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Thematische Bibliographien / Art exhibition / Dissertationen

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Dissertationen zum Thema „Art exhibition“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 25. Januar 2023

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1

Porobic, Damir Verona. „MFA thesis exhibition“. Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4189.

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Thesis (M.F.A.)--West Virginia University, 2005.
Title from document title page. Document formatted into pages; contains vi, 30 p. : ill. (some col.). Includes a video file in the QuickTime format. Includes abstract. Includes bibliographical references (p. 30).

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2

MASSON, MICHEL NUNES LOPES. „SPACE IN THE ART OBJECT EXHIBITION“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5715@1.

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O Espaço na Exibição de Obras de Arte é um estudo que visa entender o papel do espaço expositivo nas exibições de obras de arte. Assume sua interferência na fruição das obras como uma ação nos limites do campo do design. Parte de um estudo histórico e social das exibições para construir as bases para suas conjecturas, buscando entender em que medida o design de exibições pode se constituir como linguagem. Para isso, se vale da dicotomia existente nesse espaço, a do espaço neutro e ativo, como um de seus principais pontos de apoio.
The Space in Works of Art Exhibition is a study that intends to understand the role of the enviroment in art exhibitions. Assumes it`s interference in the fruition of pieces as an action towards the design field limits. Starts from an historical and social analisys of exhibition to build the basis under it`s proposals, trying to understand how the exhibitions design can be recognized as language. For such, it makes use of the space`s existing dicotomy, the neutral and the active space, as one of it`s pillars.

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3

Christiansen, Lauren. „Redefining exhibition in the digital age /“. This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.

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4

Harkett, Daniel. „Exhibition culture in Restoration Paris“. View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.
Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).

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5

Molony, Mary Carolyn. „Confessions: A BFA Exhibition“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/154.

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The artist discusses her Bachelor of Fine Arts Exhibition, Confessions, held at the Tipton Gallery, from November 14th to November 25th. The exhibit portrays how the artist responds to issues such as organized religion, war, and politics. Being drawn to art from the Renaissance to Baroque era, the work encorporates an "old world" aesthetic, also with an emphasis on Gothic architecture.

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6

Page, Patrick J. „Submission to shelter“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137666.

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The goal of this project was to create a mobile structure in which a suite of paintings could be transported and viewed. When the structure and paintings are arranged as an "installation," they will create a more active role for a "viewer" who could then be defined as a "participant." The participant would be involved in the assembly of the environment and would find more opportunities for interaction in the assembled environment than he or she would in a traditional gallery or museum setting. A description and explanation of the processes involved in the creation of this project is preceded by a discussion of different historical, cultural, and methodological ways by which artwork is or has been presented. Also referenced are different artists and philosophies that informed this project.
Department of Art

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7

Chan, King Lun Kisslan. „IGolf : contemporary sculptures exhibition 2009 /“. Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.

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8

Caldwell, Andrew E. „Daylighting and exhibition at the High Museum of Art“. Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23971.

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9

이윤영 und Yoon Yung Lee. „The Joseon Fine Art Exhibition under Japanese colonial rule“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.
published_or_final_version
Fine Arts
Master
Master of Philosophy

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10

Kim, Yong-Seung. „An approach to evaluating exhibition spaces in art galleries“. Thesis, University of Bath, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303059.

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11

Flannagan, Wickham Catesby. „Translation: A Journey Toward Ethnographic Art“. OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2233.

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This paper breaks down my process of transitioning to a new environment through ethnographic documentation. Through the progression of my creative work, I explore the various ways in which I express my own internal feelings through my art. By expressing an alienation within a foreign country in a multitude of filmic ways, these depictions help illustrate my mental and physical journey. My work is informed by psychoanalytic theory and I am most influenced by Jacques Lacan and Sigmund Freud. These theories help me understand the human condition and how I create media art to help me come to terms with my surroundings. Another part of my influence is the genre of ethnographic film, and in my use of this style, I attempt to portray the isolation that I’ve experienced as an American citizen while living in Ankara, Turkey. Many contemporary artists have influenced my approach to the post-production treatment of my ethnographic footage such as David Lynch and the Propeller Group. In addition to a summary of these influences, I discuss the thesis exhibition and my plans for the future.

