Tourist Attraction Centre - National Gallery of Victoria - Case Study Example

Report On Evaluation of a Tourist Attraction Centre National Gallery of Victoria Name: Instructor: Course: Institution: Date: Executive summary The National Gallery of Victoria (NGV) in Melbourne is almost certainly one of the main cultural Melbourne tourist attractions centers. A journey to the National Gallery of Victoria in is a thrilling experience for all the guests. When tourists visit the centre and have an allure for art, they are definitely enjoy the adventure. This report explores on some of the ways the government has supported the institution to become a better center of tourist attraction. The government support has been categorized into economic social and environmental factors. The government support is viewed as filling some gaps that exists. Outline: 1. Introduction 2. Economic Support A. Funding contributions B. New ways of contextualizing volunteerism in the museums sector 3. Social Support A. Engaging rural and remote primary schools through the Snapshots project B. Children’s learning in a dinosaur exhibition C. Reviewing the history of the National Historical Collection D. Museums and national disasters E. How cricket and baseball connect F. Overcoming barriers 4. Environmental Support A. The development of environmentally sustainable exhibitions in the cultural sector 5. Conclusion and recommendations: 1. Introduction The National Gallery of Victoria (NGV), which was founded in 1861, is situated in the Arts and Leisure Precinct in St Kilda Rd on Southbank. Numerous collections of arts have made in the gallery, which makes it one of the great places to visit in Melbourne. Many tourists visit the National Gallery of Victoria, when they go to Melbourne (NGV 2010, p. 9). This report starts by discussing the economic ways in which the government supports the centre. The social aspects are then explored followed by the environmental aspects. The report ends by a conclusion and a recommendation regarding the support provided by the government. 2. Economic Support A. Funding contributions New contribution is used to fill gaps in its collection. This is especially meant for building its contemporary Australian, Asian and old master collections. The National Gallery of Victoria has been undergoing funding gaps in its collection, especially early 20th-century modernism. It particularly needs to augment its collection to build its Asian, old master and contemporary Australian collections (McCulloch &Susan 1994, p. 23). The National Gallery of Victoria has been offered the largest cash donation for the acquirement of art in Australian history. The government has received the gift from the Australian-based, Ukrainian-born industrialist Victor Smorgon and his wife Loti. This contribution is part of A$150m crusade for the procurement of works. This contribution is expected to highly assist the museum to develop and become a better tourism attraction center (NGV 2010, p. 12). The stunning success for Melbourne campaign which was commenced on May 21, intends to generate the total financial support target in time for the organization’s 150th anniversary in 2011. The institution has already generated $A45m. A$50m of the total will be spent on the instantaneous acquisition of works. An additional A$50m will be spent an endowment fund for purchases, while an additional A$50m generated from inheritance will be spent on future purchases (Alan 2006, p. 53). According to NGV director, the campaign targets to augment the institutions’ buying power to enhance its market entry and position itself as a top purchasing museum. Just like majority of Australian museums, NGV does not obtain government support for purchases and as a result, its funding comes from private charity. According to the NGV, in the past five years they spent on average less than A$6m per year on acquisitions (Alan 2006, p. 34). B. New ways of contextualizing volunteerism in the museums sector The institution has achievement the moderately recent concept of social capital with the freshly coined cultural heritage (NGV 2010, p. 10). The Segment is in its early years in Australia. Definitely, work embarked on in the past few years by the Cultural Ministers , Australian Bureau of Statistics ,various cultural organizations and peak bodies point out that this is a investigate area that is becoming of rising attention to analysts, policy researchers and implementers. A superficial glimpse at the epistemological growth of the literature, however, shows a certain worry that invites examination. New ways of treating volunteering in the museums divisions and is regarded as the way to go (McCulloch &Susan 1994, p. 45). 3. Social Support The Smorgons have an extended history of charity in Australia, having donated money and projects belonging to several organizations including the National Gallery of Australia in Canberra, Museum of modern Art located in Sydney as well as the NGV. Speaking to The Art Newspaper, the Smorgons’ grandson, said: “Loti and Victor see the value in works being made available to the public.” The NGV also contains an interesting and inspiring compilation of the original works of Aboriginal artists (NGV 2010, p.14). Aboriginal art is getting credit all through the world. It is attractive high prices. There is a huge global and local attention to Aboriginal art that dates back to many years. Many of the Aboriginal artworks are delightful. Thus the paintings on exhibit in the gallery are splendid and a real pleasure for art lovers. The government has been on the forefront in supporting this kind of art (McCulloch &Susan 1994, p. 45). A. Engaging rural and remote primary schools through the Snapshots project Students needs to learn about the implication of local collections so as to help them better appreciate how museum practice so that they can demonstrate an understanding of a group of people through Snapshots project .The National Museum of Australia’s picture of rural and remote communities’ project has received much support by the government. It allows students to document discover and rejoice their own neighborhoods and makes it possible for commitment with regional, local and national participants. It is storytelling, photography and collecting project intended to generate the collecting stories experience, producing an exhibition and documenting history into small primary schools in remote and regional Australian society (Genm 2009, p. 13). B. Children’s learning in a dinosaur exhibition Melbourne Museum’s international dinosaur gathering was rearticulated, reimaged and reinterpreted in new and attractive manner. The recently opened Dinosaur Walk display was