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For the past seven years, we – a museum educator and an academic radiologist – have co-taught Seeing in Art and Medical Imaging, a first-of-its-kind medical humanities curriculum for residents in nuclear medicine and radiology based at the Harvard Art Museums. The program aims to foster residents’ close looking and clinical skills, self-reflection, and humanistic qualities. Here we describe some of the ways we engage trainee imaging physicians with works of art to help them prepare for a fulfilling, engaged, and sustainable career. We also offer some initial takeaways from the program’s anecdotal data. Finally, we discuss the Seeing in Art and Medicine exhibition, on view at the Harvard Art Museums in Fall 2023, which gave the public a window into this work. [ABSTRACT FROM AUTHOR]

This case study examines a workshop utilizing visual art-based methodologies to support second-year medical students in their transition into clerkship. Through a series of three activities, art educators and medical faculty collaborated to facilitate student reflection on this pivotal academic transition. The workshop created a reflective space that enabled students to articulate their emotions, recognize shared challenges, and develop a sense of community and belonging. Additionally, the workshop provided insights into the importance of teamwork, the value of diverse perspectives, and the value of the visual arts. This interdisciplinary approach highlights the potential of integrating art-based education within medical training to address transitional challenges and enhance student experiences. The impact on students and the lessons learned through this implementation are discussed in detail. [ABSTRACT FROM AUTHOR]

This study focuses on the art museum as an educational context that can contribute to teachers' well-being and burnout prevention. Beyond the benefits offered through sources of immediate, pleasure-driven experiences that evoke positive emotions with short-term effects, museums also enable artbased proposals where teachers can confront themselves and reach a dialogue with their own personal development and goals. Through these proposals, depersonalization, emotional exhaustion or the lack of professional fulfilment could find a place for its prevention. A best practice review is conducted by means of inclusion and exclusion criteria applied in repositories and museum websites. Results identified 35 practices in 13 different international museums that fall into CPD, workshop, community program, teacher networking, space to relax and curatorial proposal. Conclusions provide 4 guidelines for designing educational proposals in art museums to enhance teachers' creativity and well-being and prevent burnout. [ABSTRACT FROM AUTHOR]

As most visitors attend museums accompanied, this paper investigates visiting practices in the art museum by asking: How do visitors, coming as a group of two, explore the exhibition space and reflect upon their visit? The paper draws on an empirical study at the Austrian Gallery Belvedere with data collected through the Visitracker app, combining Tracking and Timing, survey, and Social Meaning Mapping. Our findings show how the entanglement of spatial and social constellations shapes movement patterns and practices such as walking, looking at art, reading labels and talking. The 7:3 ratio of solitary versus shared interactions demonstrates that visitors, on average, act more on their own than together in the art museum. Yet, frequencies differ widely among pairs (from independent to intimate ones) and practices (i.e., being more social on the go and less while focused) pointing toward the benefits of being alone and together in the art museum. [ABSTRACT FROM AUTHOR]

Art museums in Poland have been undergoing a very profound transformation over the last decades and have been transformed from institution based on the concept of the object-centered museum to the institution based on the concepts of the client-centered museum and the community-centered museum. This direction of the transformation seems to be very rational and completely justified, as the functions that museum institutions can fulfil are highly dependent on visitor interest. However, these changes may not be fully successful, because art museums have very little interest from young adults, who are a very important segment of the cultural audience, as the future of museum institutions will depend on them. The aim of this article is to analyse – based on the results of a qualitative study carried out – the way in which young adults perceive the institutions of art museums and to identify those directions of change that could cause them to become more attractive. The conclusions formulated based on the study make it possible to define the directions of the desired transformations, and their implementation may induce young adults to take a greater interest in the cultural offer proposed by museums.

