Arts and Humanities Commons^™

Expanding Art's Audience, Tony Connors

Journal of Undergraduate Research at Minnesota State University, Mankato

This paper investigates the need for contemporary art museums to expand their audience to fit their role as educational institutions. It is based on research that looks at ways museums have typically been operated in the past and then focuses on newer modes of operation, using the Brooklyn Museum as an example of a museum that educates and reaches a greater audience. Lastly, the paper looks at how particular artists have broken the mold of presenting art in order to interact with and relate to audiences in new ways. This research explains ways that art can be made accessible to …

Displaying Human Remains In Italy, Why It Matters To Italian Museums: Research, Ethics, And Repatriation, Vincent Barraza

Vincent Barraza

Don’T Touch! Examining The Role Of Hands-On Children’S Programs In Museums, Kristin Brisbois

Seaver College Research And Scholarly Achievement Symposium

Until the 20th century, museums were designed mainly for scholars to conduct research on rare and endangered objects. In the past few decades, museums have broadened their outreach to the general public to include people of all ages and demographics. Many museums now offer children’s programs that include hands-on activities as a way to stimulate a love for learning in a more relaxed and independent fashion. At two institutions targeting the same demographic, the Los Angeles Zoo and the Los Angeles County Museum of Art [LACMA], children are able to learn about endangered animals and rare works of art through …

Dance In The Museum, Claire Bishop

Publications and Research

This paper argues that the art world’s current fascination for dance follows on from a previous high point of interaction in the late 1960s and 1970s, and before that, a moment in the late 1930s and early 1940s. It traces these first, second and third waves of dance in the museum at three institutions: the Tate in London, and the Museum of Modern Art and the Whitney Museum of American Art in New York. Three institutional histories are sketched, drawing out the differences between their approaches. The conclusion presents the four most pressing possibilities/problems of presenting dance in the museum: …