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12

Columbus, Sanford Jillian. „Mobile Exhibition System“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1898.

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Through the development and design of a Mobile Exhibition System (MES) in this thesis, I will demonstrate the benefits and possibilities of a flexible and mobile system within an exhibition environment. A flexible system will be able to adapt to a wide range of content, while at the same time, maintaining a synergy between its form and function. By the reuse and reappropriation of shipping containers as the exhibition envelope, the goal of mobility can be achieved, reaching out to those who might not otherwise experience learning through an exhibition environment.

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13

Hatcher, Lynn Anne. „Exhibition in the Curriculum: Preparing Students to Complete the Artistic Cycle“. Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/49.

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This curriculum exposes students in Visual Arts classes to the art of exhibition and prepares them to complete the artistic cycle by exhibiting their own work and others. The curriculum is presented in the form of a guide book in which the main body of lessons are geared towards high school Intro to Art classes with quick tips and activities that are adapted toward all grade levels. By learning about all aspects of exhibiting art, theme development, installation design, accessioning and preparing art, and publicity, students are given another tool with which to create a connection with artistic mediums and history. The final goal is to infuse exhibition skills into every aspect of the curriculum as a natural part of learning and talking about art.

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14

Hatcher, Lynn A. „Exhibition in the curriculum preparing students to complete the artistic cycle /“. Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).

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15

Meynell, Katharine. „Time-based art in Britain since 1980 : an account of an interdisciplinary practice“. Thesis, Royal College of Art, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323001.

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16

Petcavage, Stephanie. „Fascist Art and the Nazi Regime: The Use of Art to Enflame War“. University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.

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17

Rodriguez, Kathryn Lorraine. „Henry Meloy the portraits : a narrative of the exhibition /“. The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05202008-125608/.

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The Montana Museum of Art & Culture (MMAC) exhibited the portraiture of Montana modernist painter Henry Meloy in July and August of 2007. As curatorial intern, I assisted in the mounting of this exhibition and researched the biography of and portraits created by Meloy. The professional paper describes the process of mounting the show from the acquisition of the permanent loan of the Meloy collection by the MMAC through exhibiting and and shipping the work. This description is supplemented with biographical information and critical assessment of the portraits, which show stylistic developments in visual arts in the United States between 1920 and 1950.

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18

Bernie, Victoria Clare. „The art of disappearance : the architecture of the exhibition and the construction of the modern audience“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23694.

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A critical culture requires that the site of appearance, the temporal coincidence of the subject, the object and the site, be acknowledged as a ground for meaning. Through a built investigation and a theoretical address this thesis examines the site of appearance for contemporary creative practice; the extent to which it continues to be defined by and contained within the conceptual frame of the Enlightenment aesthetic as the privileged discourse of the object. In a detailed analysis of the architecture of the exhibition, the 18th century Academy Salon and the Parisian bourgeois hotel are juxtaposed with examples from the late 20th century practice of site-specific exhibition. This comparison reveals an essential connection between art and architecture, between architectural form and social representation. An alternative concept of the exhibition as a site of appearance thereby acknowledges individual, temporally specific interpretation as a potential ground for critical discourse within the contemporary art institution.

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19

Arnold, Susanne K. „An Exhibition of Recent Work by Robert Colescott“. VCU Scholars Compass, 1989. http://scholarscompass.vcu.edu/etd/4343.

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My thesis project involved organizing, curating, designing and mounting a temporary traveling exhibition of recent work by Robert Colescott, a nationally-known black American artist. The Eye of the Beholder: Recent Work by Robert Colescott was installed at the Marsh Gallery of the University of Richmond September 7-28, 1988. It included 12 large-scale acrylic paintings on canvas and four framed drawings completed since 1981. Colescott's figurative paintings are known for their satirical commentary on society in America and on the history of Western art.

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20

Marshy, Mona C. „Visual art, exhibition, and musical performance : performing Palestinian identities in exile“. Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24906.

