Dissertationen zum Thema „Landscapes in art – exhibitions“
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1
Stretch, Eleanor Eunice, und mikewood@deakin edu au. „Using site as the medium of image-making at Tower Hill“. Deakin University. School of Contemporary Arts, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.144857.
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Briggs, Susan H. „Landscape as metaphor: artist as metaphier“. Thesis, Curtin University, 2002. http://hdl.handle.net/20.500.11937/1470.
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This research records a three year journey of exploration through the visual arts, specifically painting and drawing in relation to the landscape. The written work presented here provides a support document to my final exhibition of paintings that were exhibited in the John Curtin Gallery at Curtin University of Technology from November 24th - December 15th 2002.The writing of this exegesis is in itself a creative piece, but it is not the same as the visual research that culminates in the paintings. I am convinced that to talk about creating art actually leads one away from being in the experiencing of that art, hence this writing discusses the processes involved and not the finished work. My primary objective within this exegesis is to present a discussion centred around some of the philosophical issues that became visible whilst carrying out my practical work. This discussion is also about process itself in art making practices and research, hence this exegesis is intended to run as a parallel to the visual body of work as presented in the final exhibition of works held in the John Curtin Gallery.I have intentionally used my own practice as a device to question the choices and outcomes of art making generally in an effort to add a little colour to the larger discourse of creative practices. Some of the writing may seem personal (apart from the journal notes) and again, this is an intentional device in order to bring about a sense of embodiment within the writing itself and a way of mirroring the processes within the paintings.
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Briggs, Susan H. „Landscape as metaphor : artist as metaphier /“. Curtin University of Technology, School of Art, 2002. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=14292.
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This research records a three year journey of exploration through the visual arts, specifically painting and drawing in relation to the landscape. The written work presented here provides a support document to my final exhibition of paintings that were exhibited in the John Curtin Gallery at Curtin University of Technology from November 24th - December 15th 2002.The writing of this exegesis is in itself a creative piece, but it is not the same as the visual research that culminates in the paintings. I am convinced that to talk about creating art actually leads one away from being in the experiencing of that art, hence this writing discusses the processes involved and not the finished work. My primary objective within this exegesis is to present a discussion centred around some of the philosophical issues that became visible whilst carrying out my practical work. This discussion is also about process itself in art making practices and research, hence this exegesis is intended to run as a parallel to the visual body of work as presented in the final exhibition of works held in the John Curtin Gallery.I have intentionally used my own practice as a device to question the choices and outcomes of art making generally in an effort to add a little colour to the larger discourse of creative practices. Some of the writing may seem personal (apart from the journal notes) and again, this is an intentional device in order to bring about a sense of embodiment within the writing itself and a way of mirroring the processes within the paintings.
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Li, Vivian Yan. „Art negotiations : Chinese international art exhibitions in the 1930s“. Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.
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Forstrom, Melissa. „Interpretation and visitors in two Islamic art exhibitions“. Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.
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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideologies like Orientalism and Islamophobia. Contemporaneously, there has been a steadily growing body of research on interpretative theory in new museology. However, no significant attempt has been made to amalgamate and apply the recent academic research in interpretative theory, including design interpretation, museum graphics and written interpretation to the analysis of Islamic art exhibitions. This thesis examines the interpretation, the process(es) of interpretation production and visitors responses in two Islamic art exhibitions in the United States: the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia (New Galleries) at the Metropolitan Museum of Art in New York City and Pearls on a String: Artists, Poets, and Patrons at the Great Islamic Courts (Pearls) at the Walters Art Museum in Baltimore, Maryland. This thesis utilizes a triangulated methodological approach where the theoretical research in interpretative theory is applied to a case study of New Galleries interpretation. A critical reflection method is adopted to examine the author’s professional involvement in the Pearls exhibition. Summative visitor evaluations of both exhibitions were undertaken in order to better understand the meanings visitors’ make. Ultimately this thesis argues that a unified, process-based approach (Whitehead,2012) to interpretation with both design and written interpretation is important because of the association or slippage between Islamic art exhibitions and the broader social and political contexts.
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McGirr, Diana Rosemary. „Legitimate landscapes: repositioning regional art production“. Thesis, Curtin University, 2016. http://hdl.handle.net/20.500.11937/48488.
