Modern Museum Research Articles

Conceptual basis of state policy in the sphere of museum affair

The purpose of the study is the analysis of the conceptual bases and directions of implementation of state policy in the museum sphere, as well as the definition of practical state management concepts in the sphere of museum affairs in Ukraine. The methodology is based on the use of problem-oriented approaches, which are based on the systematic and legal analysis of normative legal acts with the aim of improving state-management decisions as the main direction of the state’s regulatory activity. The following methods were used: interpretative-analytical, comparative-historical analysis, theoretical generalization, historical-comparative, historical-typological, historical-legal, statistical. Scientific novely. The article, based on the analysis of existing scientific works, defines the main directions of state policy in the museum sphere in general, and in the direction of preservation of monuments of material culture in particular. Prospects for improving state support for the educational activities of modern museums are also determined; attention is also focused on the positive experience of organizing cultural and educational activities of foreign museums in the context of preserving the cultural self-identification of society. Conclusions. It is emphasized that in order to ensure state management of socio-cultural processes in the context of museum development, Ukraine should focus on the implementation of innovative forms and methods of state management of the museum industry, which are based on world experience. The conceptual foundations of state policy in the field of museum affairs should be: analysis of the work of museum institutions with the determination of measures to improve their activities; development of measures to ensure the protection of monuments of museum funds; prevention of theft of historical and cultural values located in museums; replacement of security guards with technical ones; provision of financial resources for the creation of new exhibitions in museums; equipping museums with alarm systems and video surveillance; creation of a list of measures regarding the initiative of new expositions and exhibitions that will show the heroism of the defenders of the sovereignty of Ukraine.

비디오 아트의 영속성과 원본성에 대한 탐색적 연구

Restoration and exhibition in video art is an important policy consideration due to the timespan of 10-15 years of monitor of cathode ray tube. In particular, works recognized as the artist’s representative work or masterpiece should take into account the conflicting factors of permeance and originality in preservation and restoration. ‘The More, the Better’, arguably the largest piece by master Namjune Paik has recently re-operated after a long pause due to the aging monitor and the technical safety. 'The More, the Better' was installed in celebration of opening of the National Museum of Modern and Contemporary Art in the late 1980s. Along with its long history, 1,003 monitors in the piece reflects the historicity. Difficulty in supplying the monitors of that time demands the measures for restoration to reflect the originality, specificity, and symbolism. Building on the existing literature on the concept of 'Aura' by Walter Benjamin, this study seeks the perpetuality and the originality of the piece 'The More, The Better'. By conducting audience interviews and expert opinions, this paper aims to provide broader perspectives on the restoration of the above video art work. This paper compares three alternative restoration policies concerned with the above art work. Diverse and in-depth discussion will be needed to offer future direction of the preservation and restoration of the video work in the 1980s. This paper deals with the preservation/restoration of media art works by mediaartist Baek Nam-joon, owned by the National Museum of Modern and Contemporary Art, which represents the public nature of art enjoyment. More specifically, this study made suggestions for future video art preservation and restoration policies.

RESEARCH ON THE APPLICATION DESIGN OF NEW MEDIA IN MODERN MUSEUM INTERIOR DISPLAY

This paper introduces the research results of new media application design in modern museum interior display. The purpose is to explore a feasible use of new media technology to better promote the exchange and mutual learning of human civilization museum

Catalogue of specimens of Felidae family (Mammalia, Carnivora) specimens deposited in the State Museum of Natural History NASU, Lviv, Ukraine

