Search

It is particularly notable that Francis considers their relative lack of engagement with film scholars as a longstanding problem: The academics who use our films in film studies courses - we should have a very close relationship with them. The stated purpose of this collection is to indicate how film archives could employ a model of curatorship common to art galleries and museums, in order to aid the preservation and presentation of film. The publication of this book might go some way towards making the issues faced by film curators more understandable to film scholars and other interested professionals. [Extracted from the article]

This paper examines the art forms that use motion as the main medium. It focuses on the various kinds of movable books that share the capacity for physical transformation and are collectively known as pop-up books. In the last 30 years, contemporary art museums have included them in their publishing programs; museum bookstores have increased the number of special displays, creating a physical neighborhood with kinetic artworks, which are primarily associated with motion-based art. Consequently, the problem of the relationship between the two arises. Despite the common forms and themes they tackle, there is a distinct gap between kinetic art and the pop-up book in theoretical discourse. It manifests itself, first, in vocabulary, as a lack of clear definitions and terms; second, through the isolation of the theoretical studies in these two domains. Referring to ideas of Frank Popper and George Rickey on kinetic art and focusing on the spectator’s perspective, I seek to define the elements of a common vocabulary. Based on a comparative study of kinetic artworks and pop-up books, I propose a classification of art forms from two perspectives – the first relying on motion and physical mechanisms and the second centered around the effects of movement. [ABSTRACT FROM AUTHOR]

A case study describes the impact on a collection of the extreme floods in eastern Australia in February 2022, and the salvaging of the Lismore Regional Art Gallery art collection. Despite predetermined protocols and preparedness efforts, the gallery suffered unprecedented flooding, requiring coordinated solutions to support emergency recovery. The project included relocating and stabilising around 1400 artworks, divided between the permanent collection and temporary exhibitions. Coordinated collaboration with stakeholders was needed to determine which artworks were salvageable; initial assessments indicated 60%. However, after further assessment this was reduced to 40% of all artworks able to be returned to a condition suitable for storage and display. The paper focuses on the assessment criteria used to prioritise artworks for salvage and conservation: insurance value, condition post-flooding, the views of living artists on display of treated works, and sentimental and community importance. It also outlines the conservation processes for flood-damaged paintings on canvas, works on paper, and photographgraphs, highlighting challenges and outcomes. [ABSTRACT FROM AUTHOR]

Expatriate artist Frances Mary Hodgkins (1869-1947) has been the focus of numerous art historical studies; however, very little is known about her painting practices. Trained as a watercolour artist, Hodgkins took up the use of other paint media in later life. She is most renowned for her work in oil and gouache, but in both cases the paint is applied very thickly, which has caused structural problems, particularly cracking and flaking. A technical study which included the examination of Hodgkins' papers and the analysis of paint was initiated in 2002, focusing on selected watercolours and gouaches from the Auckland Art Gallery Toi o Tamaki collection. It was intended to clarify many of the questions about her use of materials and her technique, which would be of benefit to conservators and curators. This paper presents the findings of the study and discusses aspects of Hodgkins' paint application and the implications for the conservation of her works. [ABSTRACT FROM AUTHOR]

The Auckland Art Gallery (AAG) owns a remarkable collection of 37 drawings and watercolours of the Swiss born artist Henry Fuseli (1741-1825) spanning 40 years of his career. This represents one of the largest bodies of Fuseli's work in the world. In preparation for an international tour of Fuseli watercolour drawings in 2005/06 the authors carried out a detailed survey of the AAG's Fuseli collection. Six of the drawing papers showed regular patterns of skinned areas and paper remnants adhered to the image side. The location of these remnants was almost identical on all six drawings. This raised questions about Fuseli's use and the availability of papers, but also its implications for possible conservation treatments. This type of damage could easily be overlooked or interpreted as inferior earlier restoration. The authors concluded that Fuseli used predominantly new papers made in English mills, with the anomaly of the six recycled sheets that were cut out from an album. The theory that Fuseli used recycled papers is supported by examples held in other collections. It is hoped that the article will encourage other institutions, conservators and collectors to come forward with more examples, enabling the authors to establish a profile of the possible number of sheets originally held in the album. [ABSTRACT FROM AUTHOR]

The imperial Russian collection at Hillwood Estate, Museum & Gardens features some well-known decorative art objects, but the collection's works on paper have never been comprehensively examined. These holdings, housed in the library and museum, consist of original watercolors and drawings, eighteenth-century engravings, nineteenth- and twentieth-century lithographs, chromolithographs, and photographs. Nataliia Sergeevna Goncharova, Mikhail Ivanovich Makhaev, Christina Robertson, Savelii Abramovich Sorine, Vasilii Fëdorovich Timm, and Vasilii Mikhailovich Vasnetsov are among the artists whose works are represented in the collection. [ABSTRACT FROM AUTHOR]

