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2023/2024

Museum Studies

Code: 100055 ECTS Credits: 6
Degree Type Year Semester
2500239 Art History OT 3 1
2500239 Art History OT 4 1
2502758 Humanities OT 3 1
2502758 Humanities OT 4 1
2504235 Science, Technology and Humanities OT 4 1

Contact

Name:
Daniel Rico Camps
Email:
daniel.rico@uab.cat

Teaching groups languages

You can check it through this link. To consult the language you will need to enter the CODE of the subject. Please note that this information is provisional until 30 November 2023.

Teachers

Carles Sánchez Marquez

Prerequisites

Have basic knowledge about the history of art, collecting or the museum, heritage and museography.


Objectives and Contextualisation

Subject designed to introduce students to the theoretical discourse on museology and reflect on the role of museums today, specifically their role in the context of the well-being of society and emotional health.

Learning objectives of the subject:

1) Know the theoretical discourse on museology, current challenges and provide instruments that lead to reflection on research, conservation and dissemination issues, specifically the communication of museology through social networks and the possibilities offered by new technologies .
										
											
										
											2) Propose ways of solution to possible problems that may arise in the development of the museologist's professional activity, especially at this time of uncertainty.
										
											
										
											3) To know methodologies that allow the creation of exhibitions and activities offline and online, taking into account the concepts of communicative accessibility and mediation in museums.

 

Learning outcomes

Analyze basic concepts of museology and museography

Analyze the legal framework of copyrights in cinematography.

Analyze the creators of an artistic phenomenon in a specific cultural context.

Analyze current or past debates on management, conservation, restoration and documentation systems of artistic heritage.

Analyze the receptors of an artistic phenomenon in a specific cultural context.

Analyze artistic ideas about an artistic phenomenon in a specific cultural context.

Apply the international, state and regional legal provisions and principles related to the management of artistic heritage.

Design and implement education programs in different areas of art history.

Designtemporary and permanent exhibition programs including the programming of pedagogical activities for school and family audiences

Design museographic programs or management of artistic heritage.

Design a museographic program.

Design, produce, disseminate and commercialize a cultural product

Distinguish the techniques and the process of elaboration of the artistic object of the avant-garde and the latest artistic trends.

Prepare catalog cards and inventory of architectural or artistic heritage.

Plan and apply museum projects and programs, using the knowledge acquired about museology.

Prepare an exposure proposal from a material provided.

 


Competences

    Art History
  • Demonstrating they have basic knowledge of museology and museography, as well as the current problems about conservation and restoration of artistic heritage.
  • Designing, producing and spreading management projects of artistic heritage.
  • Organising educational projects in various levels of the learning of Art History, applying the instrumental knowledge related to the discipline.
  • Organising the curator of exhibitions of permanent and temporal nature.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.
  • Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.
    Humanities
  • Analysing the regulations about cultural and natural heritage.
  • Critically analysing today's culture and its historical conditions.
  • Designing, producing, disseminating and commercializing a cultural product.
  • Producing innovative and competitive proposals in research and professional activity.
  • Properly using the resources and methodologies of the study of contemporary culture.
    Science, Technology and Humanities
  • Analyse the relationships between nature and culture using concepts from anthropology, philosophy and history.
  • Make critical use of digital tools and interpret specific documentary sources.
  • Recognise the political, social and cultural dimension of science and technology development in the different historical periods.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
  • Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.