Currently, modern cats (Felidae) are divided into 8 lineages (phylogenetic lines), which include 14 genera and approximately 40 modern species (Загороднюк та ін., 2022). The cat collection of the State Museum of Natural History NASU, like all vertebrate collections, has a regional character, therefore it is represented by only two species: European wildcat – Felis silvestris Schreber, 1775 and Eurasian lynx – Lynx lynx (Linnaeus, 1758). The collection has been filled since the foundation of the Didushytskyi Museum, the heir of which is a modern museum, that is, from the middle of the 19th century. According to the method of making, the collection consists of stuffed animals (25), skulls (10) and skins (2). It consists of 37 samples (20 of European wildcat and 17 Eurasian lynx). Earlier in the collection there were 13 more samples, which were lost for various reasons or transferred to other collections (5 stuffed Eurasian lynx and European wildcat, and 3 skulls of Eurasian lynx). In the archive of the Museum preserved acts of transfer of exhibits to the Institute of Zoology NASU and Kyiv zoological museum and Uzhhorod University, where among others there are Felidae, however, we failed to find these samples in the mentioned museums. One Eurasian lynx was transferred to the museum of Grodno city (Belarus) in 1924. The oldest exhibit is Eurasian lynx skull, dated of 1857, the youngest – European wildcat skin dated of 2013. The main number of samples, almost 40%, collected from 1880 to 1889. The largest number of exhibits (4) arrived during 1880. All samples collected in the Carpathians and Ciscarpathians (14 – Lvivska oblast, 11 – Ivano-Frankivska oblast, 1 – Ternopilska oblast of Ukraine and 3 – form South-Eastern Poland) and one Eurasian lynx collected in Polissia region. The main ways of income – gifts to the founder of the museum Volodymyr Didushytskyi from his friends and acquaintances, some samples were purchased. Three samples (stuffed Eurasian lynx, stuffed animal and two skulls of a European wildcat) came from the Natural History Museum (disbanded in 1940) of the Shevchenko Scientific Society in Lviv. Scientific analysis of the State Museum of Natural History NASU cat collection was not carried out, indirectly the collection is mentioned in the guidebooks by the museum (Dzieduszycki, 1895; Guidebook, 1957; State, 1982) and K.A. Tatarynov monograph (Татаринов, 1973).

МУЗЕЙНАЯ АРХИТЕКТУРА В ЭПОХУ МУЛЬТИМЕДИА. НОВЫЕ ПОДХОДЫ В ТИПОЛОГИИ

This study actualizes the need for a fundamentally new museum space for the conditions of modern society thanks to multimedia technologies. In connection with the emergence of digital opportunities that allow not only to popularize museums, but also to create new enlightening and educational spaces, it has become necessary to transform the museum environment as a whole. The issue of the introduction of multimedia technologies in museums, and, subsequently, the formation of a new space-planning structure, is currently relevant, as it reflects the changing requirements put forward by modern society, which in turn is confirmed by a significant number of new implemented objects equipped with digital technologies. On the example of the world experience in designing and building modern museums, the distinctive features that meet modern requirements are highlighted: the multifunctionality of the object with an emphasis on the entertainment function, the use of interactive multimedia technologies, the introduction of open indoor and outdoor spaces for recreation and communication, as well as taking into account the requirements of people with limited mobility and the introduction energy efficient devices. Approaches are generalized and types of premises are specified by groups. The principles of designing modern museums to enhance the significance are formulated: the principle of society, the principle of significance, the principle of composition, the principle of efficiency. Also, an experimental project of the museum in Samara was developed, which confirmed the relevance and prospects for the introduction of multimedia technologies in museums.

Built Offering: On the Conception and Design of the Greek Temple

Abstract The form of the Greek temple responded to multiple purposes, influences and concepts, although one of these, that of offering, deserves more attention than it has received to date. The fundamental status of offering for Greek religion and its societal expression resulted in sanctuaries being choc-a-bloc with all manner of dedications, some of which represented the finest displays of artistic merit, workmanship, materials and cost that could be afforded. Indeed, as is well known, much of the Greek art on view in modern museums originally had the status of offerings made for dedication in sanctuaries. While it is true that some scholars of religion have noted that temples too were offerings, amongst other things, the implications have generally gone unnoticed. After reviewing the various functions of temples, this essay identifies nuances of offering in their plan, size, elevation, architectural elements, ornamentation and quality. This helps us to appreciate temples as cultural manifestations akin to everything else in the sanctuaries. As works of architecture the form of the Greeks’ temples responded to multiple issues (construction, precedent, influences and so on), but now we can see how their visual treatment subtly and yet eloquently reflected their very nature.

Conservation Measures for Changing Exhibition Environments: Development of Support in Open Storage

The number of domestic art museums and museums that have introduced it to take advantage of the good points of an open storage type exhibition is increasing. Therefore, there is a concern that the collection will be damaged by visitors and the open storage environment. The work “Flowers of tomorrow” by Choi Jeonghwa which is on display in the open storage of the National Museum of Modern and Contemporary Art, was physically damaged due to the storage environment, contact with visitors, and structural instability. This study attempted to develop and produce supports that can minimize damage in an open storage environment and do not heterogeneous during viewing when the work is displayed again after the conservation treatment is completed. The support was made in a shape suitable for vulnerable parts using 3D scanner and 3D printer. The load bearing capacity according to the length and thickness of the support was measured, and conditions suitable for the wind strength flowing inside the open storage were selected. Based on the results of the experiment, the support was produced, and the color was matched so that there was no heterogeneity from the color of the work in the applied parts, and it was currently being displayed in open storage while being attached to the work.