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This thesis employs art history and critical ethnography to examine contemporary art production in the South West of Western Australia. Responding to a paucity of publications and critique, and a claim the art scene is ‘folksy’ and ‘not up-to speed’ with metropolitan art scenes, I argue that ‘being regional’ is a legitimate position on its own terms and as part of a growing global tendency to recognises the validity of regional contexts and perspectives.
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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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Fuller, Michele. „Reviewing medium: paint as flesh“. Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.
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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Jordan, Benjamin Thomas. „Synthetic Landscapes“. VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4303.
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My work explores the complex social geography of modern society and the intricate relationship between mankind and the environment. Through this work I explore the past and present lineage of manifest destiny, from its beginnings in Europe to western expansion in America, to forms it has takes in contemporary America. These ceramic forms serve as the conceptual grounds to explore the romanticizing of the western landscape especially from an individual and group perspective. I simultaneously celebrate the history of the pastoral life while questioning the authenticity, and motivations of that lifestyle, and use this platform as a jumping off point to ask questions about humanities complicated relationship with nature. Through hand-labor, contemplative making, and a reverence for tradition, I explore both interrelated and divergent human perceptions using clay as my primary medium.
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Asquith, Wendy. „Haiti and art : curating the nation for international exhibitions“. Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
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Kamata, Mayumi. „Chinese art exhibitions in Japan, ca 1900 to 1931“. Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.
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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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Zhang, Linzhi. „Contemporary art and the exhibitionary system : China as a case study“. Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289428.
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The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to explain how the exhibitionary system shapes artistic production. The answer was sought by observing exhibition making in the Chinese exhibitionary system, from which quantitative data about 1,525 exhibitions, held in 43 exhibition spaces between 2010 and 2016, were also collected. I argue that the exhibition context shapes the physical basis of individual artworks and the construction of an artist's oeuvre. Through the contextualised creation of artworks for public viewing, artists aim to raise their visibility, which is crucial for artists' career prospects and symbolic consecration. An artist's visibility is, however, constrained by where she exhibits and with whom she co-exhibits. My method for measuring visibility reveals its binary nature, divided along a singular dimension and a collective dimension. Yet no binary division between the non- profit and for-profit is found within the exhibitionary system with regards to the selection of artists. Rather, both sectors contribute to a dual selection of marketable artists. A model of professional autonomy, which reconciles "art and the market" on the level of practices and awareness, prevails in the exhibitionary system. The sociology of exhibitions has solved persistent theoretical problems in the sociology of art. My empirical findings give rise to new research questions. Finally, I have offered a dialogue between studies of non-western and western cases within the same framework.
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Cook, Shashi Chailey. „"Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /“. Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
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Frears, Lucy. „Unlocking landscapes using locative media“. Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/13330/.
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This interdisciplinary research is situated within the practice and discourse of locative media at the confluence of art, location and technology. The practice-based research project aims to use the arts to address a crisis arising from rapid redevelopment in a marginal coastal town – Hayle, Cornwall. A recent supermarket build on a prominent Hayle heritage quay led to UNESCO’s threat to de-list the entire Cornwall and West Devon Mining Landscape World Heritage Site, awarded only in 2006. Research builds on recent findings on the link between increased sense of self and community cohesion through connection to heritage and participation in the arts. Media artists, participants and theorists have indicated that locative media experiences can promote connection to landscapes and their histories. However, these claims are unsubstantiated by empirical research to date. This research seeks to redress that through systematic analysis (unusual in the arts and therefore distinct). The main research question posed was: Does locative media allow people to develop a deeper connection with landscape and, if so, how? A smartphone deep map app was created – an evocation of a Cornish post-industrial landscape assembled from audio memory traces, sound and visual images revealed using GPS and the moving body. The Hayle Churks app weaves past and present, absence and presence and digital content into physical place. The Hayle Churks app is a research tool and published creative practice that received a national award in 2014. The empirical data is an original contribution to knowledge. Additional contributions include a timeline – a historical overview of the relationship between locative media art and emerging technologies and a deep map app reference tool for artists. The research explores the role of immersion and embodiment and how recording and listening to audio and voice performance affect immersion. Readers of this thesis are encouraged to access the Hayle Churks smartphone app prior to and during reading.
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Palmer, Daniel. „Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000“. Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.