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Both art and identity are constituted through institutional, transnational, transcultural, aesthetic, bodily, discursive and social processes. Individual subjectivities are given language, bodily expression, validation, and social force through artistic expression. Understanding aesthetic 'languages' and processes of art provides insight into the dislocation of Palestinians in the context of contested collective narratives and disrupted languages of signification. This thesis examines how works of visual art, musical performances, and exhibition contexts shape discourses of identity and experiences of belonging for artists and audiences. Dispossessed of their ancestral homes and land, and dispersed throughout the world, Palestinians are removed from the historical places of memory that are central to the Palestinian national narrative. This dissertation examines works of art and performances by selected Palestinian artists living in the West (five in Canada, one in the United States, and one in England). The artists reflect a wide range of diaspora experiences and negotiations, and the study provides insight into ways in which individuals and communities regenerate, recreate, and re-member themselves out-ofplace. I argue that the seven artists' works of visual art and musical performance enact memory, Palestinian national narratives, cultural politics, postmemory, and belongings. I also examine processes of exhibition, media representation, and cultural politics of a national museum exhibit in Canada, entitled The Lands Within Me: Artistic Expressions by Canadian Artists ofArab Origin, as a means of better understanding ways that institutional and representational contexts signify identities of art, artists, and audiences. The study demonstrates that art articulates as much with aesthetic styles and vocabularies as with transnational, transcultural, and historical forces. I argue that the works, performances, and exhibition processes enact identities and relations of power, and that at stake are boundaries of identity, as well as the geopolitics of multiculturalism and international relations.

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21

Ballard, Tammara L. „A Case Study of the Springville Museum of Art Pre-Exhibition Workshop“. BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.

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The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.

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22

Sharp, Michael G. „Ghost Water Exhibition“. BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6272.

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The Ghost Water exhibition of artworks by Michael Sharp was comprised of four main works titled: 30 x 60 Minute Grid Series, Suspension, History/Prehistory, and Lake Bonneville Remnants. The artwork was created as a reaction to the land that once held the prehistoric Lake Bonneville and to its current remnant Great Salt Lake. The work explores the dialogue between absence and presence.

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23

Chaney, Robert Lawrence. „Robert L. Chaney's the educational implications of the traditional art museum exhibition: a case study of a modernist exhibition design“. The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1334855180.

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24

Quinn, Lisa A. „Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums“. Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.

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25

Mantooth, Meredith Diane. „Reconstructing Disrupted Lives : the Canadian exhibition of children's art from refugee camps“. Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42211.

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During the 1980s International Observers from Canadian churches and development organizations went to Central American refugees living in Honduras and México who fled from conflict zones in El Salvador and Guatemala, respectively. While there the observers commissioned and collected drawings by children living in the refugee camps. Shortly after this, the drawings were exhibited across Canada from 1986-1987 as part of the exhibition Disrupted Lives: Children’s Drawings from Central America. In this paper I argue that the exhibition of children’s drawings gave voice to a silenced aspect of Latin American history – the experiences of children living abroad in refugee camps displaced by the violence and civil wars in their home nations Guatemala and El Salvador. The “unsilencing” (Michel-Rolph Trouillot; 1995) of their histories also positions the drawings as illustrated examples of testimonio as defined by John Beverley (2004).

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26

Smith, George Wilson. „Displaying Edinburgh in 1886 : the International Exhibition of Industry, Science and Art“. Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11771.

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The International Exhibition of Industry, Science and Art held in Edinburgh in 1886 was the first universal international exhibition to be staged in Scotland. This thesis examines the event as a reflection of the character and social structure of its host city and as an example of the voluntary organisation of an ambitious project. The background to the Exhibition is located in the progress of large-scale exhibitions in Victorian Britain, in competition between cities, and in Edinburgh’s distinction as an administrative and cultural centre and a national capital. The Exhibition’s organisers are situated within the city’s networks of power and influence and its circles of commerce, industry and municipal government. The space created to host the Exhibition is examined as an ideal depiction of Edinburgh as both a modern and a historic city. The origins of the exhibitors populating the Exhibition space are analysed, and their motivations and exhibiting strategies are scrutinised. The composition of the visitors to the Exhibition is considered and the development of the event as a venue for popular entertainment and spectacular display is discussed. In conclusion the chaotic aftermath of the project is examined, together with its influence on subsequent British exhibitions.

