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Art Museums (art + museum)

Distribution by Scientific Domains
Humanities and Social Sciences50%

Selected Abstracts

Pioneering a digital media art museum on the Web

MUSEUM INTERNATIONAL, Issue 1 2000
Lin Hsin Hsin
The award-winning Lin Hsin Hsin Art Museum has attracted more than 500,000 visitors from 107 countries since it was launched in April 1995 (http://www.lhham.com.sg). Its creator is an information technologist, artist and poet based in Singapore who has built a repertoire of some 1,000 works of electronic and digital art. She is one of the six judges for the best art Web sites organized by Museums and the Web in 1998. Besides living in cyberspace, she has penned more than 100 articles published in computer newspapers, international proceedings and journals, and has had fifteen one-person and more than 190 group exhibitions in forty-one cities across twenty countries in Asia, Europe, North and South America. In describing her groundbreaking work on the Internet, she has employed a number of technical terms, which are explained in a glossary at the end of the article. [source]

Art Museums, Old Paintings, and Our Knowledge of the Past

HISTORY AND THEORY, Issue 2 2001
David Carrier
Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context have no real influence upon the meaning of Piero's painting, and consequently museums can be said to preserve works of art. According to the Skeptic, if such changes are drastic enough, we can no longer identify the picture's original meaning, and museums thus fail to preserve works of art. Skepticism deserves attention, for such varied influential commentators as Theodore Adorno, Walter Benjamin, Maurice Blanchot, Hans-Georg Gadamer, Martin Heidegger, Hans Sedlmayr, and Paul Valéry hold this pessimistic view of museums. I develop the debate between the Intentionalist and the Skeptic. Ultimately skepticism is indefensible, I argue, because it fails to take account of the continuities in the history of art's display. But Intentionalism is also deficient because it is ahistorical. In presenting the history of Piero's painting, The Travels and Tribulations of Piero's Baptism of Christ shows that we can re-identify the original significance of Piero's work and the recognizable continuities that obtain through its changes. It thus makes sense to claim that at least in certain circumstances art museums can preserve works of art. [source]

Learning to look: developing clinical observational skills at an art museum

MEDICAL EDUCATION, Issue 12 2001
Charles L Bardes
Context Clinical diagnosis involves the observation, description, and interpretation of visual information. These skills are also the special province of the visual arts. We describe an educational collaboration between a medical school and an art museum, designed for the purpose of developing student skills in observation, description, and interpretation. Objectives In the programme, medical students first examine painted portraits, under the tutelage of art educators and medical school faculty. Then, the students examine photographs of patients' faces and apply the same skills. Conclusion This programme, well-received by students and faculty, appeared to help the students not only in improving their empirical skills in observation, but also in developing increased awareness of emotional and character expression in the human face. [source]

Training aesthetic perception: John Dewey on the educational role of art museums

EDUCATIONAL THEORY, Issue 4 2004
Tracie E. Costantino
In this article I examine Dewey's ambivalent attitude toward art museums , criticizing their existence as repositories for the rich, while exploring their educational potential , by analyzing Dewey's comments on museums in various texts, by relating his ideas to museum education theories and practice of the time, and by exploring his involvement with Albert Barnes and the Barnes Foundation. Specifically, I discuss how these men influenced each other and consider possible reasons for Dewey's involvement with a "capitalist collector" such as Barnes. This examination is placed within the broader context of Dewey's philosophy of art as experience. An analysis of these issues is especially relevant at the present time, given that museums are increasingly involved in K-12 education through outreach and professional development programs, in addition to school tours. [source]

Art Museums, Old Paintings, and Our Knowledge of the Past

HISTORY AND THEORY, Issue 2 2001
David Carrier
Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context have no real influence upon the meaning of Piero's painting, and consequently museums can be said to preserve works of art. According to the Skeptic, if such changes are drastic enough, we can no longer identify the picture's original meaning, and museums thus fail to preserve works of art. Skepticism deserves attention, for such varied influential commentators as Theodore Adorno, Walter Benjamin, Maurice Blanchot, Hans-Georg Gadamer, Martin Heidegger, Hans Sedlmayr, and Paul Valéry hold this pessimistic view of museums. I develop the debate between the Intentionalist and the Skeptic. Ultimately skepticism is indefensible, I argue, because it fails to take account of the continuities in the history of art's display. But Intentionalism is also deficient because it is ahistorical. In presenting the history of Piero's painting, The Travels and Tribulations of Piero's Baptism of Christ shows that we can re-identify the original significance of Piero's work and the recognizable continuities that obtain through its changes. It thus makes sense to claim that at least in certain circumstances art museums can preserve works of art. [source]