Provides information on Thai art and museums with biographies of Thai artists. / Virtual museum of Thai contemporary and modern art.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references.

Thesis (M.S.)--Florida State University, 2003. / Survey based on "student sample from a visual arts school at a [Southeastern] university." Advisor: Dr. Lisa Waxman, Florida State University, School of Visual Arts and Dance, Dept. of Interior Design. Includes bibliographical references (p. 75-77). Also available in electronic form via the WWW.

Thesis (M.A.)--University of Delaware, 2008. / Principal faculty advisor: Rebecca J. Sheppard, School of Urban Affairs & Public Policy. Includes bibliographical references.

Orientador: Isabel Cristina de Castro Monteiro / Banca: Odete Pacubi Baierl Teixeira / Banca: Emerson Izidoro dos Santos / Resumo: A presente pesquisa buscou investigar as formas de concepção entre a possibilidade de articulação de museus e centros de ciência com os espaços de educação formal, mais precisamente a escola. Para isso, fez-se um levantamento junto ao guia "Centros e Museus de Ciência do Brasil - 2015" no qual foi feito uma seleção dentro da região sudeste de todos as instituições que se intitulavam como sendo um museu ou centro de ciência. Posteriormente, foi enviado eletronicamente um questionário com o objetivo de caracterizar essas instituições de acordo com algumas temáticas relacionadas aos museus e centros de ciência, tais como os tipos de atividades realizadas pela instituição, os principais objetivos, o perfil dos sujeitos que conduzem as atividades da instituição, o contingente de sujeitos que auxiliam nas atividades, se a instituição oferece cursos de formação para esses sujeitos e se existem atividades colaborativas entre o museu e a escola. Após a devolutiva do questionário por parte das instituições, foi feito um estudo de caso com duas instituições que atenderam aos critérios estabelecidos pelos pesquisadores. Uma entrevista semiestruturada foi realizada com um representante da coordenação e dois mediadores, um mais experiente e um menos experiente. Para a análise das entrevistas, foi utilizada a Análise de Discurso de linha francesa e os objetivos das análises eram de encontrar no discurso de coordenadores e mediadores uma concepção de colaboração entre os esp... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present sought to investigate the forms of conception between the possibility of articulation of museums and science centers with the spaces of formal education, more precisely the school. For that, a survey was made the guide "Centros e Museus de Ciência do Brasil - 2015" in which a selection was made within the southeast region of all the institution that were titled as museum or science center. Subsequently, a questionnaire was sent electronically with the purpose of characterizing these institutions according to some themes related to museums and science centers, such as the types of activities carried out by the institution, the main objectives, the profile of the subjects that help in the activities, if the institutions offers training courses for these subjects and if there are collaborative activities between the museum and the school. After the questionnaire was returned by the institutions, a case study was done with two institutions that met the criteria established by the researchers. A semi-structured interview was carried out with a representative of the coordination and two mediators, one experienced and one less experienced. For the analysis of the interviews, French Speaking Discourse Analysis was used and the objectives of the analyzes were to find in the discourse of coordinators and mediatiors a conception of collaboration between the spaces of formal education and the museums and centers of science. From the analysis it was observed that the institutions have different conceptions regarding the processes of collaboration between museums and school. The data, besides allowing to find these two conceptions, provided important elements for the characterization of the museums and science centers of the southeast region / Mestre

Performance and documentation have a complex historical relationship, based around perceived binaries of ephemerality and endurance, liveness and fixedness, originality and representation. This thesis explores this relationship and the ontological perspectives which underpin it, but moves beyond this by building on those contemporary theories which consider the potential of the performance documentation in relation to the performance moment, and the expanded, continuing performance artwork. Using the example of Tate as a contemporary art museum which has a history of creating and collecting performance documentation, this research engages the lens of value as an analytic tool through which to understand the positions and purposes of performance documentation in the contemporary art museum. Rather than attempting to measure the amount of value a performance document is perceived to have in economic terms, the intention here is to understand the nuanced types of value those within the museum apply to the performance document, based on an understanding of valuations as subjective, context-dependent, pluralistic and changeable. This thesis will explore both the museum’s creation of performance documents, tracing the variety of practices across Tate’s numerous departments, and how those within the museum approach acquiring, conserving, and displaying existing performance documents. Six case studies will be used to explore how different models of temporality, materiality, and authorship impact on the actions individuals and departments within Tate have taken around the creation, collection, and use of performance documents, and will explore what these indicate about the multiple, changeable types of value a performance document is perceived to have. The thesis will end by proposing how these findings around value and valuation can feed back into strategies and practices which are being developed at Tate to provide centralised, reflexive, mobile and easily accessible documentation of those live art works in the museum collection.

With digital presence becoming an increasingly big part of museums, more resources have been put on digital interactions. This thesis studies how Malmö Museums can enforce their digital strategy by taking advantage of the Norwegian method – Tingens Metod (Method of Things), and by renewing their digital presence. Because of the COVID-19 crisis and the technological advancements of the past decade, museums are using digital technologies more than ever before to reach their visitors. By using Tingens Metod, we have been able to show how collaborative digital workshops with different participating groups can open the museum process to be an open dialogue between museum creators and the museum’s visitors. The workshops have led to a democratisation of artefacts, and a new-found appreciation for the conservation that occurs at museums. These workshops have also shown that participants would like to use digital tools and interactions in their exploration of a museum’s wide collection of artefacts. The results of this thesis project have led to the creation of a two-part prototype. First, the Tingens Metod workshops are adapted to become a recurring playtest programme at the museum. Second, an overall renewed digital presence which reimagines the museum’s digital presence in a modern and reimagined way should be available on platforms that visitors are using. Together these two parts form a proposed prototype which can be adapted by Malmö Museums in their continued effort to reach their long-term digital strategy goals.