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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable category of 'Conceptual art,' but played an active role in the construction of that category. Through individual case studies, this thesis analyses the processes through which the history of this relatively recent art 'movement' has been elaborated. It seeks to understand how works of art can be accommodated to a museum-based art history and how they can be called upon to support particular curatorial narratives. At the same time, it considers to what extent they may be able to resist the conditions of display imposed upon them and may, instead, continue to signify independently of curatorial intention. In so doing, this thesis re-emphasizes the notion of critical practice, as well as the performative and discursive dimensions of Conceptual art that have often been passed over in historical exhibitions. It rejects the "oppositional" model of radical artists pitted against conservative institutions and argues for an understanding of Conceptual art based upon the recognition that claims for its independence from the institutional art world were made within the available rhetorics of a discourse that sustains the self-identities of both artists and institutions. Ultimately, this thesis reflects the understanding that to continue to regard artist and institution, artwork and exhibition, in their isolated functions is to fail to attend to the ways in which art, as a social practice, may support broader ideological structures.
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Borchardt-Hume, Achim. „The history of the Esposizione Quadriennale d'Arte Nazionale 1927-1943 : sixteen years of aesthetic pluralism under Facist patronage“. Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248636.
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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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Price, Brandi. „Aural Landscapes“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2451.
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Music and design draw upon innate parallels concerned with the creation and existence of space. By acknowledging the roles of both the visual and the aural in my design process as input and output, I attempt to achieve a deeper understanding of my intuition as a visual communicator. I believe that the visual and aural are linked—existing harmoniously together. The collected works present ever-evolving ideas on visualizing the experience of sound.
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Holland, Nicole Murphy. „Worlds on view visual art exhibitions and state identity in the late Cold War /“. Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.
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Thesis (Ph. D.)--University of California, San Diego, 2010.Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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Smith, Matthew. „Unpresentable landscapes and the art of the index“. Thesis, University of Newcastle Upon Tyne, 2012. http://hdl.handle.net/10443/1913.
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This practice-led PhD determines an aesthetic approach through which a sense of the ‘unpresentable’ may be exposed within camera-based representations of the industrial landscape. Through an interrogation of contemporary lens-based media, it proposes ways in which experiences problematic to representation – such as the sublime, the uncanny and the traumatic – might be revealed within photographic/filmic images of such landscapes. The culmination of the practical element of the project is a 25-minute narrative-based, single channel video piece entitled Re: Flamingo, which combines HDV and Super-8 footage with digital and traditional still photography. The narrative structure of the work is based on E.T.A. Hoffmann’s short story The Sandman (1816), which Freud cited in his essay The Uncanny (1919). Re: Flamingo is a semiautobiographical variation on that tale, consisting of an email conversation between the artist, his father and the fictional ‘Clara’. Through this correspondence, the piece reveals correlations between themes in The Sandman and Ridley Scott’s science fiction film Blade Runner (1982) (e.g. traumatic memory, a fascination with eyes/sight and each protagonist’s obsession with mechanized life). It reflects upon how the industrial landscape of Teesside – which inspired many of the visuals in Scott’s film – has been remembered in different photographic media by three generations of the artist's family. The practical submission is supported by a contextual written element, which consists of two parts. Part One is a theoretical review. Firstly it traces philosophical and aesthetic approaches to the sublime, its representation, its status as a subjective experience and its presence within the industrial landscape (Lyotard, Kant, Derrida, Nye). This is continued through an analysis of the related theories of the uncanny and the traumatic (Freud, Vidler, Luckhurst), their association with industrialization and relationship with lens-based media. The uncanny qualities of the photographic and cinematic image are examined alongside correlations of the indexical properties of such images with trauma (Mulvey, Barthes). Finally, an analysis of the camera image’s indexical status in the wake of digitization, and its consequent alignment with artforms such as painting (Gunning, Rodowick, Manovich), assesses its potential for expressing subjective experience. Part Two of the contextual element explores creative approaches to the themes outlined in Part One. Firstly, it examines Canadian artist Stan Douglas’s film piece Der Sandmann (1995), which exposes a sense of the uncanny in the landscape of pre- and post-reunification Germany. Secondly, it reflects upon Blade Runner’s significance to the practical element and its correlations with the Sandman narrative. The final section of Part Two details the development and formation of the studio research, documenting its distinctive approach to figuring a sense of the unpresentable within camera-based representations of the industrial landscape.
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Pontelli, Elena. „Landscapes before the landscape in ancient Etruscan art“. Thesis, IMT Alti Studi Lucca, 2022. http://e-theses.imtlucca.it/347/1/Pontelli_phdthesis.pdf.