The records of art conservators are important for many reasons. As people consider artwork a legacy of American culture so too will they also consider the records generated by individuals who have spent their working lives guaranteeing its long-term survival. Conservators and archival repositories need to work together to ensure that records relating to the treatment of art objects in their many forms be retained and made available to researchers generations from now. Some conservators and institutions have already begun to work together, most notably the conservators who have donated their papers to the Winterthur Museum. The American Institute for Conservation of Historic and Artistic Works and The Getty Conservation Institute organized a two-day roundtable discussion in May 2003, bringing conservators and archivists together to discuss the next steps in archiving the records of art conservators. [ABSTRACT FROM AUTHOR]

This paper explores how the framework of object biographies can be used to analyse our digital activities, both disseminating and expanding these same biographies. During the digitisation and cataloguing processes, biographies are not only – and in limited format – recorded, but are also expanded by the affordances of the digital medium. Similarly, digital interpretation and engagement programmes, and their reception by museum audiences contribute to the establishing of new relationships around the object and the emergence of new narratives. User-generated content is also a witness of contemporary interpretation and networks emerging from public interest in, and use of, cultural heritage objects. The case-study of the Victory of Samothrace, and its traces in the Louvre's own digital offer and among audiences' data is used to discuss the range of digital content surrounding an object. This paper argues that all these instances of an object in the digital sphere are worth studying as adding new chapters in its life-history, in an ever-changing scenario of both ephemeral and meaningful digital representations. The relationship between originals and this digital content is considered as multifaceted, documenting, mediating, and expanding the original object biography, but also enabling digital surrogates to develop their own independent biographies. [ABSTRACT FROM AUTHOR]

The article discusses different approaches to the problems of restoration of marble sculpture in terms of the philosophical justifications taken towards the artworks. One of the aims of the paper is to contrast the approach taken towards the subject of restoration by Western philosophers and to compare that with the field of conservation. A few brief paragraphs frame the discussion of restoration. The nature of the fragment in its historical and aesthetic duality is then discussed, taking a brief incursion into the topic of supervenience. Michelangelo's Pietà and its restoration, following from extensive damage caused in 1974 by a museum visitor, results in a series of disputations between writers who favour a purist restoration and those who prefer an aesthetic reintegration of the work. The work of several philosophers who have written about sculpture and restoration is reviewed. The Pietà case study is contrasted with the restoration of the Lansdowne Heracles in the Getty Museum. It is essential to also consider here marble sculpture in terms of works that have been re-restored, de-restored, and deceptively partially restored, taking as a seminal example of the latter, the Adam by Lombardo in the Metropolitan Museum of Art. The conclusion attempts to bring together some of the issues raised in the paper, including a discussion of the extent to which information is displayed in the museum for the benefit of the observer, and the importance of the role of the conservator in all aspects of the de-restoration and re-restoration of marble sculpture. [ABSTRACT FROM AUTHOR]

This paper explores visitor behaviour in the context of contemporary art museums. Assuming that the consumption patterns of contemporary art differ from those of classical art, the study analyses the impact of the cognitive and affective components on revisit intention. We use a survey of visitors to five contemporary art museums in St Petersburg, Russia and apply structural equation modelling. The paper distinguishes between three levels of revisit intention to find out whether cognitive and affective components predefine the likelihood and intensity of revisit intention. The findings demonstrate that the cognitive component has a significant impact on the affective component and revisit intention. Among the affective dimensions, empathy and responsiveness of museum staff are the most important predictors of the high level of revisit intention. The results highlight the need for raising interest of the general public in contemporary art and the importance of human interaction to stimulate revisit intention. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Institute of Conservation is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Being 'there' and present within a physical space has been a long-accepted part of any art museum visitor experience. Once the sole access route, the emergence of digitisation and the Internet has since offered a new flexibility for visitors. Such online provision is often considered supplementary, ancillary, yet the year 2020 was witness to a seismic shift, when museums were compelled to unilaterally close their physical doors in response to Covid-19. This paper explores the sense of loss engendered by the abrupt removal of a direct interaction with physical artworks and examines the online initiatives that took its place. The theme of loss is explored through phenomenological experience of artworks/objects, an experience which cannot be recaptured virtually, in relation to the interchange between the physical and the virtual at both an individual artwork level and within a curated museum space. Advances in digital access, exciting new realities and future possibilities are examined, considering how this sense of loss might be accommodated in lieu, mitigated online. It is argued that a multiplicity of approaches that seek to redefine rather than replicate will engage new audiences experientially and offer a refreshed look at access between the physical and virtual art museum space. [ABSTRACT FROM AUTHOR]