The rapid growth of private museums, contemporary art, and the emergence of private collectors has changed public museums’ room for action and placed heightened pressure on museum directors worldwide. In recent years, Norway has witnessed a surge in extensive collaboration between publicly funded museums and private collectors. Based on qualitative interviews with eleven museum directors, this paper examines how they navigate and address criticism, challenges, and demands when collaborating with private actors, with a particular emphasis on private art collectors. Additionally, the study aims to uncover the opportunities that emerge from such collaborations. Findings reveal that public – private collaborations are seen as an inevitable solution for the future, driven by factors such as limited purchasing budgets, rising costs, and concerns about diminishing public support due to reliance on oil revenues. Despite facing challenges such as external criticism and collector demands, directors maintain an optimistic outlook regarding more public – private collaborations and advocate the opportunities they bring. [ABSTRACT FROM AUTHOR]

The article presents an analysis of the city museum policy used as a basis for a proposal for the construction of modern museums in Irkutsk. The article provides the results of the research activity of the working group “Architecture of new museums in the modern city” at INRTU and the conclusions about the expediency of building new museums in the centre of Irkutsk. The following projects made by students of Irkutsk architectural school as final qualifying works are considered: the project of reconstruction and expansion of the museum of regional studies on the basis of the historical building of the VSORGO Museum (Artem Zyubr), the project of the museum building for the geographical and historical collection related to the North American discoveries of travellers and merchants from Irkutsk (Nikita Sobolevsky), and the project of the new building for the Museum of Asian Art (Alisa Valeeva).

How do art museums illuminate patriarchal ideologies for the general public? In this article I share my experiences with critical pedagogies developed for the exhibition Like Betzy (2019–2020) by Nordnorsk Kunstmuseum (Northern Norway Art Museum). The art museum intervened in its exhibition and monuments in public spaces to attract engagement with local communities, critically question, and instigate dialogue and debate on the persistence of gender inequality. Using institutional critique as a theoretical and methodological framework, this analysis demonstrates a case of art museum activism. Additionally, I address the implications of transgression in the art museum's normative modus operandi. Although this case study is specific to a local context, I argue that monuments can serve as a site for public vulnerability, a place where museums step beyond their walls and outside their echo chambers to incite positive social justice‐oriented changes in communities. [ABSTRACT FROM AUTHOR]

The article discusses the collection of objects of the Karakalpaks’ decorative and applied art in the funds of the I.V. Savitsky State Museum of Arts of the Republic of Karakalpakstan. The collection of folk-art objects is concentrated in the funds of the ethnography department of the museum. It comprehensively reflects the traditional everyday culture of the Karakalpak people. The objects of decorative and applied art of the Karakalpaks are concentrated in the following repositories: the fund of carpet products, jewelry, embroidery, wood, metal and leather products. Thematically, the collection is divided into jewelry items, horse equipment, carpets, yurt, clothing, kitchen utensils, and dishes. The author attempts to give a thematic and quantitative assessment of the collections of the Department of Ethnography. The analysis of the accession of exhibits did not allow identifying them by the area of existence, the place of purchase due to the absence of such information in the documentation. Most of the exhibits have only the information about the name of the object and its functional purpose. To create a complete picture of the accumulation of applied arts objects, statistical data on the accession of objects from 1967 to 2021 has been referred to, the dynamics of replenishment with exhibits is presented.

Margot Kelly-Hedrick,1 Kaitlin M Stouffer,2 Elizabeth Benskin,3 Suzy Wolffe,3 Norah Wilson,4 Margaret S Chisolm5 1Duke University School of Medicine, Durham, NC, USA; 2Johns Hopkins University School of Medicine, Baltimore, MD, USA; 3Department of Education, The Baltimore Museum of Art, Baltimore, MD, USA; 4Krieger School of Arts and Sciences, Johns Hopkins University, Baltimore, MD, USA; 5Department of Psychiatry and Behavioral Services, and of Medicine, Johns Hopkins University School of Medicine, Baltimore, MD, USACorrespondence: Margot Kelly-Hedrick, Duke University School of Medicine, DUMC 2927, 40 Duke Medicine Circle, Durham, NC, 27710, USA, Email margot.kellyhedrick@duke.eduIntroduction: Health professions educators are increasingly recognizing the fundamental role the arts and humanities play in professional identity formation; however, few reports exist of programs designed specifically for pre-health professional students.Methods: We designed and delivered four, 2.5-h sessions for pre-health professions students at a local museum in partnership with museum educators. Participants were invited to respond to a follow-up survey asking about their perceived insights from and importance of the session. We used descriptive statistics and thematic content analysis for quantitative and qualitative data, respectively.Results: Ten of the participants responded to the survey (n=10/23, response rate=43%) and all supported the integration of such an experience in their pre-health curriculum. The qualitative analysis of responses to the open-ended item about any insights gained from participation in the program revealed three themes: cultivation of the health professional, personal growth, and awareness and appreciation of multiple perspectives.Discussion: Participants who responded to our survey drew meaningful connections to the relevance of these sessions to their development as future professionals.Keywords: pre-health, pre-medical education, arts and humanities, art museum