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This thesis approaches the broad field of landscape study from a specialized standpoint, namely by investigating the different ways in which landscape is represented in Etruscan art.
In particular, this analysis aims to identify the significance of what we might nowadays refer to as “landscape elements” in the production-fruition systems of Etruscan visual culture. The iconographic analysis presented here shows that landscape features are working material which, employed in relation to other image elements, express specific meanings in the construction of the image.
This thesis begins with an historiographical overview of the ways landscape representation has been investigated over time, including by visualizing the relationships and influences between the different disciplines that have approached landscape as a research topic. The core section then considers all kinds of representations of landscape elements (landscape elements that appear isolated within images as well as more structured and coherent ensembles of landscape features) in Etruscan art, from its earliest period to the threshold of Hellenism. The analysis and presentation of images is based on a ‘situational’ categorization (theme/context-based categories) designed to enable transversal readings. Dealing with the multiple ‘landscapes’ that existed before the landscape (aesthetically appreciable as a pictorial theme), entails moving along two different but interconnected paths. On the one hand, we can see landscape features performing different functions in different visual occurrences. On the other hand, from the perspective of an unfolding elaboration of figurative structures, these features can be analyzed as individual signifying structures that were only organized into broader uniform configurations over time.
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McMasters, Neil G., und neilgmcmasters@mac com. „Impressions from Virtual Landscapes“. RMIT University. Art and Culture, 2003. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090715.142840.
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The aim of this project was to build and render digital landscape models that reflect natural element characteristics and use the resulting data sets as source material for fine art investigation and production. The project utilized 3D computer modeling techniques, selected output technology and studio facilities. Computer-generated virtual landscapes material was incorporated into studio practice by providing observed environmental content for the development of works for exhibition. An accompanying exegesis explored the relationship and tensions between digital landscape data sets and the broader use of landscape as a motif within an Australian context.
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Turner, Sarah Elizabeth. „Constructing landscapes : art in Neolithic and modern southern Brittany“. Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446864/.
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The aim of this thesis is to study the concept 'Neolithic art' in one area of southern Brittany, between the Etel and Auray rivers, with some attention to the best known sites in the Gulf of Morbihan. The thesis is divided into three main sections each of which 'translates' 'Neolithic art' from a particular perspective, or, in terms of the title of the thesis 'constructs landscapes' through 'art'. The thesis is therefore a study of 'art' and how it is part of, and is understood in, the surrounding world. Each section of the thesis is considered as a 'frame', which discusses 'Neolithic art' from a different perspective. Each frame develops one idea of a landscape, which is explored through, and which creates 'art'. The first 'frame' is considered in Chapter 2 of the thesis, and is an enquiry into how the genre 'Neolithic art' was created and developed in Brittany as an archaeological study. The second 'frame', Chapters 3 to 5, is a subjective account of how 'Neolithic art' might have been constructed or used in the Neolithic period itself. The third frame, considered in Chapter 6, is an examination of how tourists might understand and create 'Neolithic art' in Brittany. As each frame is developed it is shown that one must go beyond the motifs to understand the concept 'art'. It is through 'art' features such as the colour, texture and shape of monuments, in essence the monuments themselves, and through different sensory experiences of the monuments and the surrounding world, which are beyond the carved motifs, that we see, within the context of the thesis, how complex and wide reaching the sense of 'art' really is and how it must be considered as part of our experience of the environment in which we live. Together the three frames offer three different but inter-dependent experiences of Neolithic 'art' in the landscape, and result in the creation of three recognisably different constructions of 'art' in the lived-through-world. Taken together, the three frames show how 'art' can be constructed, but also how it constructs meaning, in the lived-through-world - constructing landscapes through 'art' - in different, contrasting and changing ways. By considering the same objects within different frames of experience the intention is to show, from the micro-scale (motif) to the macro-sale (monuments and landscape), how 'Neolithic art' can be created, how it can mean, and how it is constantly changing, multivalent and broad reaching.
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Petty, Nancy. „African Art in Western Museums: Issues and Perspectives“. Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/992.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Art History
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Floe, Hilary Tyndall. „The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change“. Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Lindqvist, Ursula Anna Linnea. „The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /“. view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.
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Avgita, Louisa. „The remaking of the Balkans in contemporary art exhibitions : a critical view“. Thesis, City University London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580612.