It is currently part of the mission of art museums to actively involve children in learning experiences and empower them through a variety of programmes – including developing text panels specialized for children. To date, we have only a limited understanding of the semiotic resources in audience-sensitive exhibition text panels. Drawing upon Systemic Functional Linguistics, this paper analyses and compares 56 text panels in an exhibition from the Art Gallery of New South Wales in Australia. They are comprised of two versions of text panels for 28 artworks, targeting different groups of audiences, respectively (children and adults). It is found that the children's texts have been recontextualized to evoke interest in learning to paint, while the adults' texts focus on aesthetic appreciation. The comparative analysis shows that audience-sensitive text writing is interrelated with its social context in view of field, tenor, mode, and genre. This paper further explores how the production of audience-sensitive text panels contributes to the pedagogic, commercial, and community value of art museums. [ABSTRACT FROM AUTHOR]

This paper offers a critical consideration of the proliferation of art museums situated in shopping malls in China. Creating interventions of art and the art museum within retail structures can be conceptually understood as a synthesis development model, whereby the combination of art and commerce is adopted by real estate enterprises in China. The operational characteristics of mall museums reflect a growing tendency for art to be used instrumentally to align with everyday life: an aestheticisation of the ordinary. In the late twentieth century, postmodernism placed great emphasis on the blurring of boundaries between art and everyday life, signalling the collapse of the distinction between high art and mass/popular culture [Baudrillard, Jean. 1983. Simulations. New York: Semiotext; Featherstone, Mike. 1990. Consumer Culture and Postmodernism, 64–80. London: SAGE Publications]. Nonetheless, through the example of the Chi Shanghai K11 Art Mall, this paper considers public engagement practices where 'art is for the masses' within such structures to explore whether curatorial strategies and art practices are influenced through a constant adaptation into 'art museum retail'. It also aims to consider whether the development of these 'persuasive spaces' thus has the potential to include experimentation and knowledge production. [ABSTRACT FROM AUTHOR]

"Do they read? Oh, yes, they do," was the conclusion of a paper identifying the proof of label use in visitors' in-gallery conversations versus the difficulties of observing them reading. This paper -methodologically refines this research question by asking how exactly exhibit labels are used. Answers are derived from an empirical study that analyzed viewing behavior both before and after the reinstallation of a museum's collection through mobile eye tracking (MET), subjective mapping, and questionnaires. As the introduction of interpretive labels was one of the major changes implemented, the paper demonstrates differences in visitors' responses to the artworks with or without contextual information. Analytical emphasis rests on the exploration of patterns in the process of decision making (differentiating between visitors' reading affinities); visual engagement (analyzing the combined activities of looking and reading); and memory (echoing label texts in visitors' artwork reflections). Our findings show that all visitors read, albeit to very different extents, the majority being medium-affinity readers; that the basic viewing pattern "art-label-art" becomes more complex with more text and more -visitors on-site; and that art interpretations deepen and differ through additional information. The power of labels to guide eyes and thoughts suggests their intentional use in museum and curatorial practice. [ABSTRACT FROM AUTHOR]

This paper discusses the possibility of digital art museums, which have recently been gaining popularity, examining how they function as new educational facilities for enlightenment in the age of mass extinction. It then considers two digital amusement facilities of teamLab. These digital installations change the traditional asymmetrical relationship humans have with animals and plants, for example, by forming a pseudo-parent–child dynamic, thus creating an interactive and cross-species connection based on equality. Moreover, compared to conventional zoos and botanical gardens, which exhibit animals and plants in pursuit of realism, digital museums create virtual natural environments based on a nonrealistic orientation and can become models for sustainable museums. Moreover, they can be places for the inheritance of lost memories by reconstructing extinct animals and plants and transmitting their digital data to the next generation. One problem with these digital amusement facilities; however, is the aesthetic and romantic modeling of digital creatures, which reflects anthropocentric consciousness as well as the maintenance of a panoramic and divine perspective. It is difficult to create a digital museum that deconstructs this much-desired divine perspective. Concerning these problems, a new model for an ecologically sustainable digital museum as an educational facility is discussed. [ABSTRACT FROM AUTHOR]

At the beginning of information revolution, museums were understood to have high hopes for the revenue that digital image licensing (DIL) services might generate. Taking the National Palace Museum, Taiwan, as a case study, this paper applies cultural economics analysis to find out why DIL services in museums have not yet to report significant profits and why a growing number of art history museums have chosen to encourage free or CC-licensed distribution of their images. Our investigation identifies that DIL services in museums suffer from 'Baumol's Disease' and there may be a tradeoff between the monetary and education values of museums' digital images. The main contribution of this paper is to present art history museums with an optimal DIL management model. [ABSTRACT FROM AUTHOR]

The discursive turn in heritage studies has made major contributions to our understanding of heritage as a set of processual practices, demonstrating how they are inherently contingent while acknowledging their role in the legitimation of specific relationships of power. More recently, there has been a related interest in the rhetorical uses of heritage, and the paper builds on these debates to explore the ways in which the National Gallery (London) mobilised a rhetoric about access as part of its scheme of post-WWII reconstruction. The popular 'Exhibition of Cleaned Pictures' (1947) sheds light on the rhetorical devices employed by the Gallery. These were a cogent example of the Gallery's intended programme of emancipatory viewership, premised on visitors' the right to look, but simultaneously reinforced the Gallery's authoritative discourses. The paper shows how photography's reportedly unbiased language became embedded in the Gallery's democratising agenda and helped shape distinctive forms of publicness which fostered a consensual view about the Gallery's practice of cleaning. Rather than seeing both episodes as mutually exclusive, the paper investigates the internal logic of democratisation and professionalisation as a series of co-dependent rhetorical operations that simultaneously enabled freedom and coercion. [ABSTRACT FROM AUTHOR]