intended to cater to audiences aged five years and above. Although dinosaurs have an irrefutable attraction to kids, methods of interpretation have not always provided for their learning requirements. The question is whether these new interpretations have been effective, and whether there are kids learning the intended learning results. How is their actions impacted by their social state of affairs? The government support for such learning has proved very effective and enlightening to the kids (Green 2007). C. Reviewing the history of the National Historical Collection Back in, 2009 former Prime Minister Paul Keating suggested that the National Gallery of Victoria lacks the essential compilation base to be a grand museum. He observed the alleged short of a strong collection caused ‘national lemon’. Contrary to Keating’s declaration, the NGV have a truly great compilation. The history of compilation standing for the diverse collecting paradigms such as ethnography, comparative anatomy, social history and environmental history have contributed to its creation. Acknowledging this history is a necessary part of understanding the implication of the National Historical compilation. D. Museums and national disasters A certain disaster had left 170 people dead, 500 injured, 7,500 homeless, over 2000 homes lost, 30 communities devastated in 19 shires and a nation astonished. The bushfires that consumed Victoria in February 2008 is unforgettable. The government response through the museum was timely. In the weeks immediately subsequent to Black Saturday, 2009, Museum Victoria reacted to the disaster along with its sister institutions. What transpired out of this collaboration were a series of actions that can become the foundation for a museum’s response to any future disasters on this range. Museums countrywide owe it to their society to be ready when it need be (Guggenheim 2007). E. How cricket and baseball connect The government has actively used Victoria to show how baseball and cricket associate, to look at the benefits of international partnerships in a sporting museum settings. The conclusion of an Australian curator and three years of work in collaboration with the Cooperstown NY, National Baseball Hall of Fame and Museum and the CC Morris American Cricket Library in Philadelphia. This determined development has seen almost 150 parties come together and will tour Cooperstown in 2011. The benefits of displaying important worldwide sporting collections are many (Guggenheim 2009). F. Overcoming barriers The challenges of tackling the needs of access for people with disability in the digital age are many. As a destination for learning and leisure, the Australian Museum actively seeks opportunities to share information and to produce understanding using both direct contact and the latest technologies to deliver programs and content to the widest people possible. The Web Working with Disabilities program is a new scheme which aspires to ensure accessible web-based learning opportunities to the Museum’s online resources, particularly modified for the requirements of the blind and other online guests with disabilities as well as those with learning difficulties (Guggenheim 2009). 4. Environmental Support International Conservation Services Guidelines for museum environmental conditions have been defined within rather narrow constraint. Considering the current energy crisis, increasing consciousness of green technology and budgets that are tighter, there is a tough move to be knowledgeable about how environmental rules are specified for galleries and museums. Australian Institute for the Conservation of Cultural Material has formed a Taskforce to develop rules for Australian conditions based on present international standards, following international leads (Galbally 1987, p. 34). The government through Victoria has demonstrated the urgent need for environmental conservation. A. The development of environmentally sustainable exhibitions in the cultural sector Museum Victoria is expected to direct participant through methods of involving external internal employees and contractors, as well as the structure and rules that supports production of environmentally sustainable exhibitions. It will include a green exhibition initial study of a chief exhibition slated for launching at Museum Victoria in March 2011, plus a number of case studies of a variety of materials with a presence in this industry. Participants will gain knowledge on the issues that require addressing, the questions that must be tackled and how to help a museum community to incorporate environmentally sustainable ideas into their day to day activities. 5. Conclusion and recommendations: The tourist destination center is a very fundamental center which can offer many benefits to the country. The center is a major tourist attraction which generates income for the nation at large. The center stores a lot of artifacts and other resources which can be a valuable source of nation’s heritage. Most importantly, the citizen can learn a lot from the center. It therefore goes without saying that the center needs a lot of support from the government. The government support can go a long way in helping the centre grow. Consequently, several recommendations can be made, concerning the government support to the centre (Galbally 1987, p. 11). The government should accelerate its efforts in assisting on the awareness about the significance of the centre, and should chart new ways to improve its impact on cultural heritage and the society while individuals should be encouraged to attach value to it. Following the climate change and escalating risk of bush fire, the support that the government offers through the center is of valuable benefit. In fact, more cash should be set aside for this purpose. References Alan, M 2006, The New McCulloch's Encyclopedia of Australian Art (4th edition), Aus Art Editions & Miegunyah Publications, Melbourne. Galbally, A 1987, The collections of the National Gallery of Victoria, Oxford University Press, Melbourne. Green, L 2007, “NGV Women's Association History,” National Gallery of Victoria (online), Available from: http://web.archive.org/web/20070830201532/http://www.ngv.vic.gov.au/ngvwa/history.html (Accessed 2/5/2011).  Guggenheim, L 2007, “Guggenheim leaves Melbourne,” Entertainment Depot, Australia (online), Available from: http://www.entertainmentdepot.com.au/news/guggenheim-leaves-melbourne/. (Accessed 2/5/2011). Genm, L 2009, NGV Women's Association History , National Gallery of Victoria, Melbourne. McCulloch, A., & Susan, M 1994, The Encyclopedia of Australian Art, Allen Publishers, Melbourne.   NGV 2010, Annual Report, NGV, Melbourne. Read More