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In this thesis, I discuss critically contemporary visual art exhibitions that have addressed the Balkans as a structure of representation. These exhibitions, fourteen in number, have been organised by international and local curators in Western and Central European cities and in the Balkan region between 1999 and 2006. I consider these exhibitions as ideological mechanisms which in their effects formulate Balkan "otherness", and sustain neoIiberal policies and market cultural particularities. Curatorial discourses are examined in relation to critiques of stereotypical representations of the Balkans, systematised in the discourse of Balkanism. The critique of Balkanism was elaborated in the 1990s and 2000s by theorists notably Maria Todorova and draw a distinction to Edward Said's notion of Orientalism. I adopt two methodological axes to provide the basis for my analysis of the exhibitions. The first axis addresses the Balkans as a concept which reflects the immaterial character of Western domination in the region; the second defines Balkan particularity in opposition to the universaIism of humanism and Marxism. These provide the critical basis for the analysis of "the Balkans" as a concept that systematises Balkan ambiguity as cultural particularity disregarding the materiality of the capitalist structures in which it has been formulated as yet another cultural product. In the exhibitions, the imaginary, immaterial character of the Balkans is manifested in the particularity of Balkan ambiguity and in concepts such as Balkan in-betweenness, heterotopia, invention, becoming, utopia and glocalism, all used in different ways to undermine the often rigid and authoritative universalist assumptions. In my view, the curatorial representations of the Balkans far from disputing Balkan stereotypes serve to typify Balkan particularity which is constructed as a brand name, and by so-doing naturalise the ideology of the universality of globalised capitalism which I understand as "false consciousness" and "cynical reason". Drawing upon Slavoj Zizek's idea of "parallax view", I contend that the Balkan stereotypical representations can only be contested if we change perspectives, engage with the universality of the "part of no-part" or class struggle and, therefore, question the very logic of capitalism which sustains the concept of the Balkans.
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Ghidini, Marialaura. „Curating Web-based art exhibitions : mapping online and offline formats of display“. Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6088/.
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This dissertation investigates the theory and praxis of curating web-based exhibitions from the perspective of a practitioner (the author Marialaura Ghidini). Specifically, it investigates how the web as a medium of production, display, distribution and critique has had an impact on the work and research of independent curators and the way in which they configure their exhibition projects. With a focus on the last decade, curatorial work of production and commission is considered in relation to technological developments, previous theoretical work into the mapping of exhibitions online and the analysis of case studies which are paralleled with the author’s own exhibition projects. What has emerged from this combination of theory, practice and comparison of approaches is the rise of a tendency in contemporary curatorial practices online: the creation of exhibitions that migrate across sites—online and offline—and integrate different components—formats of display and distribution—giving life to exhibition models which this study names as those of the 'extended' and 'expanded'. The figure of the curator as mediating ‘node’ is another characteristic emerging in relation to this tendency. Its features are identified through the observation of six case studies, which include Beam Me Up, CuratingYouTube and eBayaday, and interviews with their curators, and three projects that the author organised with the web curatorial platform or-bits-dotcom, 128kbps objects (2012), (On) Accordance (2012) and On the Upgrade WYSIWG (2013), which experiment with modes of integrating web-based exhibition with other exhibition formats, such as the gallery show and print publishing. Through combining contextual review and curatorial practice, this study names the tensions existing between online and offline sites of display and modes of production and commission, offering critical and practical ground work to discuss the tendency of migrating exhibitions and integrating formats within the larger context of curating contemporary art.
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Allison, Martha. „On the Beginning of Contemporary Tibetan Art: The Exhibitions, Dealers, and Artists“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1751.
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Contemporary Tibetan art has been internationally exhibited since the year 2000, and it continues to receive increasing recognition among international galleries and collectors. This thesis focuses on three major contributing factors that have affected the rising success of the contemporary Tibetan artists. The factors include ways in which popular stereotypes have influenced Western museum exhibitions of Tibetan art; dealers have marketed the artworks; and artists have created works that are both conceptually and aesthetically appealing to an international audience. Drawing from exhibition catalogs, interviews and art historical scholarship, this thesis looks at how the history of these factors has affected the beginning of the contemporary Tibetan art movement.
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Sutherland, Ann. „Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941“. Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.
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Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European empires, the establishment of the League of Nations in 1920 and the rise of American power after 1930. The thesis opens with the nation a member of the British War Office in 1918 and ends with Australia a member of the Pacific War Council which formed in Washington DC in 1942.
