This research study provides answers to questions pertaining to current practices in the art museum field regarding socially responsive programming and the motivations for developing and implementing such programs. Socially responsive programming is programming that encourages dialogue and debate about social, economic and political issues in order to promote honesty, fairness, concern for the rights and welfare of others, empathy, and compassion (Desai & Chalmers, 2007). The study engaged a mixed methods approach by utilizing a survey and three case studies. The purpose of the survey was to gauge the position of the field in relation to their values and support of socially responsive programs. Janes’ and Conaty’s (2005) four characteristics of socially responsive museums: seeing social issues and acting to create social change (idealism); building and sustaining strong relationships with the community (intimacy); investing time for reflection and resources to fully understand social issues (depth); and judging the museum’s worth, not based on building size, prestige of collections, or attendance numbers, but on the quality programs a museum provides to the community (interconnectedness) guided the construction of the survey and served as an analytical tool for the case studies. The survey sample resulted from distributing the survey through major museum-themed listservs. The survey also aided in identifying three exemplars of socially responsive museum. These institutions, Museo de Arte Contemporáneo de Monterrey, the Columbus Museum of Art, and the San Angelo Museum of Fine Arts, comprised a purposeful sample in order to further investigate museum staff members’ motivations for creating and instituting socially responsive art museum practices. / text

New digital technological possibilities allow physical museum artefacts to be transferred into a virtual environment using 3D computer models with rich information content for educational purposes. However, although several museum websites have applied relevant educational theories to learning activities in these 3D environments, these alone are not enough to develop 3D museum environments without consideration of virtual visiting styles in the learning context. This research addresses the relationship between visiting styles and the design of 3D museum environments based on pedagogic approaches for learning efficacy. Relevant literature on the nature of web-based museum systems was reviewed. Three stages of primary research (a critical review, observations and interviews) were also conducted in this study. The critical review examined the use of 3D technologies in current museum websites in terms of informational aspects and the learning context. The observation studies identified the relationship between visitor behaviours and associated learning activities within 3D museum environments. The interviews further elicited experts’ views and were used to test the research hypotheses. A theoretical design reference model was developed. Initially based on the Reeves multimedia design model, the model consists of three phases: analysis, design and assessment. A prototype 3D exhibition was created based on the theoretical model and two pedagogic approaches. Evaluation of this showed that the design of the exhibits with rich multimedia formats had the potential for more effective visitor learning. The two pedagogic approaches encouraged the related visiting style(s), leading to a deeper engagement with the content and ultimately improving learning efficiency.

In recent years, revisionism in Canadian museums has created a space for the development of different ways of classifying and representing non-Western visual and material culture. Despite these changes, many mainstream or authoritative museums and other cultural institutions still operate largely as separate from the constituent communities to which the non-Western collections in their possession are directly related. This thesis investigates the complex relationship between three different types of collections of African visual and material culture in Canada, the institutions in which they reside, and the relationship to the constituent communities that have a stake in the reception of these collections. These collections include the ethnographic collection of African artifacts at the Royal Ontario Museum in Toronto, the Lang Collection of African Art at the Agnes Etherington Art Centre at Queen’s University in Kingston, and the African cultural collection at the North American Black Historical Museum and Cultural Centre in Amherstburg. As this thesis makes clear, the very nature of incorporating, classifying and displaying African visual and material culture in Western museums, which are a direct product of the colonial era, is fraught with contentions. In light of this, the growth in cultural centres in Canada in recent years has the potential to inform mainstream museums, offering new ways of approaching and engaging with not only non-Western objects, but also their diverse constituent communities. By focusing on the discourse of museum representation in relation to African collections in Canada, this thesis posits that these collections can be understood as crucial sites for the promotion of cross-cultural negotiations between African and non-African Canadian communities. / Thesis (Ph.D, Art History) -- Queen's University, 2012-12-21 14:49:24.852

My intention is to contribute to the field of exhibition-making a repertoire of presentation modes, previously not analysed or documented, that can be applied to the display of fashion in the museum and which will extend those techniques currently available to the exhibition-maker to create meaningful and stimulating exhibition environments. Part 1 contextualises my investigation, through discussion of the exhibition as source material, the methods employed to execute the research and analysis of relevant literature. Part 1 concludes with an introduction to ModeMuseum, Antwerp, which is the primary location for my research. Part 2 details the identification, description and definition of a repertoire of presentation modes, classified and distinguished as innovative through comparative analysis of over 100 exhibitions visited for this research, alongside investigation of the exhibition formats and structures that support deployment of the modes. Part 3 relates the application of the presentation modes to the construction of a 'fashion autobiography‘ in the form of a proposal for a hypothetical exhibition, through examination of the processes utilised to develop the exhibition narrative and detailed account of the proposal in its final realisation. In conclusion, I will critically reflect on the research executed, underlining the interrelationship of the theoretical and practice-based activities. Finally, I will detail opportunities taken to disseminate this research, and indicate possible directions for continued investigation.

Digital products are an increasingly significant part of the output of museums in the UK, but the rationale behind them and the long term plans for them are not always clear. This thesis argues that to consider such a digital product to be sustainable, the value it creates must justify the resources it requires. The decisions involved in building and supporting these products affect both the value proposition and the resource requirements, but also reflect the way that museums and their stakeholders see the balance between the two. At the same time, this balance is under the influence of a constantly changing environment. The study proposes a model of sustainability as a cycle of value, resources and decision-making, and three case studies are used to examine how decisions are reached in the face of flux and uncertainty. Some ways in which decisions can be biased or distorted are identified, and finally some approaches are offered for museums seeking to improve the balance of value and resources, and increase the quality of the decisions that underlie them.