With digital presence becoming an increasingly big part of museums, more resources have been put on digital interactions. This thesis studies how Malmö Museums can enforce their digital strategy by taking advantage of the Norwegian method – Tingens Metod (Method of Things), and by renewing their digital presence. Because of the COVID-19 crisis and the technological advancements of the past decade, museums are using digital technologies more than ever before to reach their visitors. By using Tingens Metod, we have been able to show how collaborative digital workshops with different participating groups can open the museum process to be an open dialogue between museum creators and the museum’s visitors. The workshops have led to a democratisation of artefacts, and a new-found appreciation for the conservation that occurs at museums. These workshops have also shown that participants would like to use digital tools and interactions in their exploration of a museum’s wide collection of artefacts.The results of this thesis project have led to the creation of a two-part prototype. First, the Tingens Metod workshops are adapted to become a recurring playtest programme at the museum. Second, an overall renewed digital presence which reimagines the museum’s digital presence in a modern and reimagined way should be available on platforms that visitors are using. Together these two parts form a proposed prototype which can be adapted by Malmö Museums in their continued effort to reach their long-term digital strategy goals.

This study affirms the value inherent in memory work, demonstrating that it can create empowering pathways through which to activate personal, community and by extension, national healing- the latter being a constant underlying theme of South Africa’s journey to deepen its rights-based democracy. It uses the example of District Six Museum (D6M) in Cape Town, South Africa, as a significant example of how a community has been empowered through the activation and valuing of its memory. The main thrust of my study focuses on the blockages experienced in navigating the regulatory procedures related to the declaration of District Six as a National Heritage Site (NHS). I present an underlying critique of the ways in which government departments generally conduct public engagements, referring specifically to the limited role that it has permitted community members to play in the shaping and protection of its own heritage in the context of District Six. This study raises questions about what recourse citizens have when they find that the implementation of the laws intended to bring redress and restitution, have the opposite effect. D6M’s origin in the context of a struggle for land is an important part of its identity and for this reason I have referred to the land claims process in the context of mobilising memory. District Six was an inner-city neighbourhood in Cape Town which was razed to the ground as part of legally sanctioned forced removals under apartheid. The Museum’s formation was prompted by the twin issues of land rights and memory of the land. The focus of its work in the new South Africa has been to support community members as they lodged claims for their loss of their right to land, to reclaim their connection to the land through memory, and to be acknowledged as major partners in the future development of District Six which includes memorialisation. Over time, D6M has ostensibly become the ‘face of the District Six story’ (Coombes, 2003: 118), and the trajectories of the community and the institution continue to be inextricably intertwined. In the new South Africa inaugurated in 1994, citizens are able to access land and heritage rights through the provisions of the Restitution of Land Rights Act No. 22 of 1994, (RLRA) and the National Heritage Resources Act No. 25 of 1999 (NHRA). The latter act makes allowance for sites deemed to be of national significance, to be declared NHS’s. The application to have District Six graded as a site of national significance ahead of its declaration was approved by the Council of the South African Heritage Resources Agency (SAHRA) in 2004, affirming its national relevance. It is during this application period that D6M’s memory work came to engage more directly with the discourse of formal and authorised heritage. My approach has been interdisciplinary. I have drawn largely on theories and practices of memory work, museology, historiography, literature, discourse analysis, pedagogy and human rights. My argument for memory is not intended to be pitted against the discourse of heritage, but I do make the case for a richer conversation between these different modes. I also argue for deeper engagements with people as knowledge-bearers and makers – including those who are not formally trained disciplinary experts, but who are experts on their own lives and on the things that make or break communities. I make an argument for building national identity incrementally from the base, not as a predetermined narrative schematised from the top down. The colonial origins of the ‘museum’ construct cannot be ignored. It carries with it the burdened connotation of being object-focused spaces that present fixed narratives curated by experts. I demonstrate that despite the colonial residue associated with museums, critical engagement with its contemporary purpose can enable work within its frame in a decolonised way. The sector is under particular pressure during the ravages of the COVID-19 pandemic, and has to demonstrate relevance, at a time when resources from the public and private sectors need to be redirected towards saving lives and livelihoods. When I started this study, the pandemic was nowhere on the horizon. Having become a factor which affects every facet of life from here onwards, it has forced its way into my thesis. I have had to give it due consideration in terms of what the future might hold and how this study might contribute towards that future. / Thesis (PhD)--University of Pretoria, 2021. / Mellon Foundation / Historical and Heritage Studies / PhD / Unrestricted

Museums have always had and displayed weapons, including firearms. As museums have evolved, so too has exhibit design and practice. However, many weapons displays have not kept up with changing practices, and many of them are now irrelevant, have limited audiences, or are unhelpful to the broader public. Simply displaying weapons by type or as art is not enough anymore, and keeping them in storage does not take advantage of their potential. Also, many museums are increasingly trying to become places for public discourse about current issues. They often create exhibits meant to be relevant to today and promote discussions about controversial topics. Many museums are also trying to make their collections and objects more accessible to the public. Innovative displays of firearms could help them accomplish both these tasks. The battle over gun control and gun rights is often more of a shouting match than reasoned discourse. Museums could use historic firearms as an opportunity to help facilitate a more responsible conversation about the issue. These firearms are typically not as emotionally charged as modern guns, and could be used as a pathway into the gun debate if displayed creatively. Guns, historic or not, are often not very approachable objects for many people. This can be for a variety of reasons, including their associations with masculinity, power, and nationality. Museums should experiment with new ways to display firearms that can make them more approachable and accessible to broader audiences, and ideally to the entire public. / History