The collections of the Nelson Mandela Metropolitan Art Museum (formerly ‘The King George VI Art Gallery’)

de arte ◽  
2004 ◽  
Vol 39 (69) ◽  
pp. 84-91 ◽  
Author(s):  
Melanie Hillebrand
Keyword(s):  
Art Museum ◽  
Art Gallery ◽  
Nelson Mandela

scholarly journals Toward Evaluating Art Museum Education at the Art Gallery of Ontario

2016 ◽  
Vol 43 (1) ◽  
pp. 121
Author(s):  
Agnieszka Chalas
Keyword(s):  
Program Evaluation ◽  
Education Program ◽  
Museum Education ◽  
Art Museum ◽  
Art Gallery ◽  
Internal Evaluation ◽  
Art Museum Education ◽  
The Past ◽  
Art Gallery Of Ontario ◽  
Education Field

Abstract: Over the past three decades, the museum education field has seen a rise in the frequency of program evaluation. In this paper, I convey little known information about program evaluation at the Art Gallery of Ontario by presenting my findings from an interview I conducted with Judy Koke, the gallery’s Chief of Public Programming and Learning. Our discussion highlights both the barriers the AGO has faced on their journey toward evaluating programmatic value and the strategies the gallery has employed in an effort to enhance its internal evaluation efforts. A brief overview of program evaluation in museums provides the background to this discussion. KEYWORDS: Art museum education; Program evaluationRésumé: Le domaine de la pédagogie muséale a connu au cours des trois dernières décennies un essor quant au nombre d’évaluations de programmes. Je transmets ici le peu de renseignements connus sur l’évaluation des programmes au Musée des beaux-arts de l’Ontario (AGO), au terme d’une entrevue que j’ai menée avec Judy Koke, directrice de l’apprentissage et de la programmation à l’intention du public au Musée. Notre discussion met en évidence tant les obstacles rencontrés par l’AGO dans le cadre de l’évaluation de la valeur des programmes que les stratégies utilisées par le musée pour rehausser ses activités internes d’évaluation. Un bref aperçu de l’évaluation des programmes dans les musées met notre discussion en contexte.MOTS CLES: Éducation musée d'art; évaluation du programme.

The Glimmering Glow of Comic Art amidst the Blinding Glitter of the United Arab Emirates

2020 ◽  
pp. 192-201
Author(s):  
John A. Lent
Keyword(s):  
Middle East ◽  
Young People ◽  
United Arab Emirates ◽  
Sense Of Community ◽  
Art Museum ◽  
Art Gallery ◽  
Comics Studies ◽  
Essential Form ◽  
Comic Art

This chapter includes a 2016 essay by comics studies pioneer John A. Lent about the Cartoon Art Gallery in Dubai, United Arab Emirates. Dubai is home to the Middle East Film and Comic Con (the largest regional convention), Comicave (the largest comics related store in the region), and Majid, the most popular comics character (published since 1979). A group of dedicated young people with faith in comics as an essential form of art and communication have nurtured a small cartoon art museum and an active comics community amongst the glittering skyscrapers. Lent visited the museum, talking with the founder, Melvin Matthew, about their exhibition style and sense of community. This chapter discusses popular comics titles and cartoonists in the UAE. Images: 3 gallery photos.

The effect of knowledge type and culture on arts audiences’ propensity for experience-sharing

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Verdiana Chieffi ◽  
Marco Pichierri ◽  
Alessandro M. Peluso ◽  
Cristiana Collu ◽  
Gianluigi Guido
Keyword(s):  
Art Museum ◽  
Cultural Dimensions ◽  
Objective Knowledge ◽  
Art Gallery ◽  
Content Type ◽  
Subjective Knowledge ◽  
Individualism And Collectivism ◽  
Knowledge Type ◽  
Structured Questionnaire

PurposeThis study examines the effect of both objective knowledge (i.e., what arts audience members actually know about art) and subjective knowledge (i.e., what arts audiences members think they know about art) on their propensity for experience-sharing (i.e., the tendency to share art-related experiences with other individuals). In addition, the study examines the role of culture (i.e., whether arts audiences belong to an individualistic or collectivistic culture) on the above-mentioned relationship.Design/methodology/approachData were gathered through a field survey at a large contemporary art museum in Italy, conducted via a structured questionnaire and analyzed using multiple regression analysis.FindingsResults indicate that both subjective and objective knowledge positively affect arts audiences’ propensity for experience-sharing, such as talking to others about a visit to an art gallery. Moreover, such effects appear to vary depending on culture: objective knowledge seems to positively influence experience-sharing when audiences belong to collectivistic cultures, whereas subjective knowledge seems to positively influence experience-sharing when they belong to individualistic cultures.Practical implicationsThe study’s findings could motivate arts managers to emphasize the implementation of international communication strategies aimed at reinforcing arts audiences’ subjective and objective knowledge since these variables are positively associated with their propensity for experience-sharing with others.Originality/valueThis is the first study to assess the effects of objective and subjective knowledge, alongside the cultural dimensions of individualism and collectivism, on arts audiences’ propensity for experience-sharing.