The footballing past in the bustling paths: the museumization of topophilia at the seedbed of the Mohun Bagan Athletic Club in North Kolkata

ABSTRACT The aim of this paper is to examine a kind of open-air museumization of topophilic aspects of football in the birthplace of the Mohun Bagan Athletic Club in North Kolkata, West Bengal, India. While dealing with some graffiti, memorial plaques, and relief sculptures implanted in some public lanes of the Bagbazar-Sovabazar-Shyambazar area, it explores a sports-landscape bonding, which becomes instrumental for reminiscing, representing, and interpreting the heritage of an age-old football club during the new millennium. In doing so, this paper not only differs from the extant scholarships, which perceive museumizing of football only within the narrow premises of modern museums but also postulates that museumization of sports in an urban public space does not always get swayed by the for-profit model.

Fostering students’ willingness to act pro-environmentally through an identity-oriented socio-scientific exhibition on the energy transition

Successfully communicating the importance of a global energy transition toward carbon-free energy sources and increasing participation in it depends on society as a whole, including the socio-cultural identities and personal values of all involved. Since a person’s willingness to engage in the energy transition is strongly influenced by their social environmental identity, we argue that interventions offering students opportunities to develop this part of themselves should foster their overall willingness to do so. We argue that modern museum exhibitions on socio-scientific issues addressing visitors as individual, social or political actors, represent particularly suitable sites for such an approach. We investigated the extent to which students’ overall willingness to act pro-environmentally changed after visiting a socio-scientific exhibition on the energy transition and the extent to which students’ subsequent overall willingness to act was influenced by their prior conceptual knowledge about energy and topic-related interest. Data for the study was collected in a pre-post design, with students (N = 185) visiting the exhibition for 90 min in between. We found that students’ overall willingness to act changed significantly from prior to after their exhibition visit, and we found that students’ prior energy knowledge but not their interest impacted their willingness to act after the visit to the exhibition. Based on these findings, we discuss that providing a broad range of opportunities for identity work to students outside of the school context fosters their willingness to act on a global scale – and that modern socio-scientific museum exhibitions are thus a useful way to complement formal education.

:Untangling Blackness in Greek Antiquity

:<i>Untangling Blackness in Greek Antiquity</i>

The Significance of Frank O. Gehry’s Museums in Contemporary Museum Design Methodology

Modern museums were born because of the spatial composition program, exhibition techniques, and the diversification of architectural styles. Frank Gehry is an architect pursuing extreme forms and thinks modern box-shaped architecture is bland and lacks feeling/passion/love. This paper aims to examine the characteristics and meaning of the museums designed by Gehry, Gehry's unique architectural view, and the elements of his museum designs. As a methodology, the classification of modern museums in Newhouse's "Towards a New Museum “and trends in modern museum architecture are classified into six categories in Montaner's book "Museums for the 21st Century," which are used as a framework for comparative analysis to point out the characteristics of the Gary Museum and derive the location and meaning in modern museum architecture. The result shows that his architectural tendencies of fragmentation and duality are applied to the Gary Museum, revealing complex characteristics in terms of composition by contrasting combinations of formality and irregularity in materials and forms. The intricate design of the Gary Museum reveals its strong presence by creating a sculptural museum that encourages a four-dimensional experience both inside and outside. It was statistically proven that the above characteristics of the Gary Museum represent an aspect of the modern museum that is becoming a popular entertainment medium. A relaxed and comfortable exhibition environment was promoted by weakening the excessive rigidity in the exhibition space through the changeable ceiling treatment. Gary's museums were born between radical experimentalism and a pragmatic professional temperament.

