade, compreendido como uma das ocorrências que atestariam a propagada noção de democratização do acesso aos bens artístico-culturais, o presente estudo, ao mesmo tempo em que mantém a referida noção sob suspenso, move-se em direção ao questionamento da associação veridictiva entre as práticas museais e a arte, trazendo à baila a hipótese de que a vitalidade de tal associação teria a ver menos com a factualidade, ou não, da missão edificante que a anima, e mais com a apreensão generalizada da necessidade que se deveria ter dela. Tendo em vista, igualmente, o alastramento das investidas museais desde, pelo menos, a década de 1980, entende-se que o que aí se assiste é, antes, à eficácia de um governamento de feições pedagogizantes que tem no encontro arte-museu-educação um de seus braços fortes. Nesse diapasão, caberia à arte, historicamente vista como uma prática transcendente à processualidade das relações cotidianas, garantir ao intento educativo certo contrabalanceamento, contribuindo sobremaneira para o alcance de sua estratégia nuclear: a funcionalização de condutas que, na medida mesma de seu franco assujeitamento à ordem, se autoimputam a pecha de contraconduta. Por conseguinte, uma fina atenção do olhar dirige-se à pedagogização da arte no encontro arte-museu-educação, tendo em vista a inelutável eficácia que este assume ao operar, em um mundo crivado por um acentuado ensejo de musealização, a sustentação de uma incompatibilidade que, afinal, lhe é fundamental: a de manter crível um ideal de liberdade enquanto o faz em nome de mais governo. Assim, a arqueogenealogia foucaultiana foi eleita como balizamento teórico-metodológico do presente estudo, de maneira que o gesto arquivístico por ela acionado abarcou um conjunto de periódicos acadêmicos dos campos da arte, da museologia e da educação, bem como catálogos de exposições, revistas e jornais de época. Tratou-se de viabilizar um tipo específico de análise dos discursos de artistas, curadores, críticos de arte, museólogos, educadores etc. englobando um arco temporal necessariamente amplo, com vistas a inventariar, à luz da concepção foucaultiana de governamentalidade, os deslocamentos históricos pertinentes ao processo de pedagogização da arte, eminentemente identificados no que despontava como conflito, problema, descaminho etc. O saldo da imersão analítica do estudo aponta para a contramão da hegemonia das narrativas concernentes ao encontro arte-museu-educação ao demonstrar ser possível decompor a semantização corrente de alguns enunciados que lhes são basilares como liberdade, revolução, participação, resistência e inclusão em favor da visibilização da processualidade histórica que os permitiu se constituírem como nexos veridictivos de práticas a serviço de um aguerrido governamento de si e do outro. / The phenomenon of massive visitations to expository-institutional art spaces nowadays is understood as one of the events that would attest the diffused notion of democratized access to artistic-cultural items. In view of that, while such notion is kept on hold, this study moves towards questioning the veridictive association between museal practices and art, by considering the hypothesis that the vitality of such connection has to do less with the (non)factuality of the edifying mission that nurtures such association, and to do more with the generalized apprehension of the supposed need for such connection. Regarding, in the same way, the spread of museal initiatives from the 1980s onwards, it is understood that what happens in those iniciatives is rather the effectiveness of a pedagogically-featured governance, which finds great support in the art-museum-education encounter. In this scenario, art, which is historically seen as a practice that transcends the procedurality of everyday relations, would be supposed, instead, to guarantee certain counterbalance to the educational intent, by contributing especially in terms of its nuclear strategy: to functionalize conducts that self-charge themselves to the flaw of counter-conduct, to the same extent as for their subjection (assujettissement) to the order. Therefore, close attention is drawn to the pedagogization of art in the art-museum-education encounter, in view of the ineluctable effectiveness assumed by this encounter when it operates, in a musealization-thirsty world, the sustenance of an incompatibility which is, after all, fundamental for the encounter itself: to keep the ideal of freedom believable, while doing so for the sake of more governance. Thus, the Foucauldian archaeogenealogy is adopted as the underpinning theoretical-methodological approach, so that the archival gesture it activates covered a set of academic works in the field of art, museology and education, as well as exhibitions, magazines, and newspapers. This study carried out a specific type of analysis of the discourses of artists, curators, art critics, museologists, educators etc. This analysis encompassed a necessarily wide time frame, with a view to inventorying, in the light of Foucaults conception of governmentality, the historical displacements relevant to the process of pedagogization of art, eminently identified in what emerged as conflicts, problems, misleading ways, etc. The analytical immersion of this study points to the direction against the hegemony of the narratives concerning the art-museumeducation encounter, so that it was demonstrated that it is possible to decompose the flowing semantization of some statements that underlie this encounter such as freedom, revolution, participation, resistance, and inclusion in favor of the visibility of the historical processuality that allowed them to be constituted as veridictive nexuses of practices at the service of a fierce governance of the self and the other.