Our emotions can be influenced by many factors, including our engagement with visual art. Further, as our emotional experiences may help us develop psychological resources, they have important implications for our overall well-being and ill-being. Research into the emotions experienced when viewing art, however, has focused on individual emotions separately rather than on global patterns of experienced emotions. The present research used latent class analysis to identify patterns of emotional experiences during art museum visits and sought to investigate whether people experiencing each emotional pattern differed in their well-being and ill-being across five domains—psychological distress, empathy, meaning, positive self-regard, and social connection. A sample of 613 visitors to three art museums completed a survey of their visit experiences, including their emotional experiences and their experiences across the five domains of well-being and ill-being. The analyses resulted in three latent classes—one characterized by above average positive emotions, one characterized by above average negative emotions, and the third characterized by very high levels of negative emotions. Overall, the positive emotion class showed greater well-being and lower ill-being than the two negative emotion classes, with the two negative emotion classes differing only in psychological distress. [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]

Children play an important role (re-)producing art museum spaces. De Certeau, M. 2001. "Spatial Stories." In Defining Travel: Diverse Visions. concept of spatial stories provides a helpful framework to uncover children's (re-)productions of art museum spaces through their maps and noted explanations. Bridging the fields of children's geographies and art museum design, this case study reviews the maps and explanations of a small art museum space that is mobile – located inside a bus – by seven children between the ages of four to seven. Spatial stories of the art museum emerge for all seven children, and key themes suggest: (1) children do not perceive of the art museum as a simple repository for art; (2) real and imagined objects and interactions comprise children's experiences of the museum space; (3) sensory engagements factor heavily into children's conceptions; and (4) opportunities for play and social interaction matter. These themes are considered through the lens of De Certeau, M. 2001. "Spatial Stories." In Defining Travel: Diverse Visions. concept of spatial stories, and their analysis is valuable to future programming and art museum design. The process of studying children's spatial stories ultimately facilitates further understanding how children comprehend museum spaces. [ABSTRACT FROM AUTHOR]

The mental health of young people, a significant public health concern worldwide, has deteriorated during the COVID-19 pandemic. Despite the subsiding of the epidemic, the issue remains unresolved in the post-pandemic era, specifically in China. In response, numerous art museums have stepped up to provide long-term therapeutic experiences and comprehensive mental health support. While these institutions offer a variety of services and programs aimed at enhancing the psychological wellbeing of their visitors, a standardized method for assessing their impact is lacking. This study, therefore, employed the Generic Wellbeing Questionnaire (GWQ) as a tool to evaluate the decrease in psychological anxiety among young museum-goers postvisit. A survey was conducted among 306 young visitors aged 15-24 at the Aurora Museum in Shanghai, using the GWQ to measure and compare positive and negative affects before and after their visit. The results revealed an increase in post-visit positive affects and a decrease in negative affects compared to pre-visit levels. All items measured contributed to changes in psychological anxiety, demonstrating that museum visits can alleviate such anxiety among young audiences. Interestingly, while "alert" is considered a positive affect in Western contexts, it is found to be adverse in Chinese contexts, suggesting that it may not be an appropriate item for positive affect. The GWQ thus emerges as a potentially effective tool for evaluating interventions aimed at reducing psychological anxiety among young audiences in Chinese museums. [ABSTRACT FROM AUTHOR]

Copyright of Museologica Brunensia is the property of Masaryk University, Faculty of Arts 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.)