Learning Outcomes

  1. Analyse documents from different historical periods.
  2. Analyse representations of sexualities in cultural productions.
  3. Analysing basic concepts of museology and museography.
  4. Analysing ideas about an artistic phenomenon in a given cultural context.
  5. Analysing the creators of an artistic phenomenon in a specific cultural context.
  6. Analysing the current or past debates about management, conservation, restoration and documentation systems of the artistic heritage.
  7. Analysing the legal framework of copyrights in cinematography.
  8. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  9. Apply gender-theory concepts to the analysis of cultural texts.
  10. Applying the arrangements and international, state and autonomic principles related to the management of the artistic heritage.
  11. Applying the iconographic knowledge to the reading of artistic imagery.
  12. Applying the knowledge about aesthetic ideas and art theory to the analysis of the cinematographic imagery.
  13. Assess and correct your own work.
  14. Assess the organisation of a specific archive.
  15. Autonomously searching, selecting and processing information both from structured sources (databases, bibliographies, specialized magazines) and from across the network.
  16. Communicating orally an artistic imagery using the appropriate terminology.
  17. Contrasting the various legal frameworks of the artistic heritage.
  18. Contrasting the various legal frameworks that can be applied to a practical case of management, documentation and conservation of the artistic heritage.
  19. Coordinating working teams, developing conflict resolution and decision making abilities.
  20. Designing a museographic programme.
  21. Designing and applying education programmes in the different fields of Art History.
  22. Designing programmes of museography or management of the artistic heritage.
  23. Designing programmes of temporal and permanent expositions, including the programming of activities of educational nature for school and family audiences.
  24. Designing, producing, disseminating and commercializing a cultural product.
  25. Discern the transformations of gender relations in the history of culture.
  26. Distinguishing the techniques and elaboration process of an artistic object from the avant-garde and the latest artistic trends.
  27. Drawing up reports of artistic specialisation.
  28. Drawing up restoration reports of the architectonic and artistic heritage.
  29. Engaging in debates about historical facts respecting the other participants' opinions.
  30. Evaluate other related disciplines that help in the correct treatment of documents: sigillography, chronology, etc.
  31. Explaining the specific notions of the History of Art.
  32. Identify the different types of records.
  33. Identifying the artistic imagery, placing it into its cultural context.
  34. Planning and applying museographic projects and programmes, using the acquired knowledge about museology.
  35. Preparing a proposal for an exhibition from a provided material.
  36. Producing a project of management and conservation of the artistic imagery.
  37. Producing catalogue sheets and inventory of the architectonic or artistic heritage.
  38. Recognise the representation of masculinity in art history.
  39. Reconstructing the artistic outlook of the contemporary world.
  40. Relating the artistic creations from various periods with other cultural phenomena.
  41. Transcribe a historical document.
  42. Use ICT to organise documents.
  43. Using the acquired knowledge in the elaboration of files, reports and rulings related to the conservation, documentation, and dissemination of the artistic heritage (cataloguing, inventory, restoration reports, artistic specialisation.

Content

Subject designed to make students aware of the theoretical discourse on museology and reflect on the role of museums today, especially their role in social welfare, health and gender equality. This will allow them to be, in the future, professionals capable of solving problems within their professional field.
										
											
										
											Work will be done to apply the knowledge acquired about museology and museography in museum projects and programs that are being carried out in some museum space throughout the course, tnat of line as well as online. Also in the elaboration of the own documentation of the field of conservation, documentation and the dissemination of the heritage, when preparing catalog sheets, loans, pieces entry, administrative, reports and other protocols specific to the work of the museologist.
										
											
										
											Students will know specific projects that are being carried out, with the aim of developing critical thinking and reasoning and knowing how to communicate them effectively. On the other hand, group work will allow them to analyze projects, it will give them the possibility of generating innovative and competitive proposals in research and professional activity. It will work from the use of new technologies.
										
											
										
											The presenecial or virtual visit in the warehouse of a museum, to an exhibition montage exchanging opinions with the artist himself, the interview of active professionals to comment on aspects of management and dissemination of the museum's programs, should allow students to show their learning skills to undertake further studies with a high degree of autonomy and interest. These activities are planned to be carried out through new technologies that the current situation will make it difficult to physically consider them.
 
  1. Introduction. Definition and evolution of concepts: museum, museology and museography. Reflections on some of the new challenges that museums have in the current social context of the 21st century, the new role as a sociocultural agora.
  2. Museum planning and architecture. Functions, typologies and projects.
  3. Organization of a museum institution. Research and documentation. Works acquisition policies. Models of worksheets. Evaluation of the sensitivity of the collections according to the material, movement of works, methods and control devices.
  4. Functions of the Booking Rooms. Procedures and regulations regarding personnel and works.
  5. Exhibitions Concept, design and planning. Procedures to follow according to type of exhibition and forms of presentation of line and online.
  6. Communicative accessibility. Programs, audience studies and evaluation.
 

Methodology

Work will be done to apply the knowledge acquired about museology and museography in museum projects and programs that are being carried out in a museum space throughout the course (off line and online), in the preparation of the documentation specific to the field of preservation, documentation and dissemination of heritage, by preparing catalog, loan, entry of pieces, administrative, reports and other protocols specific to the work of the museologist.
										
											
										
											The type of teaching and tutoring will combine offline and online, depending on the situation in which we find ourselves. The student will follow an evaluation and continue doing individual and group work that will serve to direct the learning of the contents and the competences.
										