Aus Anlaß einer Ausstellung zum 150jährigen Bestehen des Gesang- und Musikvereins Feuchtwangen e.V. wurde die Idee eines "Fränkischen Sängermuseums" aufgegriffen. 1988 erhielt Dr. Friedhelm Brusniak vom Fränkischen Sängerbund (FSB) den Auftrag zur Ausarbeitung eines Konzeptentwurfs, bei dem allerdings der ursprüngliche Plan eines regionalen Museums für die Geschichte des Chorwesens zugunsten einer Wiedererrichtung des ehemaligen Deutschen Sängermuseums (DSM) aufgegeben wurde.

In this study, I examine how the University of Arizona Museum of Art (UAMA) can best serve the University of Arizona campus community by providing resources to professors that bring their classes to the museum. A review of literature connects research about learning in museums to k-12 choice-based teaching approaches. The methodology section provides an overview of data collection methods and an explanation of each resource used in the study. Through a qualitative case study, I use the collected data from interviews, visual analysis of student resources, and researcher notes to discuss and analyze the research questions. The findings result in the development of a resource for the museum to provide additional information to professors. The study informs future research needs in museums and contributes to a growing knowledge of how visitors learn in museums and how museums best serve their visitor populations.

This research considers material culture, the politics of identity, and the role knowledge plays in a Maori community in relation to a nineteenth century historic collection held abroad. The Charles Smith collection came from the Nga Paerangi community in Whanganui, New Zealand. The importance of historic collections to Maori are described through the concept taonga, or treasured objects, which have been theorized in terms of kinship relationships to a certain class of social valuable. This research acknowledges that taonga uphold the continuity of historic relationships, but departs from other analyses in its focus on a previously unknown collection, introduced to the source community through photographs in an exploration of ways taonga interactions are historically and circumstantially informed. Visually focused research endeavors often present diverse responses in a meeting of the social life of objects and the politics of knowledge. Similarly, divergent responses to taonga arose that referenced the colonial contexts in which such taonga left Maori control, as well as losses to knowledge bases in the community. Endeavors to reclaim lands and cultural heritage through language and education initiatives operate at a local level of regeneration, but these goals become pertinent to larger issues of placing knowledge within a rights-based framework grounded in personal socializations of knowledge. The recognition that knowledge is taonga emerged as the framework for understanding ways Maori assert their authority over land, their language, and museum collections based in particular dispositions to knowledge. The control enacted over cultural representations in museums, land courts, and other political forums, asserts self-determinative positions, and also claims Maori knowledge as a scarce resource. Community speakers who have access to this powerful knowledge must therefore act on behalf of their communities as guardians of knowledge and taonga treasures, to redress historic losses, outsider appropriations of culture, and prevent further social disadvantages.

The thesis concerns public debate on the public activities of The Swedish History Museum (Historiska museet) in Stockholm between the years 1992 and 2011. Moreover, the thesis contribute with knowledge on how basic didactic questions regarding a single national museum has been answered in the public debate over time. Standpoints on what should be exhibited, how this should be done, to/with whom the mediation of history should be addressed/communicated and, what mission in society The Swedish History Museum’s is considered to be, is summed up in the concept of “exhibition ideal”. The research concerns four public debates; the debate about the exhibition The Swedish History (Den Svenska Historien), the debate about Kristian Berg, the debate about the free entry reform and, a less extensive debate about the exhibition History of Sweden (Sveriges Historia). A further aim of the dissertation is to put the publicly expressed positions on The Swedish History Museum in a wider historical-cultural context. Also, the study is related to other museums and other history communicating arenas. The debates coincides in time with challenges for the museum sector to deal with new perspectives in museology and cultural heritage research. The emergence of a multi-cultural society and the questioning of grand narratives are mentioned as examples. The emergence and strengthening of a broader history didactic discipline in Sweden, where a basic starting point is that the story is communicated in several different arenas with their own competencies, are also brought into the analysis. Historians and archaeologists tend to become silent in the recent debates about The Swedish History Museum’s public activities as the debates are less focused on content. The debates tends to be more “museum internal”, even in cases where there is opportunity to debate specific historical and archaeological content in the exhibitions. It appears, nevertheless, that the overall conflict around the public museum activities has reached the public spotlight through newspapers, radio and TV. Alongside with visits to the museum public debate are assumed to contribute to citizens’ own view of what museums should exhibit, how this should be done, to/with whom the mediation of history should be addressed/communicated and what the museum’s mission in society is.

In her 2005 essay "From the Critique of Institutions to an Institution of Critique,"artist Andrea Fraser declares that institutional critique is dead and she accordingly callsfor an institution of critique engaged in a practice of self-criticism. This thesis considersthe similarity of the institution of critique to museologist Eilean Hooper-Greenhill'sconceptualization of the post-museum to determine how the institution of critique and the post-museum might inform one another in their current nascent stages.This thesis analyzes publications about institutional critique, essays theorizing the post-museum, and publications that contain theoretical discourses central to realizing an institution of critique and post-museum, none of which consider the institution of critique in relation to the post-museum. This thesis uses these publications to examine the development of the institution of critique and the post-museum in order to demonstrate how one example of the institution of critique serves as a model for the post-museum.