Methods for studying family visitors in art museums: A cross-disciplinary review of current research     

Pat Sterry ^{Author Vitae}  Ela Beaumont Author Vitae 《Museum Management and Curatorship》2006,21(3):222-239

This paper examines current trends in family studies research, details the methodological and topical perspectives that are emerging, and reflects on how these findings could be integrated to provide a more coherent approach to researching the leisure, learning and recreational aspects of family visitors to art museums. Research findings from disciplines such as sociology, ethnography, education, design and marketing are of interest to the field of visitor studies, and this paper contributes to the wider research agenda by providing an overview of family research methods from a range of other disciplines, as well as those used within visitor studies.Over the last decade, there has been a growth of research in family learning in science museums, leading to an emerging disciplinary matrix, whilst many aspects of family visits to art museums remain relatively unexplored. The paper discusses the problems of gathering meaningful data from adults and children in family groups, and concludes by suggesting that a challenge for art museums is to learn from what is happening in other areas of cultural research into families, and to develop a framework for research which builds on the methodological strengths and practical experience of robust studies.  相似文献   

The terrible gift: Museums and the possibility of hope without consolation     

Roger I. Simon ^{Author Vitae} 《Museum Management and Curatorship》2006,21(3):187-204

Public history is turned toward the future no less than the past. Little discussion exists as to how practices of public history might foster new ways to live with the presence of history. Museum exhibitions are one site where such discussions may take place. Particularly generative in this regard are exhibitions that present artifacts and documentation that reference state-sponsored violence. One such exhibition in development is discussed. While this exhibition presents evidence of past events, it also assembles traces of the past and bequeaths them as a testament, “a terrible gift” that places difficult demands on those to whom it has been given. In discussing the practices of inheritance initiated by such a gift implications are drawn for how museums might initiate a reconsideration of the force of history in social life.  相似文献   

Museums and the shaping of contemporary artworks     

Sherri Irvin Author Vitae 《Museum Management and Curatorship》2006,21(2):143-156

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum.  相似文献   

Essentialism, adaptation and justice: Towards a new epistemology of museums     

Mark O'Neill ^{Author Vitae} 《Museum Management and Curatorship》2006,21(2):95-116

This article treats the prevalent confused mixture of utilitarian, art-and-knowledge-for-their-own-sake and ideological interpretations of the purpose of museums as a problem of epistemology, arguing that that key dimensions of museum knowledge (of objects, visitors, museums themselves, and of society) need to be integrated to achieve coherence. A new object-based, visitor-centred, storytelling epistemology is proposed. This would take an interdisciplinary approach and aim to unleash, rather than mute the real power of objects. It would address human destructiveness, as well as celebrating human creativity and the wonders of nature. It would respect the meaning-making practices of real, as opposed to idealized, imaginary visitors, and promote staff self-awareness in managing bureaucratic drift into introversion and avoidance of difficult issues. Incorporating a theory of justice, it would erode boundaries created by presentation traditions which, though marginal to object experiences, discriminate in favour of specific social groups—often groups with whom staff identify. Providing a museum service on a visibly fair basis is essential for museums to achieve intellectual coherence as well as societal support.  相似文献   

Counterfeit museology     

Michael M. Ames Author Vitae 《Museum Management and Curatorship》2006,21(3):171-186

Museums are not usually seen to be agents of change. If they are to serve as important mechanisms for empowering local communities to define, recognize, and develop their own indigenous heritages, they should first consider a potential contradiction contained within this initiative: museums specialize in the representation of other peoples, while people have the sovereign right to represent themselves. Left unresolved, this contradiction could produce counterfeits of good intentions. The introduction of professionalized cultural management may mitigate the responsibilities of the citizenry to actively participate in the production and preservation of their own heritage.  相似文献   

Using special events to motivate visitors to attend art galleries     

Megan Axelsen ^{Author Vitae} 《Museum Management and Curatorship》2006,21(3):205-221

The contemporary directions of art galleries worldwide are changing as social patterns and demands, as well as visitor expectations of their experiences at art galleries, change. New programs and strategies are being developed in galleries to make these institutions more appealing to people who would not normally visit them, and one such strategy is the staging of special events. However, because galleries are staging an increasing number of special events, the factors motivating visitors to attend these institutions are changing. Visitors hope to have different experiences and encounters in the gallery during special events. This paper presents the findings from a study in Australia about visitors’ motivations to attend special events in galleries. It highlights the different factors that motivate visitors to attend the gallery specifically for a special event in comparison to visiting the gallery's permanent collections.  相似文献   

Are you now or have you ever been? Opening the records of the McCarthy investigations     

Donald A. Ritchie Author Vitae 《Journal of Government Information》2004,30(4):463-469

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Responses     

Michael E. Walters Author Ed.D.  Virgil S. Ward Ph.D. 《Roeper Review》2013,35(4):267-268

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The association between SAT prompt characteristics, response features, and essay scores     

Jennifer L. Kobrin  Hui Deng  Emily J. ShawAuthor vitae 《Assessing Writing》2011,16(3):154-169

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Convergent designs in fine fashion: An evolutionary model for stylistic innovation     

Rossella Cappetta Author Vitae  Paola Cillo Author Vitae  Anna Ponti Author Vitae 《Research Policy》2006,35(9):1273-1290

In this paper we propose and test an evolutionary model of stylistic innovation, that is the change in the aesthetic and symbolic elements of products and services. Style is an increasingly relevant phenomenon in many industries and our goal is to develop a model of how styles get introduced and adopted. We build on existent literature on technological change to frame the dynamics of how style changes across time. In the model we propose, companies face periods of ferment with relevant stylistic variations and periods of convergence on a single trend—that is the stylistic convergent design versus the technologic dominant design. We identify the drivers of convergence in stylistic innovation. We test the model with a longitudinal empirical study (1984-2002) in the fine fashion industry, explaining the main differences between a stylistic and a technological evolutionary model.  相似文献