Eilean Hooper-Greenhill has degrees in Fine Arts (University of Reading), Art Education and Sociology of Education (Institute of Education University of London). Hooper-Greenhill, Eilean. Museums and the Shaping of Knowledge. London and New York: Routledge, Chapman & Hall, pp., 32 illus. Cloth $ Eileen Hooper-Greenhill is a, perhaps the, leading practitioner in conferring academic respectability on museums and the concepts concerning them. Her first .
|Published (Last):||7 February 2005|
|PDF File Size:||8.42 Mb|
|ePub File Size:||5.73 Mb|
|Price:||Free* [*Free Regsitration Required]|
Science Logic and Mathematics. Withoutabox Submit to Film Festivals. Visual Culture and the Fight for Visibility.
Eklean NovemberI published Museums and Education: Perceptographic Code in Visual Culture. Learning, Education and Visitor Studies, delivered by distance learning, with the first students beginning in September Competition for Consciousness Among Visual Events: Art and Visual Culture. Request removal from index. Visual Perception and Subjective Visual Awareness.
DisabledGo has a detailed accessibility guide for the Museum Studies Building.
Personal tools Web Editor Log in. ComiXology Thousands of Digital Comics.
Publications — University of Leicester
Find it on Scholar. Only 1 left in stock – order soon. Her study attempts to examine museums in a more relative way, to understand how particular collections of objects that are now often dismissed as trivial and unscientific made cultural sense in their day. Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography. Articulating the Visitor hooper-greejhill Public Knowledge Institutions.
Eilean Hooper-Greenhill’s book is part of this tradition, focusing on how the concept of the museum has taken different institutional forms over the past years. See my sculpture and drawing work. There was very little written on these themes in and much of my academic career has focused on building this particular element of Museum Studies as a disciple. Later, working at the National Portrait Gallery, I became aware of the establishment and ambiguity of cultural boundaries that hold some elements of social life in place.
Heath – – Theory, Culture and Society 21 6: By this time, collections accessible to the public were common throughout Europe, often falling under the notion of the “cabinet of curiosities.
This entry has no external links. It examines the ways in which museums need to develop their communicative functions and, with examples of case-studies, explains how to achieve best practice.
My first degree was largely practical, covering a range of sculptural eileann, although I also followed courses in Philosophy, Italian and History of Art and wrote a dissertation on the sculptures of Picasso which have remained an enduring influence on my art work.
History of Western Philosophy. Eilean Hooper-Greenhill] published on February, My academic writing has concentrated on the social sides of museums and galleries, education, learning, exhibitions, in short — the experience of visitors.
Interactivity and Diagnosis at the Brain and Cognition Exhibit.
Antti Revonsuo – – Behavioral and Brain Sciences 21 6: Oldfield No preview available – My library Help Advanced Book Search. Pearce Limited preview – My higher education has moved from an initial degree in fine art to a Masters Degree and then Doctor of Philosophy in sociology. I am immersed in textures, mass and colour.
The museum became an instrument in the reorientation of power relations in countries like France, placing democratic ideologies in the forefront of curatorial work, criticizing the older power arrangements of museums and emphasizing values of the new. Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy. Carr – – Journal of Experimental Psychology 4 6: The Cockpit was charged with developing art practice in secondary schools in London and I was exposed to new ideas that critiqued and challenged how art was taught in schools at that time.