The application of computer vision on museum collection data is at an experimental stage with predictions that it will grow in significance and use in the coming years. This research, based on the analysis of five case studies and semi-structured interviews with museum professionals, examined the opportunities and challenges of these technologies, the resources and funding required, and the ethical implications that arise during these initiatives. The case studies examined in this paper are drawn from: The Metropolitan Museum of Art (USA), Princeton University Art Museum (USA), Museum of Modern Art (USA), Harvard Art Museums (USA), Science Museum Group (UK). The research findings highlight the possibilities of computer vision to offer new ways to analyze, describe and present museum collections. However, their actual implementation on digital products is currently very limited due to the lack of resources and the inaccuracies created by algorithms. This research adds to the rapidly evolving field of computer vision within the museum sector and provides recommendations to operationalize the usage of these technologies, increase the transparency on their application, create ethics playbooks to manage potential bias and collaborate across the museum sector. [ABSTRACT FROM AUTHOR]

The art museum, as observed by Duncan, is a 'ritual' space 'reserved for a special quality of attention' materialised in a narrow set of acceptable behaviours [Duncan, Carol. 1991. "Art Museums and the Ritual of Citizenship." In The Poetics and Politics of Museum Display, edited by Ivan Karp and Steven D. Lavine, 88–103. Washington: Smithsonian Institute Press]. In recent decades, under the auspices of the new museology, the ritualised space was challenged by institutions experimenting with new ways to present exhibitions and engage with audiences to accommodate a broad cross-section of society. This paper examines how the National Gallery of Australia (NGA) has foregrounded active, social-based art experiences in an attempt to engage family audiences within blockbuster exhibitions through the implementation of family activity rooms. While many museums have invested in dedicated family spaces and programming, the NGA's innovation stems from its decision to incorporate such a space within the blockbuster. The paper investigates one such room to argue that its active, inclusive spaces physically and intellectually democratised the exhibition by building visitors' confidence and knowledge. [ABSTRACT FROM AUTHOR]

This study examines the academic definition of virtual museums and the factors determining whether South Korean art museums will offer virtual content. First, this paper collects definitions of virtual museums from previous studies and identifies the key attributes to then suggest a comprehensive definition. The final definition arrived upon is as follows: A museum built within a digital space with a collection of digitized objects, such as images, audio files, text-based documents, and using virtual reality to supplement, augment, and enrich the museum experience. Next, this study assesses the current digitalization level of South Korea's registered art museums and examines which museum attributes determine whether there is virtual content offered by the art museum. The research findings show that the number of museums with virtual content are quite limited. Additionally, the presence of collection information, the size of the collection, and the exhibition space's size all affect the presence of virtual content significantly. Considering these outcomes, this study suggests possible practical and policy measures to enhance the experience of immersive cultural heritage. [ABSTRACT FROM AUTHOR]

This paper aims to shed light on the state of the Reference Collection in post-secondary Art and Design libraries. Recent trends indicate that the availability of electronic research tools is a factor in institutions dismantling their print collections; however, others have argued for retaining them for their convenience, low cost, and even for their value as training tools. This research seeks to determine what types of reference collections art and design libraries are maintaining, how they are using and promoting them, and what considerations go into their removal. [ABSTRACT FROM AUTHOR]

Museum managers face mounting pressures to increase and widen audiences, with families often perceived as a key audience requiring particular forms of engagement. The article utilises spatial ethnographic research at a major international art museum (Tate Modern) to examine how family museum practices relate to museum spatial design. Liminal spaces were found to be vital in shaping the experiences of family visitors by affording opportunies for more banal practices (such as playing, sitting, talking, eating and resting). Although they may be partially supported by collection displays, liminal spaces do not usually feature in museum management agendas. As the social purpose of museums continues to be debated, the paper argues for a greater understanding of the full range of affordances of museums for families, paying attention to the significance of different types of museum spaces in mediating experience and the importance of optimising those spaces for greater access. [ABSTRACT FROM AUTHOR]

This paper presents a framework for the design of interpretive media in art museums. These have been developed based on a review of the literature and the study of current practices of interpretation design in art exhibitions. The study supports the urge to promote design for experiences that resonate with the visitor and that increase diversity in the art museum. Practitioners who design interpretation strategies integrated into art exhibitions often omit visitors' voices from the process, resulting in practices which do not reflect visitors' contexts and needs. This practice-based research project aims to be used and adapted by art institutions in the design of interpretation strategies for their exhibitions, in collaboration with visitors. [ABSTRACT FROM AUTHOR]

