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1.
Through a partnership with a local school, the Smithsonian Institution and the Information Policy and Access Center at the University of Maryland conducted an exploratory study to examine the motivations and needs of families visiting museums with children with Autism Spectrum Disorders (ASDs). This study represents one of the first undertakings to study visitors with ASDs, especially children, through a primarily qualitative data collection. Interest‐driven enjoyment emerged as a primary motivation, though to relax and to socialize outside of the family boundaries were not ranked as important motives for visiting museums. Children, who were directly interviewed, gave positive assessments of their museum experiences, while parents commented that challenges, both museum‐ and family‐related (crowds, loud noise, not feeling welcome, and a child's unpredictable behavior) surfaced in public settings like museums. Parents desired a “typical family outing” with their ASDs child, stating that manageable and safe environments helped families experience a museum.  相似文献   

2.
This article reports on a study of young children and the nature of their learning through museum experiences. Environments such as museums are physical and social spaces where visitors encounter objects and ideas which they interpret through their own experiences, customs, beliefs, and values. The study was conducted in four different museum environments: a natural and social history museum, an art gallery, a science center, and a hybrid art/social history museum. The subjects were four‐ to seven‐year old children. At the conclusion of a ten‐week, multi‐visit museum program, interviews were conducted with children to probe the saliency of their experiences and the ways in which they came to understand the museums they visited. Emergent from this study, we address several findings that indicate that museum‐based exhibits and programmatic experiences embedded in the common and familiar socio‐cultural context of the child's world, such as play and story, provide greater impact and meaning than do museum exhibits and experiences that are decontexualized in nature.  相似文献   

3.
This article reports on a study that was designed to provide insight about the barriers that limit families with children with autism spectrum disorder (ASD) from visiting fine arts museums. Parents (N=54), and staff and volunteers (N=62) at the museum completed a questionnaire about their perceptions of the participation of children with ASD in museum activities. Some significant differences in responses were found between parents and museum staff and volunteers. Parents reported being thankful for the sense of community that Autism Awareness Family Celebrations provide, but were frustrated with reactions from others during typical museum experiences. Museum staff and volunteers expressed that museum participation was important, but responses were split between those who desired to learn more about ASD in order to create an optimal museum experience, and those who preferred not to take on this initiative. Studies such as this help museums become more inclusive.  相似文献   

4.
Abstract Can museums still be valuable to populations that don’t visit them? The city of Oaxaca, Mexico is home to a flourishing museum scene, but despite a desire by those museum professionals to serve the Oaxacan community, the city’s museums largely lack a local visiting base. This article, which reflects on ethnographic fieldwork conducted in Oaxaca in 2010, explores the implications of the disjunction between intention, assumption, and reality in some of Oaxaca’s museums, especially the Museo Textil de Oaxaca, a small private textile museum in the city’s historical center. By considering the museum’s inherent value and its innovative attempts to tangibly impact a specific community outside of the museum edifice, I suggest a way to rethink impact in museums by, in effect, turning them inside out: shifting the focus away from “public value driven by a universal right to cultural access” ( Stein 2012, 219 ), toward more tangible, external outcomes, including direct interventions in the dynamic world beyond the quiet galleries.  相似文献   

5.
Museums, art galleries, botanical gardens, national parks, science centers, zoos, aquaria and historic sites are important public learning institutions. The free‐choice learning offered in these settings is closely linked to visitors' intrinsic motivation, making it important to understand the motivational factors that impact on visitors' experiences. This paper presents data from a questionnaire administered to visitors at three sites: a museum, an art gallery, and an aquarium. Similarities and differences among the sites are reported in relation to visitors' expectations, perceptions of learning opportunities, engagement in motivated learning behaviors, and perceptions of the learning experience. The importance of learning to museum visitors and the unique opportunities and challenges of the museum in relation to other educational leisure settings are discussed. The authors argue that the study of motivational factors might contribute to the development of a common theoretical foundation for interpretation in museums and other informal learning settings.  相似文献   

6.
Danielle Rice and Philip Yenawine are veteran art museum educators who have wrestled for decades with the thorny issues involved in teaching about and learning from art objects in the museum setting. While there is general agreement within art museums today that the object should be the focus of educational practice, debate continues as to the most effective processes for facilitating learning. Gallery teaching is one of the most contested arenas, with much of the disagreement centering on the place of information in teaching beginning viewers. In art museums, the issue of what and how to teach is complicated by the fact that many people, including artists, museum professionals, psychologists and educators consider art primarily as something to be enjoyed, and they posit this enjoyment in direct opposition to learning about art. Partly because of this, the function of art museum education and gallery‐based instruction is still evolving.  相似文献   