Useful Objects: Museums, Science, &amp; Literature in Nineteenth-Century America

Useful Objects: Museums, Science, &amp; Literature in Nineteenth-Century America

Cruising the Art Museum: On the Migration of Queer Experimental Cinema in South Korea

Cruising the Art Museum:On the Migration of Queer Experimental Cinema in South Korea Ungsan Kim (bio) Despite the shrinking space for independent cinema during the COVID-19 pandemic, several queer Korean films have found screening opportunities in both local and global over-the-top (OTT) video streaming services, including Netflix, Wavve, Watcha, and GagaOOLala. Following the favorable reception of Ke zai ni xindi de mingzi (Your Name Engraved Herein, Liu Kuang-Hui, 2020), global OTT video streaming services included more queer Asian contents, many of which are Boys' Love (BL) films and dramas. Numerous queer Korean films and TV shows also achieved commercial success during the pandemic. The popularity of Shimaent'ik erŏ (Semantic Error, Kim Soo-jung, 2022), Watcha's first original series, offers a particularly compelling example of the reciprocal relations between queer digital media and OTT streaming platforms, as the series not only formed a huge fandom but also helped the OTT company's market share in South Korea.1 The optimism around the OTT streaming services that include more and more queer content evokes the memory of the optimistic outlook in the early twenty-first century, when digital formats outmoded conventional celluloid film. Indeed, the increasing prevalence of digital technology has [End Page 191] arguably offered more opportunities to queer filmmakers and media art practitioners. Along with the rapid penetration of the internet and mobile communications in the following decades, digital video enabled practically anyone to create, edit, and appreciate audio-visual media. For queer visual artists and independent filmmakers who rarely received institutional support or distributional privilege, this democratization of media access and utilization represented more than a reduction in production costs; it granted queer artists more freedom to articulate their artistic visions.2 It is no coincidence that a new generation of innovative queer media creators emerged in this transitional period, which included siren eun young jung, Kim Dujin, and Kim Kyung-mook. However, the oligopolistic streaming market accelerates the marginalization of independent queer cinema, more specifically queer experimental cinema, that resists commodification.3 Netflix, the most popular OTT service platform in South Korea, for instance, curates about thirty queer Asian works as of September 2022. Out of the thirty titles, eighteen are popular BL films and shows, while only one film is documentary. Considering the relative dearth of queer films in general, the primacy of mainstream popular cinema among streaming oligopolists is more daunting than exhilarating, as it urgently threatens the sustainability of queer experimental cinema. It is thus an irony that the digital turn and technological advancement that not only helped queer filmmakers create and circulate their works in the past but also contributed to the expansion of queer communities through what several scholars call "networked intimacy" now dismiss alternative types of queer film and media works disproportionately in favor of commercially profitable modes of production.4 Hence, one might ask how non-commercial, non-narrative, and abstract queer cinema, which often rejects capitalist metrics, can survive OTT culture and its market logic. In the following sections, I will discuss the resilience of queer experimental cinema by deliberating on its migration to art museums, including the negotiation tactics of recent works by Im Cheol-min. REPURPOSING AND ARCHIVING AS QUEER PRACTICES In April 2019, the National Museum of Modern and Contemporary Art (MMCA), Korea hosted a film series titled Dear Cinema: Difference and [End Page 192] Repetition. Among the invited films were Im Cheol-min's experimental films Pingbing (B-ing B-ing, 2016) and Yagwang (Glow Job, 2018). The screening of Im's works at the MMCA deserves special attention, as the artistic conceits and motifs of his films explicitly reflect vernacular queer history of Seoul as well as what can be termed queer aesthetics. Im already screened his experimental feature P'ŭrijŭma (PRISMA, 2013) at the MMCA in 2014. P'ŭrijŭma uses a montage of many different meaningless shots or shots made by mistake that would be deemed useless under ordinary circumstances. For instance, viewers see a series of multiple takes of the same scene, in which the camera records Im spending a tedious amount of time lying down, getting up, and continuously calling "cut" while facing...