Psychological trauma is ubiquitous, an often hidden yet influential factor in care across clinical specialties. Interdisciplinary health professions education is mobilizing to address the importance of trauma-sensitive care. Given their attention to complex human realities, the health humanities are well-poised to shape healthcare learners' responses to trauma. Indeed, many such arts and humanities curricula propose narrative exercises to strengthen empathy, self-reflection, and sensitive communication. Trauma, however, is often unwordable, fragmentary, and physically encoded, incompatible with storying methods. This article presents a recent innovation, the Art is Patient seminar series, which focuses on aesthetic exercises to help learners access and share non-verbal, embodied, and relational responses to art. Based in an art museum context, it provides successive experiences of approaching, witnessing, and engaging with visual art as an analogue to developing trauma-sensitive relationships. Reflections on the process locate the seminar vis-à-vis health humanities practices, aesthetics, and trauma-informed approaches. [ABSTRACT FROM AUTHOR]

There has been a global push since the 1990s to destigmatize sex workers. Even though there is much art generated for and by sex workers in China, there is no museum dedicated to them, and there is only a limited amount of research on their art. In order to fill this research vacuum, this article explores sex workers' art museums and Chinese sex workers' art through an integrated lens. It draws on an interdisciplinary study of social justice education in art, museum studies, sex work movement materials, and the art history of sex workers in China. Because there is no case study in China to refer to, this project uses the Dumas Brothel, an art museum in the United States where sex work is not legal as it is in China. The goal is to present the lives and stories of actual sex workers in the agency of an art museum while avoiding the overgeneralization of sex workers. This article identifies the potential role of Chinese sex workers' museums in destigmatizing sex workers in China. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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.)

We argue that the art museum can and should be a place of philosophical exploration. It can be such a place because philosophy and art have important similarities. They both ask us to adopt a non-instrumental, contemplative attitude toward the world that allows us to widen our personal viewpoint and explore the complex nature of things. To explicate these commonalities justifies much of museum educators' actual practice and motivates the integration of philosophy into art education where this is not yet common practice. Furthermore, our aim is to motivate more and deeper interdisciplinary cooperation between museum educators and philosophers. The art museum should be a place of philosophical exploration on the grounds that it can thereby reach its full potential as a place of informal learning. Furthermore, embedding philosophical explorations in museums' visitor engagement can benefit the discipline of philosophy, too, insofar as it introduces it to a broader public. [ABSTRACT FROM AUTHOR]

This intrinsic case study examines art museum learning of elementary school students during a week‐long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning‐making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video‐recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning‐making during art museum visits, illustrating their strategies to construct knowledge and bridge connections. [ABSTRACT FROM AUTHOR]

In this historiographic review, the aim is to trace the process of construction and consolidation of artistic projects, as well as art museums in the nineteenth century United States. Throughout the writing, two moments of the American artistic and cultural process will be described: first, the nationalist and civilizing stage; and, second, the open and cosmopolitan stage. [ABSTRACT FROM AUTHOR]

This paper is based on an investigation of the visual memory of the Pinacoteca art museum of the State of São Paulo. The objective of this paper is to understand the process of association of the visual image of the museum's edifice and its graphic signature in the 1990s. The paper utilized a research approach that included identifying and analyzing visual memories and interviewing designers who worked for the Pinacoteca during the 1990s. The conclusions point to a conjuncture of political, historical and structural factors that influenced the incorporation of the visual image of the building to the visual identity of the institution. [ABSTRACT FROM AUTHOR]