7.
This paper details findings from a collaborative research project that studied children learning to 3D print in a museum, and provides an overview of the study design to improve related future programs. We assessed young visitors’ capacity to grasp the technical specificities of 3D printing, as well as their engagement with the cultural history of shoemaking through the museum's collection. Combining the museum's existing pedagogical resources with hands‐on technology experiences designed by Semaphore researchers, this study enabled both researchers and museum education staff to evaluate the use of 3D‐driven curriculum and engagement materials designed for children visiting cultural heritage museums. This study raises critical questions regarding the practicality of deploying 3D media to engage young learners in museums, and this paper illuminates the challenges in developing models for children to put historical and contextual information into practice.  相似文献   

8.
While there is increasingly widespread use of social media by those visiting museum exhibitions relatively little is understood about this practice. Further still, the focus of such practices is unknown yet research in this area can reveal much about how visitors using applications driven by smart phone technology are engaging with exhibition content, space, design, architecture and people. This article draws on a case study of one exhibition using visual content analysis to frame, explore and interpret visual and text based posts by visitors using the social media application, Instagram, as part of their experience. Findings suggest that museum visitors using this application do so to account for and record details of their experience that draws attention to exhibition content, specifically objects. The implications are extensive for cultural institutions given the uptake of social media in all corners of life, with museums and galleries being a lively context for social media use via mobile technologies.  相似文献   

9.
A recent lecture series at the Harvard University Art Museums titled “Art Museums and the Public Trust” marked the eightieth anniversary of the founding of Harvard's famed Museum Course. A graduate seminar begun in 1921 by the Fogg Art Museum's associate director, Paul J. Sachs, the Museum Course became the primary training ground for art museum leadership in the first half of the twentieth century. The 2001 commemorative lecture series was intended to foster a healthy debate on the place of the art museum in Anglo‐American culture. Instead, the speakers, veteran directors of America's and England's most prestigious art museums, invariably returned to one concern: authority—theirs and that of the art museum itself in contemporary society. Authority was at the heart of the Museum Course decades earlier, tellingly explored in annual debates around two significant topics. The first debate involved the pros and cons of including period rooms in American museums. In the second, students argued about whether America's established art institutions should collect the work of living artists. Questions of how museums should respond to the interests of audiences and communities, their responsibility to contemporary artists, and the meaning of a public trust trouble America's museum leadership now as then. This article explores the common ground between the Museum Course debates of the 1930s and Harvard's recent commemorative “debates” by America's contemporary museum leaders and comments on its significance for today's museums.  相似文献   

10.
This article discusses a study focused on investigating the effects of an art museum cultural experience on learning and behaviors of visitors with special needs. The participants, selected by specific inclusion and exclusion criteria, were 10 families with children diagnosed with Autism Spectrum Disorder. The author examined how the museum environment, with its opportunities for free‐choice, object‐based, and inquiry‐based learning, helped facilitate their educational and social needs. To record changes in the subjects' content knowledge and behavior, the author employed a mixed‐methods design, including the standardized Social Responsiveness Scale, parent surveys, behavioral observations, task evaluations, and parent interviews. The findings demonstrate that participation in a tailored educational museum program positively influences cognitive and social behaviors of children living with autism, thereby contributing to their overall well‐being. The paper also discusses implications for other museums nationwide working to establish quality access programs with long‐term benefits for special needs communities.  相似文献   

11.
Abstract The prevailing worldview in North America is grounded in the belief that continuous economic growth is essential to individual and societal well‐being. One result of the dominance of this worldview is the rise of museum corporatism, characterized by the primacy of economic interests in institutional decision making. This paper provides a critical overview of the growing dominance of marketplace thinking in museum affairs, and argues that this market‐oriented viewpoint is enfeebling or diverting otherwise competent museums from realizing their unique strengths and opportunities as social institutions in civil society. The meaning and implications of the “civil society” are discussed with particular reference to museums, along with several examples of museums and galleries that are currently playing key roles as agents of the civil society. This paper contends that departing from the status quo of marketplace imperatives opens the door to more creative definitions of museums as social institutions. Rather than becoming more like businesses, museums must exploit their uniqueness, resisting the domination of marketplace thinking, and testing alternative means of achieving meaning and sustainability within their communities.  相似文献   