Features of development of the collection stone' current market

Purpose. On the basis of open sources of information, perform an analysis of the factors that led to an increase in the demand for collectible mineral specimens, identify the current popular trends in this market, show the potential of Ukraine in this field. The methods. The work uses general scientific research methods - empirical and theoretical (analysis, generalization, comparison, explanation). Findings. The main factors that led to the current increase in demand for collectible stones are highlighted, including the development of information technologies, the Internet, and social networks. Popular trends are identified and their connection with investment activities is shown, in particular such areas as museum and exhibition activities, cryptocurrencies, NFT technologies. A preliminary analysis of the availability and distribution of specimens of collection stones of Ukraine in modern museum collections of the world was performed, examples of the use of collection samples from the deposits of Ukraine as raw materials by the world's leading carvers are given, such a phenomenon as the activity of hunters, including at well-known domestic geological sites, is highlighted. The originality. The market for collectible mineral specimens is shown to be a powerful segment of the global gems market with annual sales of over $1 billion. Its capitalization continues to increase thanks to the artistic reinterpretation of these unique works of nature, the collections of which are now considered as alternative investments with the value of individual specimens at the level of 500 million dollars. The discovery of new mineral deposits, the emergence of a new class of collectors, as well as the development of cryptocurrencies justify the further development of collectible specimens’ market. Practical implementation. Examples of the commercialization of collectible specimens with the application of NFT technologies to them or to their digital images are given, usingof images of the specimens in modern art is shown on specific works of domestic and foreign artists and graphic products. Modern approaches to the formation of museum collections in the world's leading museums, the principles of philanthropy and aspects of attracting patrons, as well as the experience of attracting a wide range of visitors, which should also be applied to domestic state and university museum collections, are shown.

An Analysis of the Development and Marketing Strategy of Art Merchandise in Art Museums

There have been many limitations and lags in the commercial operation of public art institutions, while art merchandise is an important business for the commercial operation and profitability of art museums. How to make profits in the market while still building an art brand image has been the priority for art museum operators to think and study. This paper examines the new experiences and innovative initiatives of public art museums in the art merchandising business through the case of the National Museum of Modern and Contemporary Art, Korea (MMCA). First, through the experience of operating art merchandise at the MMCA, it is found that a sound archival management of art museums is conducive to boost the quality and diversity of art merchandise and to dominating the market. Secondly, the production of high-quality digital content and its display on the visited web pages are favorable to increase online sales, raise profits and advertise the brand at the same time.

Museum Lighting as one of the Priorities of the Russian Light and Engineering Industry

The article reviews the goals and objectives set by the First International Scientific and Practical Conference “Light in Museum” for the Russian science community as well as the results of cooperation between the light engineering and museum professional communities in the field of technical, regulatory, and research support of modern museum lighting.

Virginia Museum of History &amp; Culture. Jamie O. Bosket

<i>Virginia Museum of History &amp; Culture. Jamie O. Bosket</i>

Provenancing antiquarian museum collections using multi-isotope analysis.

Many of the most significant archaeological sites in Europe were excavated by antiquarians over one hundred years ago. Modern museum collections therefore frequently contain human remains that were recovered during the nineteenth and early twentieth centuries. Here we apply multi-isotope analysis (87Sr/86Sr, δ 18O, δ 13C, δ 15N) and 14C dating to evaluate the provenance of human remains within a collection that is thought to have been recovered from one of the most important archaeological sites in Britain. Excavated in 1910, the site of Coldrum in Kent is a megalithic burial monument that may be one of the earliest sites associated with the transition to farming in Britain. The interpretation of this site is therefore key to understanding how agriculture began. Using isotope analysis we show that although the human skeletal collections attributed to Coldrum do contain some of the earliest dated Neolithic human remains in Britain, they also contain the remains of individuals of fifth to seventh centuries AD date. We evaluate subsistence and mobility patterns of early Neolithic populations and provide new information about the origins of those individuals in the collection that date to the fifth to seventh centuries AD. We demonstrate the utility of employing isotope analysis to provide direct and independent information about the provenance of human remains in museum collections.

Museum as an Object of Light Design

The article reviews the problem of light design of a modern museum not only as a place for conservation and demonstration of art works but also as a leisure place. Contemporary lighting technologies applied in museums are reviewed, advantages of adoption of LED lighting in museums are described, major problems and objectives specific for lighting of exhibits in museums as well as possible methods and ways of their solution by light designers are described.

A history of amulets in ten objects

What are amulets? How are they situated in the larger narrative of European healing? Varied and complex objects, amulets present both challenges and opportunities for historians and museums alike. Yet an examination of these often-overlooked items within a medical context can provide significant information about cure and protection over different times and geographies. This article analyses ten amulets from the Science Museum collections, and asks what we can learn from exploring these objects’ material features and varying functions. It argues for a re-consideration of amulets from their categorisation by nineteenth- and twentieth-century collectors and classification by modern museums, to their recognition as a significant part of the history of healing.