This essay is a contextualization and survey of the library and archives of Christian Brinton (1870–1942), donated to the Philadelphia Museum of Art in 1941. A promised gift of 1,300 books and 1,000 pamphlets, there were also 550 objects including more than one hundred fifty paintings, seventy-five works on paper, sculpture, folk toys, costumes, and textiles. An internationally renowned art critic, curator, and lecturer, Brinton's expertise ranged from American and European, to Central and Eastern European, Scandinavian, Russian, and Soviet modern art, all of which is reflected in his library. The archives contain documentation about his collections at the museum. [ABSTRACT FROM AUTHOR]

The article reports on the request of the Editor-in-Chief of the "Museum Management and Curatorship" for submission of papers for publications. Consideration for the papers to be considered for publications is given, as well information on commentary papers for publication. Vital information about the journal is also provided.

Mobile technologies are transforming the ways in which we experience arts and heritage sites, and galleries and museums are facing increased pressure to provide stimulating, alternative technology-based solutions for enriching visitor experiences. Focusing on the opportunities afforded by augmented reality (AR), this paper critiques the role this technology plays in providing visitors the opportunity to experience art and exhibitions through a series of dynamic, small-scale micro-mobilities. We propose that AR creates curated spaces of mobility in galleries and museums and in doing so, visitors become empowered through spaces of agency, autonomy and dwelling as they negotiate these spaces and encounter art through technology-mediated forms of wayfinding, interpretation and personal curation. Through negotiated agencies of human and non-human, visitors become emancipated, active agents in a process of co-production. Such positioning is further critiqued as the paper investigates the opportunities afforded by augmented reality to create alternative spaces of connection and interpretation through conceptualisations of dwelling and we suggest technology holds the potential to facilitate an enriched, deeper and more personal connection to that experienced in art gallery and exhibition spaces. [ABSTRACT FROM AUTHOR]

Rio de Janeiro represents one of the largest creative economy centers in Brazil and underwent urban renewal in preparation for hosting global events. This research aims to investigate cultural consumption patterns and the symbolic importance of the dockland regeneration project as well as its impact on city branding. The first round of data collection was conducted in 2016, the year of the Rio Olympic Games, and the second in 2018, in two new cultural facilities – the Museum of Tomorrow and Rio Art Museum, and an old institution – the National Museum of Fine Arts. The results indicate that the new museums represent a cultural consumption alternative, aligned with the city branding project; however, the old institution seems excluded. The contribution of this paper is to provide insights for museum managers and public authorities regarding issues related to the potential of cultural consumption for the development and branding of a city. [ABSTRACT FROM AUTHOR]

This article explores the London Gallery as a disseminator of modern art. So far, the London Gallery has been considered as a gallery for surrealism only, as its longest-serving director, E.L.T. Mesens, promoted surrealism all his life (1903–1971). By considering particularly its early exhibition history and activities in the 1930s, this article will show first that the London Gallery supported any avant-garde art contemporary to its showing, and second that commercial art galleries were the driving force behind the dissemination of modern art in London, using a number of marketing strategies that also included a claim to education. [ABSTRACT FROM AUTHOR]

This paper investigates the role of visitor location and other related contributing factors in determining motivation to attend the Queen Victoria Museum and Art Gallery in the regional city of Launceston, Tasmania. It carries out an assessment of the literature on visitor motivation to attend museums and galleries, including visiting as a learning experience and as an environment for well-being. It also considers the role of visitor location in determining the factors behind the visit. Following our adoption of a visitor survey, this paper carries out a demographic visitor profile before considering our findings on geographical location, engagement with the museum and marketing engagement (including by visitor location). The study then carries out a series of independent t-tests with respect to visitor location, followed by ANOVA calculations with respect to the overall mean findings for different subgroups. Following this, confirmatory factor analyses determine item suitability, with four factors being identified. Following discussion of the findings and the drawing of conclusions, a series of recommendations for theory and practice are made, beginning with implications for QVMAG itself before broadening insight for other museums, galleries and cultural attractions more generally. [ABSTRACT FROM AUTHOR]

This paper investigates how visually impaired people (VIP] examine works of art together with sighted companions in museums and galleries. It is principally concerned with how shared experiences of works of art are produced in interaction between sighted and visually impaired visitors. It explores how the participants orient to the different ways in which each has access to the pieces through sight, touch, and other means. The analysis suggests that the experience of exhibits is a collaborative achievement to which visually impaired and sighted participants contribute by aligning with each other's particular mode of orientation to the artworks. As the participants examine the exhibits, they establish what exhibit features they inspect and how they experience them in and through talk, bodily and tactile actions. The analysis is based on video recordings produced in a large museum in London. [ABSTRACT FROM AUTHOR]