While post-WWII initiatives in cultural diplomacy have been studied, their antecedents have been rarely noted in either the literature on Australian diplomacy, or within the history of Australian art and its exhibition. This thesis seeks to address this oversight, necessarily doing so from a broad multidisciplinary perspective. The profiled exhibitions are detailed as to their origins and content within their historical backdrop, the politics and the people involved. The thesis argues that visual arts exhibitions established a distinguishing aspect of national projection in the interwar period, one which remains embedded in policy and the public cultural programs of government and the national, state, and regional art galleries.
I draw three principal findings from the presented research. The exhibitions discussed enrich our knowledge of the various ways the nation managed its strategic interests as an internationally aligned nation after 1918. Secondly, it addresses a gap which will continue while the many public actors captured by cultural diplomacy - the participants, their objectives and location, institutional arrangements, and foreign and strategic policy – are investigated in isolation from each other. Finally, my hope is that this thesis will make an original contribution to an understanding of the role of exhibitions within the modernisation and the cosmopolitanising of the nation, including the important contribution of artists and arts institutions, business, and public administrators to those exhibitions in the inter-war period.
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Roberts, Judith. „Drawing the Artesian: Extracting Methods to Visualise Unseen Landscapes“. Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366164.
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Groundwater basins are vast subterranean reservoirs of water whose complexity is not yet fully understood by scientists. These ancient aquifers resist simple imaging and, through their enormity, depth and systemic complexity, present challenges to scientists and artists alike. My research practice has sought to deploy various drawing strategies and print processes to uncover something of the land/water interactive systems that we cannot visibly experience. A deeper personal understanding of the fragile history and geography of Western Queensland has been revealed through the physical act of mark making on site at these watersheds. Through the construction of my immersive drawing investigations, the earth, rocks, water and the surrounding physical environments have influenced my ways of seeing, reacting and perceiving and, in the process, enabled a new response to land.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
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Haydon, Kirsten, und kirsten haydon@rmit edu a. „Antarctic landscapes in the souvenir and jewellery“. RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090227.115157.
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Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.
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Sousa, Luis. „Between monument and memorial : the design of the Korean War veterans memorial“. Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23012.
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Thorne, Jessica Louise. „The choreography of display : experiential exhibitions in the context of museum practice and theory“. Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/22063.
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Bibliography: pages 118-123.In this project I examine curatorial processes and the experience of constructing and viewing museum exhibitions. Specifically I have been interested in the way in which certain exhibits facilitate powerful emotional responses from their viewers. I suggest that the curators of these kinds of exhibitions employ strategies which not only choreograph the displays but the viewers' bodies themselves as they move through them. As a case study of an experiential exhibition I focus on the District Six Museum where I have been part of its curatorial team since 1999. The work of curatorship that I have done at the Museum during the period of my registration for this degree constitutes part of this submission.
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Manasseh, Cyrus. „The problematic of video art in the museum (1968-1990)“. University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.
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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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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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Brown, Carol. „"Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study“. Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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Barlow, John. „Experiences of travel and northern rural landscapes in contemporary art“. Thesis, University of Brighton, 2017. https://research.brighton.ac.uk/en/studentTheses/c1e76a25-99b3-4fa0-9a0e-33966a589882.
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This practice based study investigates engagement with interconnecting themes of travel and rural landscape in contemporary art practice. It argues that cross-disciplinary reading and interaction between a grouping of select art practice and history of art scholarship and a grouping of select cultural geography, tourism, sociology and social anthropology scholarship, generates a richer understanding and communication of these themes in contemporary art. A review of existing scholarship reveals that there are a number of existing contemporary works of art which demonstrate engagement with interconnecting themes of travel and/or northern rural landscape. Despite this, they are yet to be presented as an identifiable, coherent, body of work of significance to the research community. Existing art historical interpretation and analysis of this work additionally fails to reference recent, relevant discourses of embodied experiences of travel and landscape which characterise much of the associated scholarship in cultural geography, tourism, sociology, and social anthropology. A combination of history of art and art practice methodology is utilised in this study to address this gap in scholarship. In the thesis, I identify and set out relevant existing scholarship in the disciplines of art practice and history of art, and those of cultural geography, tourism, sociology and social anthropology. Select examples of contemporary art are analysed and evaluated in relation to ‘wayfaring’, a theory sequentially formulated by social anthropologist Tim Ingold. Two key concepts articulated by Ingold, those of 'linear journeying' and ‘within-ness’, form the conceptual framework for this exercise. Drawing on the findings of this engagement with works by other artists, I propose an original method of ‘bridging’ as a hybrid art practice/history of art strategy for further addressing the gap in scholarship and delivering a further original contribution to knowledge. The artists’ book is identified as an effective, appropriate contemporary art medium for undertaking this bridging. I review examples of contemporary artists' book practice and explore this medium’s potential for communicating embodied experiences of linear journeying and within-ness in the context of a travel and rural landscape subject. I produced an original artists' book, 'Travelling the Line'. This work details my experiences as a hiker and artist of travelling to two particular northern rural landscapes for this study, the Scottish Highlands and Finnish Lapland. Part travel guide, part art object, 'Travelling the Line' takes the form of a hardback print book and a stand-alone, online digital platform, the latter of which includes additional video and sound content. It successfully communicates my own personal, linear, embodied act of travelling; and demonstrates the value of bringing together two bodies of scholarship, Ingold's theories and contemporary art practice. Included with this thesis is a print version of 'Travelling the Line' and an online version, accessible at https:// travellingtheline.wordpress.com.