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27

Berryman, James (Jim) Thomas. „From field to fieldwork : the exhibition catalogue and art history in Australia“. Phd thesis, Canberra, ACT : The Australian National University, 2005. http://hdl.handle.net/1885/9528.

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This thesis examines the transformation of the exhibition catalogue in Australia, from modest exhibition documentation to autonomous publication. This discussion is largely confined to exhibition catalogues produced by Australia's public galleries between approximately1965-2002. The thesis considers why the exhibition catalogue experienced such a dramatic change in such a relatively short period. The thesis reveals how catalogues are shaped by the internal tensions and external pressures experienced by art institutions as their roles and responsibilities change over time. During the period in question, catalogues have kept track of developments in art history by experimenting with changing curatorial fashions and critical approaches. Viewed as a time series, the exhibition catalogue reveals subtle and significant clues about art in its changing institutional setting. The thesis explores the professionalisation of the public gallery network, the nexus between academic art history and the museum, and pressures affecting the management of exhibitions in Australia. Each of these factors has influenced the development of the exhibition catalogue. It is shown how catalogues possess a multiplicity of values, which are often contradictory, and how these values determine the catalogue's practical, commemorative and informative functions. To better understand the relationship between the art museum and the contexts and discourses within which art is produced and disseminated for critical appraisal, this thesis will draw upon a body of theoretical literature broadly known as the sociology of art. The work of Pierre Bourdieu provides a general theoretical framework. Methodologically, the thesis is qualitative. The massive proliferation of exhibition catalogues in Australia since the mid-1970s has meant that the samples examined are broadly representative. In this respect, the thesis has followed the examples of earlier, though less comprehensive, studies from abroad.

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28

Morrison, Ann Katherine 1929. „Canadian art and cultural appropriation : Emily Carr and the 1927 exhibition of Canadian West Coast Art - Native and Modern“. Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31244.

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In December 1927, Emily Carr's paintings were shown for the first time in central Canada in an exhibition called Canadian West Coast Art - Native and Modern. This event was held at the National Gallery of Canada in Ottawa, and marked a major turning point in Carr's career, for it brought her acceptance by the intellectual and artistic elite with their powerful networks of influence, as well as national acclaim in the public press. To this point, art historical writings have tended to focus on the artist and her own experiences, and in the process, the importance of this experimental exhibition in which her work was included has been overlooked and marginalized. This thesis attempts to redress this imbalance by examining the exhibition in detail: first, to analyze the complexities of its ideological premises and the cultural implications of juxtaposing, for the first time in Canada, aboriginal and non-native artistic production within an art gallery setting; second, to consider the roles played by the two curators, Eric Brown, Director of the National Gallery, and C. Marius Barbeau, chief ethnologist at the National Museum; and third, to indicate the ways in which Emily Carr's works and those of the other non-native artists functioned within the exhibition. During the 1920s, both the National Gallery and the National Museum were caught up in the competitive dynamic of asserting their leadership positions in the cause of Canadian nationalism and the development of a national cultural identity. In this 1927 exhibition, these issues of nationalism, self-definition and the development of a distinctly "Canadian" art permeated its organization and presentation. The appropriated aboriginal cultural material in the museum collections that had languished within storage cases was to be given a contemporary function. It was to be redeemed as "art," specifically as a "primitive" stage in the teleological development of the constructed field of "Canadian" art history. In this elision process, the curators relegated the native culture to a prehistoric and early historic past, suppressing its own parallel historical and cultural development. The exhibition also presented the native objects as an available source of decorative design motifs to be exploited by non-native artists, designers and industrial firms in their production of Canadian products, underlining the assumption of the right to control and manipulate the culture of the colonized "Other." Emily Carr"s twenty-six paintings, four hooked rugs and decorated pottery represented the largest contribution from any single artist. In their interpretations of the native culture, Carr and the other non-native artists were also engaged in a "self-other" definition, and had filtered their perceptions through the practices and conventions of western art traditions, especially in the use of modernist techniques. In the context of the exhibition, the artistic production by the fourteen non-native artists, including Carr, was caught up in a reaffirmation of the ideological and cultural positions of the two curators and the institutions they represented. The alternate discourses that could have been provided by the native people remained unheard.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

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29

Lauritis, Beth Anne. „Lucy Lippard and the provisional exhibition intersections of conceptual art and feminism, 1970-1980 /“. Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925733141&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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30

Hollis, Alan D. „Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community“. University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.