In this article, I bring together the archive of institutional activism of Niara Sudarkasa in the U.S. and the posthumous impact of activist and public administrator Marielle Franco. The 1970s historical sources show Sudarkasa's institutional solidarity with students and faculty in the creation of one of the first Africana Studies departments in the U.S. Reading them, I articulate an ethos for the curation '715 Haven Street: Art Looks Back,' a public digital art gallery comprised of art and history found in the DAAS Papers (Department of Afroamerican and African Studies) housed in the Bentley Library's digital and physical archives. The analysis of the primary sources is guided by an engagement with the 'Marielle Effect,' generating a historical parameter for Abolitionist solidarity between American, Brazilian, Latin American, African American, Diasporic, and ally scholarly communities. The discussion of these parameters is embedded in my discussion of the concept of pacification, a phenomenon of colonial and post-colonial policing that survives through the perpetuation of an extra-judicial policing impetus articulated along race, identity, legality, and sexual legitimacy of subjects. [ABSTRACT FROM AUTHOR]

Authenticating artworks can be difficult in the absence of reliable records. Record artwork prices at auction and sales through galleries incentivises criminal practices by exploiting vulnerabilities intrinsic within the process of provenance records. Consequently, falsifying provenance documents is a common method for legitimising and enabling the sale of stolen or forged art. In this context, and utilising Cohen and Felson's crime triangle concept, an absence of capable guardianship arguably occurs when provenance research is inadequate, facilitating criminal activity. The ability to authenticate an artwork provides a key art crime prevention strategy to constrain illegitimate art from entering legitimate art collections. Using a case study research method, this paper investigates the contemporary conditions in which provenance research is performed. Future directions of provenance research practices are also discussed, including the increased use of databases and the emerging role of blockchain technology. [ABSTRACT FROM AUTHOR]

Though brief mentions of the Georgia Designer Craftsmen (1959–1981) appear regularly in materials related to craftspeople working in Georgia in the 1960s through the early 1980s, many details about the group's history have been forgotten. This essay provides the first complete account of the Georgia Designer Craftsmen. It highlights the key figures in the group's development and outlines its significant activities and accomplishments. It relies on numerous archival collections including Charles Counts' papers at Berea College Special Collections & Archives, the early records of the High Museum of Art at the Atlanta History Center's Kenan Research Center, and newly available papers from the Martha Connell Gallery and from Harriett and Robert Nix at the University of Georgia's Hargrett Rare Book and Manuscript Library. The Georgia Designer Craftsmen was an important regional craft organization that promoted craft, craftspeople, and fellowship for craftspeople throughout the state of Georgia for more than two decades through exhibitions, workshops, and newsletters. [ABSTRACT FROM AUTHOR]

Visiting art museums is a common activity that a wide variety of people choose to engage in for many reasons. Increasingly, communities, nations, and societies are turning to art museums as institutions to enhance flourishing (i.e., reducing ill-being factors, such as depression, and increasing well-being factors, such as feelings of belonging). In this paper, we review the psychological literature examining art museum visitation and museum program participation and their associations with flourishing-related outcomes. The literature suggests art museum visitation is associated with reductions in ill-being outcomes and increases in well-being outcomes. Additionally, programs targeting flourishing outcomes in clinical or at-risk populations (e.g. people living with dementia, older adults) show benefits to participants, with visits to art museums being socially prescribed across the globe to address a variety of ill-being conditions. Implications for existing knowledge and avenues for future research are discussed. [ABSTRACT FROM AUTHOR]

This paper explores the narratives of participants in museum community engagement projects in Scotland. Emphasis is placed on how taking part in museum community engagement projects can have a positive impact on the participants' wellbeing. This qualitative study employed a dialogical research strategy, which involved careful and mindful choreography of the context and space within which interactions between researcher and participants emerged. Semi-structured walking interviews with five participants were conducted in the summer of 2019 at two museums in Glasgow: Kelvingrove Art Gallery and Museum and The Lighthouse. All participants had taken part in at least one museum community engagement project in Glasgow. Participants' narratives reveal the positive impacts that "caring spaces" engendered through museum community engagement work have on overall feelings of wellbeing, achieved through deep processes of critical reflection, which resulted in enhanced self-esteem and confidence, and a heightened awareness of participants' situated ontology in the context of broader issues of social inequality and identities. Museum community engagement projects, when practiced and experienced as "spaces of care," have a critical role in enhancing individual and social wellbeing amongst participants themselves, particularly in terms of identifying long-term educational and self-worth legacies. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Commenting in museums is a well-established way to give visitors a voice and encourage engagement with exhibition themes and with the institution. Despite its many benefits, we know little about the visitor perspective on commenting as current literature focuses mainly on museum and technology perspectives. This paper reports on a survey exploring visitors’ mental models, expectations and preferences when submitting comments to a museum. It briefly discusses related literature, describes the survey methodology and presents findings structured into six themes, including visitors’ (i) preferences for different commenting and feedback mechanisms, (ii) interest in personal information about comment authors, (iii) expectations on who reads submitted comments, (iv) assumptions about comment moderation, (v) views on the conservation of comments and (vi) opinions on ownership and potential reuse of comments. The paper concludes with a discussion of limitations and suggestions on how findings might inform policies and practices around commenting in museums. [ABSTRACT FROM AUTHOR]