											
										
											The teacher Teresa Blanch Bofill will make available to the students materials of the subject to develop some debates and initiatives of general participation.
 

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Autonomous student work 40 1.6 5, 8, 4, 31
Master classes, tutorship and individual study 35 1.4 8, 4, 11, 31, 29
Type: Supervised      
Group work 12 0.48 3, 6, 17, 20, 29, 34
Visits to museums 13 0.52 21, 24
Type: Autonomous      
Team work 50 2 3, 6, 15, 18, 17, 19, 21, 23, 20, 24, 37, 34, 36, 28, 43

Assessment

CONTINUOUS ASSESSMENT


Partial test 1: 30%.
Partial exam 2: 30%.
Coursework: 25%.
Activity related to seminars and visits to museums: 15%.


At the time of each evaluation activity, the teacher will inform the students (Moodle) of the procedure and date of revision of the grades.

Recovery

In order to take part in the retake, students must have been previously assessed in a set of activities whose weight is equivalent to a minimum of 2/3 of the total grade. Students who have not taken the exams or handed in the work cannot pass the course. In order for the two exams to be average with the rest of the marks, one of the two tests must be passed with a mark equal to or higher than 5 and at least a 4 in the other.

If the exams cannot be taken in person, their format will be adapted (without altering their weighting) to the possibilities offered by the UAB's virtual tools. The activities and participation in class will be carried out through forums, wikis and/or discussions of exercises through Teams, etc. The lecturer will ensure that students have access to these resources or will offer them alternative resources that are within their reach.

In the event of any irregularity on the part of the student that may lead to a significant variation in the mark for a given assessment event, the student will be marked 0, regardless of the disciplinary process that may result from this. In the event of several irregularities in the assessment of the same subject, the final grade for this subject will be 0.

Definition of non-assessable

The student will receive a grade of "Not assessable" if he/she has not handed in more than 30% of the assessment activities.

SINGLE ASSESSMENT

Single assessment involves a single assessment date but not a single assessment activity.
In order to guarantee that the single assessment accredits the achievement of the objectives and learning outcomes established in each subject, students who choose this method will be assessed on three activities on the same day: a written test, the coursework and a form on the seminars and visits to museums.


Recovery

The same make-up system will be applied as for continuous assessment.


Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Group work 25% 0 0 3, 6, 8, 15, 18, 17, 19, 21, 23, 20, 37, 31, 34, 36, 43
Participation in seminar and visits to museums 15% 0 0 10, 16, 23, 24, 27
Written examination 60% 0 0 3, 1, 7, 5, 6, 8, 4, 2, 9, 11, 12, 10, 15, 16, 18, 17, 19, 21, 23, 22, 20, 24, 25, 26, 13, 37, 31, 32, 33, 29, 34, 35, 36, 39, 38, 27, 28, 40, 41, 43, 42, 30, 14

Bibliography

RECOMMENDED BIBLIOGRAPHY

ROTAECHE GONZÁLEZ, MIQUEL (2016). Museologia y conservación de arte contemporaneo: un conflicto de intereses. Ed. TREA.

JIMENEZ-BLANCO, MARIA DOLORES (2014). Una historia del museo en nueve conceptos. Ed. Càtedra.           ISBN 9788437633213.

URGELL PLAZA, FERRAN (2014). Manual de estudios de público de museos. Ed. Trea. ISBN9788497048491.

RICO,J.C.(2012). La enseñanza de la museografia: teorías, métodos y programas. Silex ediciones.                    ISBN 9788477377627.

POULOT, DOMINIQUE (2011). Museo y museología.  Abada editores. ISBN: 978-84-15289-19-7.

ALCALDE, G; BOYA, J; ROIGÉ, X (2010). Museus d’avui. Els nous museus de societat. Girona. ICRPC.

LORD, BARRY Y DEXTER LORD, GAIL (2010, 5è edició). Manual de gestión de museos. Barcelona. Eitorial Ariel.

LEÓN, AURORA (2010). El museo: teoria, praxis y utopia. Madrid. Ed. Catedra.

RICO, JUAN CARLOS (2008). La caja de cristal:un nuevo modelo de museo. Ediciones Trea, S.L. (Gijón).

BALLART HERNÁNDEZ, JOSEP (2007). Manual de Museos. Madrid:. Editorial Síntesis.