The National Gallery of Zimbabwe

2018 ◽  
Author(s):  
Amanda H. Hellman
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Modern Art ◽  
Art Museum ◽  
National Gallery ◽  
Art Gallery ◽  
Art And Design ◽  
Southern Rhodesia ◽  
One Year ◽  
Contemporary Artists

The National Gallery of Zimbabwe is an art museum in Harare dedicated to collecting, preserving, and promoting Zimbabwean visual culture. Though the collection focuses on contemporary artists from Zimbabwe, its holdings are diverse, containing traditional and contemporary African along with European Old Master paintings—a reflection of the acquisition interests of the first director. Sir James Gordon McDonald (1867–1942), a friend and biographer of Cecil Rhodes, gifted £30,000 to found an art gallery in 1943. Ten years later in 1953 a board was established to raise funds, build the museum, and select a director. In 1956, Scotsman Frank McEwen (1907–1994) was appointed to the post of director. The Rhodes National Gallery was opened on 16 July 1957 in Salisbury, Southern Rhodesia (renamed Harare, Zimbabwe in 1980). The institution changed its name to the National Gallery of Rhodesia in 1972, one year prior to McEwen’s resignation. One of McEwan’s projects was the Rhodes National Gallery Workshop School. Artists who participated in this early workshop, such as Thomas Mukarobgwa and John and Bernard Takawira, helped define Zimbabwean modern art. After Zimbabwe gained independence in 1980 the National Gallery developed the BAT Workshop, which became the National Gallery School of Visual Art and Design in 2012.

Recipes as Culinary Communication in a Canadian Art Museum: Lobster Soufflé, Beef Stroganoff, and the Tensions of Gourmet Cooking in the 1960s

2018 ◽  
Vol 18 (3) ◽  
pp. 28-41
Author(s):  
Irina D. Mihalache
Keyword(s):  
North America ◽  
Media Coverage ◽  
Art Museum ◽  
Art Museums ◽  
Art Gallery ◽  
Daily Lives ◽  
Multiple Voices ◽  
Canadian Art ◽  
Archival Documents ◽  
The 1960S

This article proposes that recipes are a form of culinary communication, suggesting that a recipe's biography is one of communicative moments, negotiations, and multiple voices. This framework is applied to The Art of Cooking, a series of culinary demonstrations organized by the Women's Committee at the Art Gallery of Toronto in the 1960s. The events, featuring chefs such as James Beard and Dione Lucas, were organized around the logics of gourmet cooking but departed from it when faced with the realities of women's daily lives. The research is based on archival documents and media coverage of these very popular events, which offer an opportunity to explore the mythologies and narratives about gourmet cooking in the 1960s. This article argues that communications about a recipe are part of the recipe's evolving biography and need to be analyzed alongside ingredients, instructions, makers, and users. In addition, the article advocates for the inclusion of women's committees’ histories to those of art museums in North America.

scholarly journals Reflection in a Museum Setting: The Personal Responses Tour

2011 ◽  
Vol 3 (4) ◽  
pp. 546-549 ◽  
Author(s):  
Elizabeth Gaufberg ◽  
Ray Williams
Keyword(s):  
Pattern Recognition ◽  
Patient Experience ◽  
Emotional Response ◽  
Community Building ◽  
Educational Innovation ◽  
Art Museum ◽  
Safe Haven ◽  
Art Gallery ◽  
Work Of Art ◽  
Faculty Preparation