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31

Heighton, Luke. „Exhibiting madness, art & the asylum : the creation & exhibition of images by psychiatric hospital patients in Vienna, 1890-1914“. Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565893.

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32

Baker, Daniel Alexander. „Technologies of encounter : exhibition-making and the 18th century South Pacific“. Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13703/.

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Between 1768 and 1780 Captain James Cook led three epic voyages from Britain into the Pacific Ocean, where he and his fellow explorers- artists, naturalists, philosophers and sailors, were to encounter societies and cultures of extraordinary diversity. These 18th Century South Pacific encounters were rich with performance, trade and exchange; but they would lead to the dramatic and violent transformation of the region through colonisation, settlement, exploitation and disease. Since those initial encounters, museums in Britain have become home to the images and artefacts produced and collected in the South Pacific; and they are now primary sites for the representation of the original voyages and their legacies. This representation most often takes the form of exhibitions and displays that in turn choreograph and produce new encounters with the past, in the present. Drawing on Alfred Gell's term 'technologies of enchantment' my practice reconceives the structures of exhibitions as 'technologies of encounter': exploring how they might be reconfigured to produce new kinds of encounter. Through reflexive practice I critically engage with museums as sites of encounters, whilst re-imagining the exhibition as a creative form. The research submission takes the form of an exhibition: an archive of materials from the practice, interwoven with a reflective dialogue in text. The thesis progresses through a series of exhibition encounters, each of which explores a different approach to technologies of encounter, from surrealist collage (Cannibal Dog Museum) and critical reflexivity (The Hidden Hand), to a conversational mode (Modernity's Candle and the Ways of the Pathless Deep).

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Shanks, Sarah M. „The Memory Yields: B.F.A. Thesis Exhibition“. Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1401583720.

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34

Petersen, Charlise. „Visual trauma: Representations of African bodies in the 1983 Contre Apartheid Exhibition“. University of the Western Cape, 2018. http://hdl.handle.net/11394/6254.

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Magister Artium - MA (English)
After the 1976 student uprising, South Africa entered a period of increased violent state repression. The struggle against apartheid also became increasingly globalised, as can be seen in the UN resolution and the rise of various international anti-apartheid organisations. My thesis looks at the various ways in which art was used as a response to the crisis of late apartheid in the 1980s, focusing on a landmark international exhibition, the Art Contre Apartheid exhibition which opened in Paris on 1983. It examines the context and history of the Art Contre Apartheid collection, and follows its path to its current location at the Mayibuye Archive at the University of the Western Cape, where it mostly languishes in packing crates. My research locates its analysis of the works in broader debates around art and politics during the struggle years in South Africa, but also to highlights the continuities and contrasts between international responses to apartheid, and local struggle art produced in the period surrounding the launch of the exhibition. Some of most compelling works of art in the collection depict the human form, and register acts of torture. The analysis focuses specifically on depictions of a fragmentation and dismemberment of the human body. Drawing on Elaine Scarry's argument about the limitations of language as an adequate response to trauma, my research develops an analysis of these works that demonstrates how the body becomes a privileged site in which violent political contestations are made visible. The thesis also deals extensively with the 'absence of form', which highlights the various instances in the ACA collection where abstract art was used as a signifier of pain, and thus the unspeakable effects of apartheid.

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Halfpapp, Andi. „Pars pro toto: Experimental exhibition design and curatorial paradigms“. Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87097/1/Andi_Halfpapp_Thesis.pdf.