12.
Speculation about the character and purposes of American art museums has occasioned intense debate since their inception—never more so than today. Whether to be elitist or populist, object‐based or audience‐based forms the crux of many heated arguments. This article asserts that, in the midst of competing philosophies, the successful American art museum has in reality grown from an amalgam of ideas that form a via media or middle path, far more inclusive and pragmatic than is usually noted. This comprehensive philosophy is most effectively demonstrated in the work of Henry Watson Kent at the Metropolitan Museum of Art in New York during the first decades of the twentieth century. The work of Kent and his colleagues at the Metropolitan Museum is here examined as a paradigm for the via media museum practice that speaks to the aspirations of America's current art museum leadership.  相似文献   

13.
Abstract This article describes how two art museums have used the results of audience research for institution‐wide planning. Results and outcomes are reported from a visitor audit at the Tate Gallery (now Tate Britain), and from a survey of Black cultural tourists and local African Americans visiting The Art Institute of Chicago. A follow‐up interview five years later with the head of communications at the Tate Gallery highlights how exhibit developers and museum staff used visitor feedback and response to improve visitor care, and ultimately visitor experience. A conference presentation a year after the audience research was conducted at the Art Institute and an exhibition two years following are indications of the extent to which the African American audience research project had an institutional impact. The article concludes with a review of helpful methods and suggestions for other institutions.  相似文献   

14.
Funding for London museums has increased enormously in recent years. The lottery has contributed hundreds of millions of pounds for capital developments; central government revenue in the tens of millions goes to funding free admission to the national museums and galleries. The research described in this paper focuses on museums that opened lottery‐funded capital projects in 2000, and on the relationship between this additional funding and museum attendance. The authors found that the extra money led to extra visits—and for the first time attempted to calculate what those visits cost. This research also looks at whether people chose improved museums over other museums, and briefly investigates the impact on attendance of the outbreak of foot and mouth disease and the downturn in tourism following the terrorist attacks of September 11, 2001.  相似文献   

15.
The author suggests that especially in museums, particularly art museums, creating truly visitor‐friendly environments eludes most institutions. The special, sometimes magical, experience of direct contact with original works of art can be encouraged by management decisions that make the museum a more accessible place. This ranges from technological fixes to simply insisting on friendliness from staff. Examples from the author's experience are provided.  相似文献   

16.
In histories of the art museum, Prague has only a minor place. Yet at one crucial early moment, Prague played an important role in what we might call the prehistory of European public museums. There is a close link between art museums and nationalism. One necessary condition for being a country, it might be said, is that its people have a distinctive artistic tradition and therefore reason to build a museum in which to house it. What, then, is the relationship between Prague’s art museums and the identity of the Czech people?  相似文献   

17.
公共图书馆、文化馆、博物馆和美术馆之间处于一种条块分割、分散管理的状态,很少开展具有一定深度和广度的交流与合作。文章分析了“图文博美”四馆开展协同服务的必要性和可行性,阐述了如何实现公共文化服务机构之间的协同服务,并介绍了江门地区文化场馆开展资源共享和联合服务的工作实践。  相似文献   

18.
The Image Directory is an online catalogue of information about art images unifying data from many sources into an easily searchable format. It breaks new ground in its aim to provide record-level access to the vast body of scholarly, but non-standardised, data on images that resides in the libraries, galleries and museums of the world.  相似文献   

19.
以色列的两位学者基于社会文化理论设计了调查内容与方法,对4家自然历史博物馆的学生集体参观学习的过程、活动形式、交流互动和博物馆工作人员的导览内容、方式进行了分析,讨论了组织学生集体参观科技类博物馆不同策略下的学习效果。研究结果显示:传统的参观导览内容与方式,既不符合当代的科学教育发展趋势和博物馆对学习效果的新追求,也不适用于科技类博物馆基于实物展品的体验式学习和探究式学习。本研究的内容、方法、结果及其理论基础,对我国科技类博物馆均有启发。  相似文献   

20.
Over the past two decades, museums and galleries have significantly expanded the scope and diversity of programs and exhibitions offered to children, families and schools. Parents and teachers are increasingly interested in curated public play spaces for children in the early years (from birth to eight years old), and they actively search for accessibility, affordability and quality when planning young children's excursions. In 2013, the Ipswich Art Gallery (in Queensland, Australia) developed and presented Light Play, an interactive exhibition designed especially for children up to the age of eight. Light Play promoted the use of light as a creative material for making ephemeral art through collaborative play, experimentation and discovery‐based learning. As part of the exhibition, a formal research project was run as an integral component of Light Play. Our research documented the qualities that lead to successful creative play experiences for young children in art museums by examining three key aspects of the exhibition: the participants, the environment, and the program. This paper discusses the findings of that research, in relation to making financial and human resource investments in interactive and immersive exhibitions and play spaces for children in the early years.  相似文献   

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