Although the number of art museums in China has increased significantly in recent years, art museum educators find it difficult to create relevant, relatable, and engaging learning experiences for children in different contexts of art museums. I conducted this qualitative, comparative case study in Shanghai, China, examining how two different art museums, one contemporary art-based, and another one traditional Chinese art-based, conceptualize museum education for children. The research data included face-to-face, semi-structured interviews with museum educators and a content analysis of documents gathered from the museums' websites. Using the frameworks for the contextual model of learning and constructivism theory in museum learning, I compared and contrasted the two art museums educational approaches in creating connections between educational programming and children's learning. I found that both art museums were able to connect programming to children with their current exhibitions, but using two different approaches. [ABSTRACT FROM AUTHOR]

The article deals with the preconditions for the formation and stages of establishment of the Zakarpattia Regional Art Museum in Uzhhorod as one of the main cultural and historical centres in the region of scientific, educational and artistic direction. It traces the historical milestones of the cultural and national renaissance in Zakarpattia, which was annexed to the Czechoslovak Republic under the name of Carpathian Ruthenia in 1919 after the collapse of the Austro-Hungarian monarchy, as well as in the post-war period during the Soviet era. The preconditions for the opening of the museum in Uzhhorod and the ways in which the first museum collections were formed have been studied; the activity of persons who played key roles in the formation of the art museum is described.

BackgroundThis randomized controlled trial aims to compare changes in mental and physical health in older Japanese community-dwellers who participated in a productive art-based activity at the Tokyo Fuji Art Museum (intervention group) and in their counterparts, who did not participate in the intervention (control group).MethodsA total of 73 older community-dwellers living in Tokyo participated in a single-blind RCT in two parallel groups (intervention group versus control group). The intervention was 2 h of productive art-based activities per week. The weekly sessions were carried out at the Tokyo Fuji Art Museum over a 12-week period. The control group did not participate in any productive art-based activity over the study period. Well-being, quality of life and frailty were assessed before the first, and after the last, art-based activity. These outcomes were assessed with the same schedule in both groups.ResultsThe intervention group saw a significant improvement in their quality of life (p

Brand management has become a key element in museum differentiation and competitiveness. When a museum's brand is associated with a particular artist, the artist is a brand in themselves, bestowing the museum added value and shaping its personality. In recent years there has been a growing trend in museum management towards strengthening their brands. The aim of this work is to determine the elements of transmission of brand identity in museums associated with an artist based on the model proposed by Aaker [1996. Construir Marcas Poderosas. Barcelona: Gestión 2000]. A qualitative methodology based on thematic analysis has been employed to draw the main conclusions from the in-depth interviews of the directors and heads of Communication and Marketing of the Picasso museums in Spain. The results reflect that the link between brand, artist and museum is not only transmitted through the product, symbolism and organisation but also through its connection with the territory and its digital sphere. [ABSTRACT FROM AUTHOR]

The paper develops a research approach that combines digital ethnography with text mining to explore consumers' perception of a brand and the degree of alignment between brand identity and image. In particular, the paper investigates the alignment between the art museum's brand identity and the brand image emerging from visitors' narratives of their experience. The study adopts a mixed methodology based on netnography and text mining techniques. The analysis concerns an art museum's brand, with the case of the "Opera del Duomo Museum" in Florence. The methodological approach enables a combined investigation of user-generated content in online communities and the company's online brand communication, contributing to identifying branding actions that can be taken to increase the brand alignment. It also enables the measurement of the degree of alignment between museums and visitors among common brand themes. Specific indicators of alignment are provided. A key point is the replicability of the model in other contexts of analysis in which the content produced by consumers in online contexts are relevant and readily available, such as fashion or food. [ABSTRACT FROM AUTHOR]

Copyright of Revista Iberoamericana de Turismo is the property of Revista Iberoamericana de Turismo 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.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

Meeting the abilities and needs of young people poses challenges for museums. This article focuses on the importance of thinking about children's strengths and limitations as learners, about how information is rarely their quest, and how looking and thinking about well-chosen art play to their natural acuity. I share what I've learned from my experience writing about art for children, critique of my publications as well as others, and ideas for how to maximize the opportunity we have as museums to jump start a process that can bring lifelong pleasure. I also summarize key ideas from the work of cognitive psychologist, Abigail Housen. Her groundbreaking work in determining how people of all experience levels think when looking at art is the basis for my current opinion about what makes a valuable publication for young people. [ABSTRACT FROM AUTHOR]