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'Pars pro toto: Experimental Exhibition Design and Curatorial Paradigms' is situated within the ongoing debate over the conflation of art and curating, and the subsequent tension between artistic autonomy and curatorial intervention. This practice-led research project acclimates these polarities using a collaborative and discursive curatorial methodology in the creation of two exhibitions. Both exhibitions, one digital and one primarily physical, investigated how the temporary exhibition can operate as a site for provocation, how the suggested methodology facilitates the relationship between artist and curator within this paradigm, and outlines factors that assist in expanding the definition of the contemporary curatorial role.

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Lieberman, Christina Michele. „A handbook for developing an exhibition guide for a student union art gallery“. Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.

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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.

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McKeon, Joseph Michael. „Constructuing the Category Entartete Kunst: The Degenerate Art Exhibition of 1937 and Postmodern Historiography“. Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1142622901.

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38

Andreotti, Libero. „Art and politics in Fascist Italy : the Exhibition of the Fascist Revolution (1932)“. Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14179.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.
Title as it appeared in M.I.T. Graduate List, Sept. 1989: Art and politics in Italy; the Exhibition of the Fascist Revolution.
Includes bibliographical references.
by Libero Andreotti.
Ph.D.

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Van, der Heijden Merijn. „The Exhibitionary Complex: An Inquiry into the Role of the Modern Art Exhibition“. The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394802552.

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40

James, Shana. „Down the rabbit hole: An Exhibition – and – Alice in Wonderland engaging with the reflexive project of the self: An exegesis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2473.

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Alice’s Adventures in Wonderland is a culturally significant text that is widely known across many cultures. In this Victorian story, a little girl follows the talking White Rabbit down a rabbit hole to uncover a fantastical parallel world. Alice in Wonderland has remained in print for over 150 years, highlighting its continued relevance to generations of readers. This exegesis investigates the making of visual artwork that responds to this significant story, exploring the symbology and metaphorical nature of the text and seeing the story as a “reflexive project of the self” (Giddens, 1991, p. 5). I began this research having already created two exhibitions based on Alice in Wonderland and with a desire to understand the text in more depth. As I became immersed in the subject, I discovered the importance of contextualising my exploration with an understanding of the author, Lewis Carroll, and the English Victorian society that he was a part of. Moreover, seeing the story as both a hero’s journey and a kind of dictionary of Jungian symbols, this exegesis explores the self-actualisation of Alice through the theories of Giddens, Campbell and Jung. Using these three theories, I apply my knowledge to a close reading of the text and uncover a wealth of visual imagery. Through making artworks responding to the story, I have investigated the interplay between the individual, society, and self-actualisation of the individual. Alice in Wonderland has been re-imagined extensively. Therefore, it is relevant for me to research how Alice has been reinterpreted over time by popular culture, including the domination of this imagery by The Walt Disney Company (Disney). Additionally, I investigate some of the visual artists who, like myself, have found an interconnection between the visual world and this remarkable piece of literature. From the many visual artists who have re-imagined the story, I have chosen to focus my attention on artists who have perceived Alice in relation to their own lifeworld and have reinterpreted the story to correspond with their own concerns and experiences. These artists are Charles Blackman, Salvador Dali, Jenny Watson, Yayoi Kusama and Peter Blake. I conducted this research having managed a sustained art practise over the last 30 years. I have explored my studio practice and recognised the inherent intelligence in the processes I use, and I have rediscovered my making as a collaboration with materials. I am a mid-career artist and have exhibited widely, including nine solo shows and numerous group exhibitions, and I have had artworks acquired by recognised collections. I have undertaken this research with the understanding that, at this time, I must engage more rigorously with my artwork and generate a critical and theoretical framework for my practice. The culmination of this practice-led research is my exhibition, Down the Rabbit Hole, at the Spectrum Project Space, Edith Cowan University, Perth, Australia, where I continue to respond to the story with printmaking and installation, creating a dynamic space for viewers to contemplate themselves in relation to the story.

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Robledo, Arcos Maria Andrea. „Electronic design and publishing for the Mexican textiles exhibition /“. Online version of thesis, 1990. http://hdl.handle.net/1850/11249.

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42

Hoben, Kelly Anne. „AUTHORSHIP, AGENCY, AND AUTHENTICITY IN THE STUDENT-CENTERED ART EXHIBITION: A PARTICIPATORY ACTION-RESEARCH CASE STUDY“. Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211980552.