Abstract Introduction We describe an educational innovation piloted by the director of education at a university art museum and a physician-educator using the museum holdings as reflective triggers for medical learners. This innovation is distinct from the emerging trend of using art to build observation skills, enhance pattern recognition, and improve diagnostic acumen. Our intervention is specifically designed to promote individual reflection, foster empathy, increase appreciation for the psychosocial context of patient experience, and create a safe haven for learners to deepen their relationships with one another. Methods Individuals randomly selected a question from a set prepared by the authors to guide a reflective exploration of the galleries. Each question was different, but all invited an emotional response—a connection between a work of art and some aspect of life or medical practice, for example, “Focus on a memorable patient, and find a work of art that person would find meaningful or powerful” or “Find an image of a person with whom you have difficulty empathizing.” The exploration ended with a shared tour of evocative objects selected by the participants. The duration of the exercise was approximately 1.5 hours and required minimal faculty preparation. Results Most of the participants rated the exercise as 5 (excellent) on a 5-point Likert scale and particularly cited the effectiveness at stimulating reflection on meaningful issues and community building. Discussion The exercise is easily reproducible in any art gallery space. The same basic format and facilitation technique opens new and different conversations depending on the composition of the group and the choice of artwork. Museum-based reflection warrants further experimentation, analysis, and dissemination.

Agency and epistemic authority in question-answer sequences between art museum guides and visitors diagnosed with dementia

2019 ◽  
Vol 5 (s2) ◽  
Author(s):  
Adrienne R. Isaac ◽  
Heidi E. Hamilton
Keyword(s):  
Memory Loss ◽  
Art Museum ◽  
Epistemic Authority ◽  
Discursive Practices ◽  
Art Gallery ◽  
Home Setting ◽  
Personal Lives ◽  
Human Interactions ◽  
Museum Guides ◽  
Therapeutic Model

AbstractRecent studies documenting the real-time details of human interactions have revealed the way in which artefacts in the immediate physical surround facilitate the display and demonstration of knowledge. The museum setting in which physically present objects prompt and support visitor displays of knowledge is particularly well-suited for individuals managing symptoms related to memory loss as a result of dementia, especially of the Alzheimer’s type. In this paper, we explore question-answer sequences taken from three hour-long guided sessions within an art gallery program involving museum guides who were specially trained to work with visitors with dementia. We investigate representative sequences 1) in which visitors exercise interactional control by posing questions to guides that relate to the visitors’ own interests and 2) in which guides pose questions to visitors regarding topics that relate to the visitors’ personal lives. We argue that these two discursive practices promote interactional meaningfulness, in that the former pattern affords the visitors interactional agency, while the latter pattern allows them to display their epistemic authority. Finally, we consider how insights from this therapeutic model may be translated from the museum to the home setting.

scholarly journals The creative work of Grigory Gurkin and Vasily Sheshunov as students of Ivan Shishkin

2020 ◽  
pp. 91-104
Author(s):  
O.N. Filippova
Keyword(s):  
Comparative Analysis ◽  
Significant Influence ◽  
Far East ◽  
Art Museum ◽  
Creative Work ◽  
Art Gallery ◽  
Imperial Academy ◽  
First Time ◽  
Professional Artist ◽  
Artistic Manner

The article contains a comparative analysis of the work of two artist-students of I.I. Shishkin: Grigory Gurkin (Altai) and Vasily Sheshunov (Far East). Both painters went through the school of the great Russian landscape painter at the Imperial Academy of Arts in St. Petersburg. Grigory Gurkin became one of the most significant masters of Russian realistic landscape in the first third of the 20th century, the first professional artist of Altai. Vasily Sheshunov had an equally significant influence on the formation of the artistic life of Ussuriisk and the entire Primorye. In the context of the continuity of Ivan Shishkin's art school, the genre-thematic originality, artistic manner, and creative method of these two masters are compared for the first time. The material for the study was the paintings of artists from the collections of the Sukachev Irkutsk Regional Art Museum, the Primorye State Art Gallery, the State Art Museum of the Altai Krai, the Tomsk Regional Art Museum. Статья посвящена сравнительному анализу творчества двух художников-учеников И.И. Шишкина: алтайского — Г.И. Гуркина и дальневосточного — В.Г. Шешунова. Оба живописца прошли школу великого русского художника-пейзажиста в Императорской Академии художеств в Санкт-Петербурге. Григорий Иванович Гуркин стал одним из самых значительных мастеров русского реалистического пейзажа первой трети XX века, первым профессиональным художником Алтая. Василий Григорьевич Шешунов оказал столь же существенное влияние на становление художественной жизни Уссурийска и всего Приморья. В контексте преемственности художественной школы И.И. Шишкина жанрово-тематическое своеобразие, художественная манера, творческий метод этих двух мастеров сравниваются впервые. Материалом для исследования послужили живописные полотна художников из собраний Иркутского областного художественного музея им. В.П. Сукачева, Приморской государственной картинной галереи, Государственного художественного музея Алтайского края, Томского областного художественного музея.

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