Most of the examples of New Ink Art in public collections in Hong Kong are generally in the form of traditional ink paintings, yet each of them have different intention from the artist, with abstract notions to deliver. They always present unexpected challenges in the course of conservation and preservation, ranging from ethical, legal, technological, technical, to time-based medium, and display issues. This paper draws the attention of museum workers and conservators to the preservation issues of New Ink Art by using two works by two internationally-renowned artists. It aims to resolve the common issues around their artworks by comparing with and making references to different solutions and approaches currently adopted in other countries, like the United States, Canada, and Europe. It clarifies the ethical concepts involved, and brings us new insight to cope with ever-changing confrontations and problems while conserving, preserving, and displaying New Ink Art. [ABSTRACT FROM AUTHOR]

The Virtual gallery of contemporary jewellery CD-Rom (VGCJ) is a series of curated exhibitions, contributing to, andarising from academic papers on key themes about cutting-edge design, trends,and innovations in jewellery. This paper records the development of the conceptualdesign of the gallery. It tells the story, not of the design process, butof the key design decisions, and the theoretical and practical considerationsbehind them, that transformed the initial concept into the reality of a finalproduct. The project looked at the potential of new technology to approximatepresentation and display, and one of the driving issues in the design wasthe primacy and authenticity of the object. By focussing on the issues relatingto museums and museum display theory the project arrived at a solution thatwas shaped by these issues, rather than being driven by the technology. Thefinal design represents a synergy between the salient features of a museumand gallery visit, an academic print publication, and a museum catalogue. [ABSTRACT FROM AUTHOR]

Preventive conservation plans must include the collaboration of all the different departments within an institution to be able to diagnose the situation, provide proper maintenance, and allocate a budget. Preventive conservation entails understanding the collection’s needs, organizational culture, institutional priorities, and risk factors. Beyond the intervention of objects, the conservator is the creator of guidelines and the implementer of solutions. In this paper, need-based approaches are provided showcasing how tailor-built preventive conservation plans became merged into the backbone of everyday activities. In the Louis C. Morton Auction House in Mexico City, diagnosis tools were adapted, redefining conservation terms within a business-oriented model to guarantee success. In the National Museum of Art in Mexico, the sustainable preservation plan categorized actions within their realization capability. Tasks were allocated to different departments and suppliers; outsourcing, not the responsibility, but the commitment of continuity with service providers via contracts. At the Israel Museum in Jerusalem, the complex conservation projects have focused on high standard continuity. Motivating people to participate in the steady innovation, an encyclopaedic museum must have not only to conserve its collections, but also to serve as an international example. [ABSTRACT FROM AUTHOR]

Although artists' books have been consolidated as an art form in the twentieth century, and their place in library collections has come under the spotlight since the mid-1970s through a rich debate on the development and management of this typology of collections – showing the effort made by these institutions to keep up with the ever-increasing production of artists' books since the mid-1960s – the discussion of the physical, symbolic an epistemological place of artists' books in museum collections is still at an early stage. This paper, which falls within the intersection between artistic studies and museum studies, aims to enhance this discussion by identifying the contexts considered as essential to exploring and critically analysing the artist's book in the museum, presenting the Coleção de Livros e Edições de Artistas da Fundação de Serralves – Museu de Arte Contemporânea [Collection of Artists' Books and Editions of the Serralves Foundation – Contemporary Art Museum], situated in Porto|Portugal as its case study. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the effort to conserve the Durban Museums' Conservation Centre in South Africa. The said museum is regarded as the finest of its kind in the region. The emphasis on conservation was largely due to the keen interest by the first director of the Durban Museum and Art Gallery, E.C. Chubb. Chubb was aware of the deleterious effects that Durban's subtropical climate was having on most works of art in the collection, and in an attempt to arrest the degradation of these works.

This paper has discussed our approach to sustainability at UQ Art Museum under the banner of our multi-year programming and research arc Blue Assembly. We considered two non-exhibition initiatives that took place in the first year of the project: carbon-neutral certification for the first Blue Assembly exhibition, Oceanic Thinking (Season One), and the summer workshop that took place for The Clam's Kiss | Sogi a le Faisua, on Quandamooka Country. Our work towards achieving carbon-neutral event status was born out of a sense of responsibility to the communities that we serve, including in the Country we are on, the university, and the wider public. As Janes and Sandell posit, public institutions such as ours have a responsibility to address climate change alongside other social issues. The workshop -- which centred First Nations knowledge and cultural practices and evolved through a series of in-person dialogues on Country -- represents an equally important element of our approach to sustainability parallel to our carbon-neutral certification; it is a crucial part of our efforts to grapple with the recurring legacies of colonisation. If climate change is a continuation of the violence and privations of colonialism -- and we accept that it is -- then the work of climate justice and sustainability is inseparable from the ongoing work of decolonising museum practice. [ABSTRACT FROM AUTHOR]