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43

Weier, Katrina. „Lessons from an interactive exhibition: Defining conditions to support high quality experiences for young children“. Thesis, Queensland University of Technology, 2000. https://eprints.qut.edu.au/36628/1/36628_Digitised%20Thesis.pdf.

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During their early years, young children are exposed to a range of learning settings, both formal and informal. This study focused on young children's engagement and reflection in an informal museum context. Using qualitative research methodology, a three-week community art project, The Art of Eric Carle, was examined. This setting combined an interactive art exhibition and an art studio workshop, to resemble the informal learning context characteristic of popular, contemporary, interactive museum venues of all kinds. Through a descriptive interpretative analysis, the study aimed to document the experiences and abilities of young children (aged birth to eight years) as artists and art appreciators within this environment. A broader aim of the study was to identify a range of conditions that support high quality experiences for young children in informal learning settings in general. A detailed set of ideal criteria, encompassing the physical, programming and social components of the learning setting was developed and applied to The Art of Eric Carle project. The findings of the study clearly demonstrated that certain conditions enhance young children's engagement and reflection in informal learning settings. While physical, programming and social factors all play a role in forming young visitors' experiences, it is the social component of the learning environment, specifically children's interactions with adults, that determines the quality of their encounters. Social exchanges assist children to interpret the museum environment and its exhibits and to successfully take part in the learning experiences offered. A synergistic relationship exists between physical, programming and social factors, and with equal attention given to each of these aspects of the informal learning setting, high quality experiences can be provided for young children.

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McKeon, J. Michael. „Constructuing [sic] the category Entartete Kunst the Degenerate Art exhibition of 1937 and postmodern historiography“. Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1142622901.

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Howard, Justin K. „The Barbershop: a photographic documentation and exhibition“. VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/854.

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In this project I explore the environment that surrounds and frames my life experiences. Interests in form, architecture, vernacular typographyand community blend into a photographic documentationcommunicating my perceptual experience of Richmond barbershops through public exhibition.

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Wray, Lynn Marie. „Turning left : counter-hegemonic exhibition-making in the post-socialist era (1989-2014)“. Thesis, Liverpool John Moores University, 2016. http://researchonline.ljmu.ac.uk/4426/.

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This research examines how the practice of curating has been used to further counter-hegemonic agendas in public art institutions since 1989. The central aim is to provide a fuller, contextualised, and medium specific understanding of the how the institutional exhibition might be used to challenge the hegemony of neoliberalism and the post-political consensus politics that sustains its dominance. It provides insights, through both historic case studies and reflective practice, that problematise the idea that the institutional art exhibition is a viable medium for counter-hegemonic critique, or represents the ideal space for the development of an agonistic public discourse. This thesis presents collaborative research undertaken with Tate Liverpool and Liverpool John Moores University. The research presented both extrapolated from, and contributed to, the development of an exhibition, co-curated with Tate Liverpool, entitled Art Turning Left (8 November 2013 – 2 February 2014) and a supplementary publication of the same name. The first section investigates how the idea that curators can counter neoliberal dominance, through institutional exhibition-making, developed. It draws from analyses of previous exhibitions, and the theory of Chantal Mouffe, in order to critically evaluate the curatorial application of counter-hegemonic critique and agonistic practice. It also provides a review of how exhibitions (held in major art institutions since 1989) have articulated politics, in order to determine their relationship to neoliberal dominance, and to identify significant gaps in the dialogue facilitated by these institutions. These analyses provides the theoretical and contextual grounding for the final two chapters, which provide a rationale and critical evaluation of my own attempt to develop an alternative counter-hegemonic curatorial strategy for the exhibition at Tate Liverpool. They document, and analyse, the areas of dissensus, and the ideological and pragmatic limitations that emerged, in trying to realise these theoretical propositions (in practice) in a public art museum. The thesis therefore provides a critical framework for the development of an alternative practice that positions the exhibition as a form of post-political critique and specifically targets the hegemonic role that institutional exhibitions play in reinforcing class distinctions and devaluing nonprofessional creativity.