KISSEL, E; DÍAZ PEDREGAL, P; MONIER, V. (2006) “Concepció i gestió dels magatzems de museus”. Col·lecció: museus documentació. Barcelona. Generalitat de Catalunya. Departament de Cultura.

Revista Catalana de Museologia (2005). “Mnemòsine” . Núm.1.Barcelona: Departament de Cultura de la Generalitat de Catalunya – Museu d’Història de Catalunya i Associació de Museòlegs de Catalunya-.

SANTACANA MESTRE, JOAN; SERRAT ANTOLÍ, NÚRIA (coords.) (2005) Museografia didáctica. Barcelona. Ed. Ariel.

Revista Catalana de Museologia (2004). “Mnemòsine” . Núm.1.Barcelona: Departament de Cultura de la Generalitat de Catalunya – Museu d’Història de Catalunya i Associació de Museòlegs de Catalunya-.

MUÑOZ VIÑAS, S (2003). Teoria Contemporanea de la restauración. Madrid: Síntesis.

MONTANER, JOSEP M. (2003). Museos para el siglo XXI. Barcelona. Ed. Gustavo Gili,SA.

ALONSO FERNÁNDEZ, L (2002). Introducción a la nueva museología. Madrid: Alianza Editorial – Arte y Música-.

BOLAÑOS, M (2002). La memoria del mundo. Cien años de museología 1900-2000. Gijón: Trea, SL.

Revista del Castell-Ecomuseu Urbà de Rubí (2002). “ Identitats de Rubí”, núm.1. Rubí: Ajuntament de Rubí.

KOTLER, NEIL; KOLTER, PHILIP (2001). Estrategias y marketing de museos. Barcelona: Ariel – Patrimonio Histórico.

ALONSO FERNÁNDEZ, L; GARCÍA FERNÁNDEZ, I (2001). Diseño de exposiciones. Concepto, instalación y montaje. Madrid: Alianza Editorial. Arte y Música

DDAA (2001). Gestión de proyectos culturales. Análisis de casos. Barcelona: Ariel Practicum.

DDAA (2001). Debates sobre arte “ Los museos y la conservación del patrimonio”. Madrid: Fundación BBVA.

MONTANER, JM. (2001) “El museo como espectáculo arquitectónico”. Barcelona, Metròpilis Mediterrània, 55. Quadren Central.

PÉREZ SANTOS, E (2000). Estudio de visitantes en museos –metodología y aplicaciones-. Gijón: Trea, SL.

DAVALLON, J (2000). L’expositiona l’oeuvre. Stratégies de comunication et médiation symbolique. París: L’Harmattan.

BORONAT, MJ (1999). La políticad’adquisicions de la Junta de Museus 1890-1923. Barcelona: Junta de Museus de Catalunya – Publicacions de l’Abadia de Montserrat (Monografies de la Junta de Museus de Catalunya, 1).

RICO, JUAN CARLOS.(1999) Los conocimientos técnicos: museos, arquitectura, arte. Madrid. Sílex Ediciones.

DDAA (1998). Manual jurídic dels museus. Qüestions pràctiques. Madrid: Diputació de Barcelona i Marcial PonsEdiciones Jurídicas y Sociales, SA.

HERNÁNDEZ, F (1998). Manual de museología. Madrid: Editorial Sintesis.

HERNÁNDEZ, F (1998).El museo como espacio de comunicación. Gijón: Ediciones Trea, SL.

BAZTAN, C. (1997) Museos españoles. La renovación arquitectónica. Madrid. Ministerio de Educación y Cultura.

HIDALGO CUÑARRO, JM; coordinador (1996). “Actas del col.loquio internacional sobre la conservación preventiva de bienes culturales”. Vigo: Diputación Provincial de Pontevedra.

Riviére, G.H (1993). La Museología. Curso de museología, textos y testimonios. Madrid: Akal- Arte y Estética-

FRANCESCO DAL CO; TOM MUIRHEAD. (1992) Los museos de James Stirling, Michael Wilford y Asociados. Colección de arquitectura. Ed. Electa, España.

 

 

WEBGRAPHY

www.musealia.com

www.ac.upc.edu/museu/index.ca.html

www.nuevamuseologia.com

www.icom.museum : http://icom.museum/hist_def_eng.html

www.unesco.org

www.patrimonio-mundial.com

www.cultura.mecd.es

www.gencat.net

www.diba.es

www.museologia.net

www.apme.es

www.aegpc.org

www.amc.org


Software

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