As reflexões em torno do Patrimônio Imaterial são decorrentes de uma mudança na compreensão dos conceitos de patrimônio e cultura. As narrativas patrimoniais, a partir de então, voltam-se à valorização da diversidade cultural, e a compreensão de cultura passa a ser entendido como o campo de elaboração de signos e sentidos por uma comunidade ou um grupo. Nesse contexto, a Salvaguarda dos bens de natureza imaterial, frequentemente, se dá por meio do processo de Musealização desses bens, sendo possível observar que, na América Latina, existem similitudes na maneira de se trabalhar a Musealização dos bens imateriais. Assim, o presente trabalho tem por objetivo analisar como o processo de Musealização é apropriado como estratégia de Salvaguarda do Patrimônio Imaterial, visando verificar as associações e divergências na articulação dos processos de Patrimonialização e Musealização dos bens de natureza imaterial. Para tanto, foram analisadas as experiências do Museu de Folclore Edison Carneiro, no Brasil, e do Museu Nacional de Culturas Populares, no México. O trabalho parte, ainda, de uma compreensão da Musealização enquanto cadeia de processos de caráter infocomunicacional; de uma compreensão de Cultura enquanto campo em que os sujeitos elaboram os signos e símbolos, bem como a significação das estruturas sociais. Compreendendo a ideia de Patrimônio Imaterial como conjunto de expressões, tradições e saberes, que estão na base das identidades das comunidades, e que são transmitidos de geração em geração, o presente trabalho se caracteriza enquanto pesquisa básica, uma vez que busca preencher uma lacuna no conhecimento, e se estrutura enquanto pesquisa bibliográfica. / The reflections related to the Intangible Heritage arise from a change in the comprehension of the concepts of heritage and culture. The heritage narratives turn to a cultural diversity\'s appreciation, and the culture\'s comprehension starts to be understood as a field of elaboration of signs and meanings by a community or a group. In this context, the Safeguarding of the intangible cultural heritage often happens through a Musealization process, and it is possible to observe that in Latin America there are similarities in the way they usually tackle this issue. Therefore, this research intends to analyze how the Musealization process is appropriate as a strategy of the Safeguarding of Intangible Heritage, aiming to verify the associations and deviations in the processes of Patrimonialization and Musealization of intangible assets. Thus, we analyze the experiences of the Museum of Folklore Edison Carneiro, in Brazil, and the National Museum of Popular Cultures, in Mexico. Furthermore, this study sets out to an understanding of Musealization as a chain of infocommunicational processes, as well as a comprehension of Culture as a field in which the subjects elaborate not only the signs and symbols, but also the meaning of the social structures. We understand the Intangible Heritage as a set of expressions, traditions, and knowledge that are the foundation of the communities\' identities, and that are transmitted from generation to generation. This work is characterized as basic research since it aims to fulfill a gap knowledge and it structures itself as a bibliographical research.

Nordströms museum is the heritage of Torsten Nordström. During his lifetime Torsten acquired a large variety of collectables that can be found in his museum. Due to a construction project in the neighborhood the foundation of Nordströms museum got disturbed. This led to the chimney of the building sinking, which gave rise to new problems for the construction. Today water is leaking through the plate roof and the building technology is outdated which has contributed to moisture damage in the attic. If nothing is to be done the collection is at risk to be destroyed.   Prior to this written report relevant literature has been studied and two inspections has been carried out. Because of insufficient documentation regarding the construction of the building assumptions had to be made.   With a curved roof full of cavities, rainwater is leaking through to underlying and sensitive parts of the building. The attic is without heating and its walls are missing vapor barriers and isolation. In combination all the above can cause major damage to the building.   This study has resulted in a list of suggested actions against the moisture problem of the roof and is meant to be used as a basis for future decision regarding an eventual renovation of Nordströms museum.