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Högström-Schnee, Linn. „Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm“. Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547.

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The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The Timeline. The exhibition presents Western art from 1500 to 1914 and design and portraiture from 1500 until today in a chronological arrangement. In the first chapter of the analysis, the exhibition is compared to previous arrangements of the permanent art exhibition at Nationalmuseum, as well as to historical museological trends. In the second chapter, Carol Duncan’s perspective of the ritual structure is applied in order to explore how the specific design of the exhibition affects visitors and objects, and how mening and narrative is created. The study does not primarily focus on individual objects, but on the general design and structure of the exhibition space. The study concludes that historical references can be found in the current exhibition – mainly to a sensual, intimate, and aesthetic mode of display from the early twentieth century. Some principles which have been dominating in art museums since the mid-twentieth century are challenged, including the isolation of objects; use of vast, empty spaces; division between different object categories; and sparse, single-row hanging. The varied and dynamic hanging of the current exhibition, in contrast to a repetetive one, creates different patterns of movement and object-visitor interactions. Still, the ritual structure of the exhibition works to direct visitor attention and behaviour, conveying an art-historical narrative. Meanings concerning objects’ historical context are fascilitated through the interplay between visual arrangement and textual information.

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48

Parcollet, Remi. „La photographie de vue d'exposition“. Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040222.

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L'Exposition a fait l'objet de nombreuses analyses et pourtant son rapport à la photographie est rarement évoqué. Considérée comme un procédé, elle développe de nombreux liens avec celui de la Photographie. Toutes les deux consistent à "montrer". Au-delà de leurs analogies, la Photographie et l'Exposition sont interdépendantes. L'étude de l'Exposition passe désormais inévitablement par la photographie. Les artistes et les commissaires utilisent aujourd'hui la photographie non pas comme une finalité mais comme un outil permettant de penser la mise en espace. Une photographie de vue d'exposition n'est jamais une reproduction, elle se détermine en fonction du temps et de l'espace. Elle est, avant, pendant et après l'exposition, à la fois un indicateur et un vérificateur. Les indices qu'elle fournit constituent des éléments de l'analyse critique de l'exposition. La mise en photographie dont l'exposition a toujours fait l'objet permet les "comparaisons", et "vérifications" qui influent, par voie de conséquence, sur sa conception.Car l’acte d’exposer, régulièrement remis en question, est en perpétuelle évolution. Parce qu'il s'est autonomisé, il est toujours plus difficile de l'appréhender. S’attacher à ses ambiguïtés, notamment celle de son "devenir-image", permet d'en mesurer toute la complexité. Ce qui ouvre certainement la voie à de nouvelles stratégies d’étude qui permettront progressivement une compréhension plus complète et mieux opératoire de son influence certainement décisive sur l’évolution à venir de l’art contemporain
The Exhibition as format has been the object of numerous analyses and nevertheless its relationship with photography is rarely evoked. Considered as a process, it develops numerous links with the process of Photography. Both consist in "showing". Beyond their analogies, Photography and Exhibition are interdependent. The study of Exhibitions is now inevitably related to photography. Today artists and curators use photography not as an end but as a tool allowing them to think about space.An exhibition view is a photograph but it is never a reproduction, it is determined according to time and space. It indicates and verifies at the same time, before, during and after the exhibition. The indications it supplies establish elements for the critical analysis of the exhibition. The process of photography, to which exhibitions have always been submitted allows "comparisons", and "verifications" which influence, consequently, its conception.Because the act of exhibiting, regularly questioned, is in perpetual evolution. Because it is autonomous, it is always more difficult to comprehend. Focusing on its ambiguities, in particular its capacity to become an image, allows to measure its complexity. This probably opens the way to new strategies of study which will gradually allow a more complete and effective understanding of its certainly decisive influence on the future evolution of contemporary art

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Wawzonek, Donna. „Constructions of home, the interrelationship between gendered exhibition sites and contemporary Canadian installation art“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0004/MQ32384.pdf.

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McCann, Therese Marie. „Art, Artifacts, and Residue: The Space of The Exhibition in Ann Hamiltons indigo blue“. The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529698973965083.

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