People visit art museums for many reasons—to see something beautiful or famous, to learn more about art, or to experience a sense of awe. Recently, there has been increased interest in how art museum engagement can promote flourishing. Little is known, however, about how the professionals shaping these art museum experiences (e.g., curators, educators, front of house staff) view art museums as institutions that can promote flourishing outcomes. In the present research, we examined the perceptions of 208 art museum professionals regarding the functions of art museums and their ability to impact both well-being (e.g., empathy, self-acceptance) and ill-being (e.g., anxiety, loneliness) factors. The findings suggest that art museum professionals feel that the well-being of visitors should be emphasized as a goal more strongly than it currently is, and that there are some well-being and ill-being components (e.g., empathy, helping, closed-mindedness) that should receive greater attention than others. [ABSTRACT FROM AUTHOR]

Introduction. The role of the visual arts in medical education has been understudied, especially with regard to program evaluation and learner assessment of complex competencies such as professional identity, team building, and tolerance for ambiguity. We designed a study to explore how an integrative art museum-based program might benefit 3rd and 4th year medical students. Methods. We piloted 6 sessions with 18 participants. Evaluation methods included post-session surveys and semi-structured focus groups, which we qualitatively analyzed using an open-coding method. Results. Seven themes emerged from the analysis related to the overarching realms of 'form' and 'function.' 'Form' themes included structural elements of the sessions that enabled engagement: (1) group format, (2) methods (e.g., discussion prompts, activities), (3) setting (e.g., physical space of the museum, temporal space), and (4) objects (e.g., paintings, sculptures). 'Function' themes included the personal and professional value and meaning derived from the sessions: (1) appreciation of others, (2) critical skills, and (3) personal inquiry. Discussion. Our results expand what is known about the role of the visual arts in medical education by suggesting that the visual arts may facilitate clinically relevant learning across a range of competencies via specific formal aspects (group format, method, setting, objects) of art museum-based pedagogical methods. [ABSTRACT FROM AUTHOR]

Because of the increase in green lighting in recent years, scholars have been trying to find more comfortable lighting methods in various fields to meet people's lighting needs. In previous studies, we found that most museum lighting was conducted in the form of subjective questionnaires, but in this study, we tried to introduce a new way to explore the impact of the lighting environment on comfort, namely eye tracking technology. This paper aims to explore the influences when viewing paintings in cold, warm, and middle tones under illumination of 50 lx, 150 lx, and 300 lx, respectively, on the visual comfort of viewers, and the use visual fatigue as the evaluation index to find the most appropriate illumination value for different painting systems in the art museum. By collecting eye movement data under different illuminance and color combination of different paintings and subjective evaluation from the subjects, this paper studies the impact of different illuminances and colors on the subjects' visual fatigue. By considering the illumination intensity of the light environment and the tone of the painting, it can be found that the warm tone painting was more suitable for 150 lx, the cold tone painting was more suitable for 50 lx, and the middle tone painting was more suitable for 300 lx. [ABSTRACT FROM AUTHOR]

The rise of museum visitor studies has inspired a deeper inquiry into the functions and purposes of museums. However, visitor studies have long focused on the analysis of visitor behavior patterns in terms of research themes and methods, with less attention paid to how visitor behaviors respond to the goals and decisions of the museums, and therefore result in poor generalizability for the following museum practices. In particular, for art museums which have diverse exhibits but rely heavily on audience autonomous interpretation, there is often a need for more direct guidelines in methods and strategies when dealing with highly heterogeneous visitor groups, such as family visitors. This study therefore investigates the family visitors’ behaviors in art museums in general, and their behaviors of reading exhibit labels in specific, to understand and evaluate the impact of exhibit design on family visitors’ museum experiences and learning. Based on the literatures about reading and learning, a case study using behavioral mapping technique was adopted to develop a coding framework for behavioral observation. Data on verbal and non-verbal interactions of a total of 8 groups of family visitors were collected through participatory observation and interviews for analysis. The results illustrate the general reading behavior of family visitors to exhibit labels, as well as their differences and rationales for reading different types of exhibit labels. According to the findings, design principles for art museum practices in exhibit label design, and methodological suggestions for research design of visitor studies are made. (Article content in Chinese with English extended abstract)