This paper takes part in the ongoing debate around how museums have begun to address LGBTQI+ and feminist issues in the 21st century. While Portugal is a particularly interesting country to consider, given that it has passed some of the most advanced legislation on LGBTQI+ rights in Europe (Santos 2012), this progressivism is not reflected in Portuguese museum practices, given that gender museology has been slow to emerge (Vaquinhas 2014). After briefly contextualising initiatives addressing gender in Portuguese art museums, we present as a case study Trazer a margem para o centro (Bringing the Margin to the Centre), a series of three talks hosted by the Berardo Collection Museum, which is considered Portugal's primary modern and contemporary art museum. Unlike previous initiatives in art museums, which were museum-led, the series of talks was led by the small intersectional feminist collective FACA. A sociologist (Rita Grácio) and the three members of FACA (Andreia Coutinho, Laura Falé and Maribel Sobreira) designed and conducted the three talks that constitute the initiative Bringing the Margin to the Centre. Grácio designed and conducted the qualitative study of the audiences that attended Bringing the Margin to the Centre. This study consisted of participant observation at the event series, at which an adapted version of the Personal Meaning Mapping technique (Falk and Storksdieck 2005) was applied; semi-structured phone interviews with participants were then conducted after the event (Falk and Dierking 2011). The main findings show this event raised awareness among cisgender visitors with heteronormative perspectives and provided a space for counter-narratives of the queer community, showing the role of collective curatorial activism and museums in promoting gender equality and inclusiveness, if acting as gate-leakers, rather than as gatekeepers. Hence, museums can provide lessons to other organisations interested in promoting diversity and inclusion. [ABSTRACT FROM AUTHOR]

The purpose of this article is to emphasise the importance of exhibiting archival records in art museum spaces as a knowledge development and information dissemination stance. The article also draws attention to the limitations that are encountered in fostering the public programming of archives through digital technology in art museums. The 2013 Revised White Paper on Arts, Culture and Heritage states that cultural and creative industries should ensure that as many South Africans as possible have access to arts, culture, and heritage offerings, and this includes archival records. However, art museum archives continue to be exclusionist and often act as historical, social, and information barriers for end users. This qualitative study accentuates the importance of physical and remote public programming activities for art museums and art galleries. The study followed a phenomenological research approach and explored the experiences and perceptions of art museum end users in relation to the adequacy of archive public programming. The findings suggest that exhibiting archival holdings at art museums can create awareness among audiences and expose such audiences to cultural history through the archival exhibits, which could be shared externally through digital media. [ABSTRACT FROM AUTHOR]

A common pricing structure for American art museums is to offer a choice between an admission fee for a single visit, and the purchase of an annual membership that would allow the member an unlimited number of visits with no additional charge. This paper evaluates this particular method of museum pricing in terms of efficiency and equity. It concludes, drawing from the economic analysis of two-part pricing, that there is a strong rationale for the membership model, and that this is so even in cases where the museum experiences an increase in unrestricted endowment such that ‘free’ membership would be financially sustainable. [ABSTRACT FROM PUBLISHER]

Exhibition Review: Japanese Garments from Two Perspectives Kimono Style: The John C. Weber Collection, New York City: Metropolitan Museum of Art, June 7, 2022-February 20, 2023 Dressed by Nature: Textiles of Japan at the Minneapolis [Minnesota] Institute of Art, June 25-September 11, 2022 Ranging from the 18th to the 20th centuries, it includes a large number of period Western garments that borrow Japanese materials or effects, as well as contemporary garments by major Japanese designers, and various other traditional Japanese garments including theatrical costumes and work clothes in addition to the expected kimono. Although made of a natural material, silk kimono was upper-class and ceremonial, whereas this exhibition focused on everyday garments and other types of cloth made of commonplace, locally available materials, such as elm bark, hemp, rice straw, paper, nettle and even fish skin. [Extracted from the article]

Between the two world wars, affluent and intellectual men and women in Greece assembled and displayed in their private homes in Athens collections of Byzantine and pseudo-Byzantine objects in order to recreate personal renderings of the 'Byzantine world'. Some of these collections, like the one by Dionysios Loverdos, ultimately transformed into house museums; others, like the collection owned by Eleni Stathatos, were donated to institutions where they are exhibited to this day; finally, a few, like the one by Eleni Kanellopoulou-Zouzoula, were dispersed and disappeared once their owners passed away. In this paper, I discuss these collections and their development against the backdrop of the Byzantine revival in Greece and the support and promotion of Byzantium and its art by the Arts and Crafts movement in Britain. I focus on these collections as interior decoration; the appreciation and understanding these collections enjoyed, which varied according to the gender of the collector; and the changes in meaning as these collections went from the domestic to the institutional. [ABSTRACT FROM AUTHOR]