This paper deals with digitally mediated museum experiences of novice visitors at the Kunsthistorisches Museum in Vienna and discusses them in the context of museum inclusion. Research participants included families with young children and members of minority communities in Vienna whose visit was facilitated by two app-based guided tours developed for children. The research goal was to explore the impact of the mobile guide’s digital content and modes of communication on the visitors’ interaction with the guide, with the museum space and objects, and with family members. The families’ interactions were observed, recorded and analyzed. The results suggest that carefully considered and created content on mobile guides has the potential to provide novice family visitors with experiences that support their independence and active engagement, create opportunities for mutual facilitation, and support their different identities, all of which have been considered as conducive to inclusion.

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. 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.)

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]

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]

The article is devoted to the attribution of the original graphics of the 20th century from private collections in the collection of the Irkutsk Regional Art Museum named after V.P. Sukachev. The stages of studying a particular work of art are described in detail. Attention is paid to the research of recent years, which allows us to talk about the ongoing work with objects from museum collections. As a result of the study, based on the source studies and comparative stylistic methods, it was possible to clarify the attribution of a number of illustrations to literary works, small-format watercolors and some drawings. Such works include, for example, the works of N.V. Kuzmin, T.A. Mavrina; K.S. Petrov-Vodkin, described in the article.

The paper elaborates on the Acquisition Fund for Contemporary Art established in 2017 in the Czech Republic by the Ministry of Culture. Paradoxically, this fund is perceived both positively and negatively by various institutions. On the positive side, from the year 2017 to 2019, the fund has allocated 41,257,888 CZK (1,517,753 EUR) for the purchase of 287 artworks by 29 institutions. On the negative side, only 29 out of 218 eligible institutions have applied for support from the fund during the three years of the fund’s existence. This low application rate is attributed partly to the time consuming and complicated administration of the application for support, and partly to apprehension from some institutions regarding the likelihood of the actual realisation of the receipt of financial support. In turn, due to this low application rate, the institutions that have applied have had a high probability of receiving funding. The paper sheds new light on the lack of financing for acquisition in art institutions and opens the question of the effectiveness of the Acquisition Fund in the Czech Republic.

"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]

People visit museums with differing motivations. We use Falk's visitor identity model to examine visitors' motivations to visit an art museum. We assess (1) the prevalence of different motivation types; (2) how visit motivations and outcomes relate to visit satisfaction and length; and (3) the relation between visit motivations and fulfillment of expectations. We found that (1) visitors most strongly endorsed motivations and visit outcomes related to exploration and least strongly to facilitating another's visit; (2) visit outcomes predicted visit satisfaction and length more strongly than did visit motivations; and (3) visit outcomes largely met or exceeded the visitors' pre-visit expectations. The present findings suggest that outcomes of the visit matter more than motivations for visiting. We suggest that examining the entirety of a visit—pre-visit motivation and post-visit outcomes—may provide new insights about art museum visits that may be obscured when focusing on just one of these aspects. [ABSTRACT FROM AUTHOR]

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The article deals with the preconditions for the formation and stages of establishment of the Zakarpattia Regional Art Museum in Uzhhorod as one of the main cultural and historical centres in the region of scientific, educational and artistic direction. It traces the historical milestones of the cultural and national renaissance in Zakarpattia, which was annexed to the Czechoslovak Republic under the name of Carpathian Ruthenia in 1919 after the collapse of the Austro-Hungarian monarchy, as well as in the post-war period during the Soviet era. The preconditions for the opening of the museum in Uzhhorod and the ways in which the first museum collections were formed have been studied; the activity of persons who played key roles in the formation of the art museum is described. [ABSTRACT FROM AUTHOR]