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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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Bunn, Leanne. „Changing landscapes : Norman Cornish and North East regional identity“. Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3677/.
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This thesis examines the work of the Durham pitman and artist Norman Cornish whilst analysing the economic and cultural climate which has promoted and sustained his career as a regional artist for over seventy years. Cornish’s depiction of mining life remains widely acknowledged by regional patrons and the local media as an iconic representation of the distinctiveness of North East mining communities. The fact that his work continues to receive considerable media attention whilst maintaining a strong patronage within the region, promotes several issues relating to the understanding of regional culture and identity. Why has Cornish’s work remained so enduringly popular and what does this reveal about the dynamics of North East regional culture? This research considers the interpretation and patronage of Cornish’s work during key periods of the region’s development and in doing so provides the first sustained study of Cornish’s career in relation to regional cultural identity. Industrialisation, economic change, concepts of community and nostalgia are all recognised as fundamental factors which have shaped the region’s cultural identity during the twentieth century. Essentially, it is argued that a sense of ‘Northernness’ is crucial to Cornish’s regional popularity. Significantly, this thesis identifies a variation between Cornish’s regional and national popularity. The artist’s strong local appeal has not been replicated consistently on a broader national level. It is suggested that the varying national interest in Cornish’s career should be considered in relation to wider artistic trends as well as patronage from organisations such as the National Coal Board. On a regional level, a large proportion of Cornish’s continued appeal to local audiences can be attributed to the sympathetic response from the regional media. Whilst the study of regional identity within the scope of visual culture is by no means a new or impoverished field, this study adopts a thematic treatment of culture, identity and representation, in order to understand the contribution of visual culture to regional identity during the twentieth century. By dealing with visual culture in its broadest and most fluid sense, this study consults both social and cultural history sources alongside art historical perspectives.
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Hogarth, Jan. „'Dislocated landscapes' : a sculptors response to contemporary issues within the British landscape“. Thesis, University of Sunderland, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268041.
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Schoeber, Felix. „Modernity, nationalism and global marginalisation : representing the nation in contemporary Taiwanese art exhibitions“. Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/8yv7y/modernity-nationalism-and-global-marginalisation-representing-the-nation-in-contemporary-taiwanese-art-exhibitions.
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This thesis describes and analyses the development of the most prestigious large- scale exhibitions of the Taipei Fine Arts Museums from its opening in 1983 until 2009, concentrating on the Trends of Modern Art in the R.O.C. series of the 1980s , the introduction of the Taipei Biennial in 1992, and the Taiwan Pavilion in Venice from 1995 until 2009. Its focus lies on the transformation of the museum space and the status of the work of art. Several threads of questions run through this thesis: an attempt to analyse and illuminate the specific modernity and its inherent contradictions that characterized the museum space; the specific status of the object of art (and the artist) within the museum space; and lastly the image of the nation and its transformations as it is projected through these exhibitions. The first part of this thesis concentrates on how modernism was enacted in the first museum of modern and contemporary art in Taiwan (and one of the first in Asia), how a Chinese modernism was anointed through the exhibitionary system, and how this was challenged and finally abolished in favour of a new exhibitionary system, the Taipei Biennial. This part also analyses the rupture between those two exhibitions, and how the latter inaugurated a new and different status of the work of art, not merely an aesthetic object, but an element of a cultural narrative and discourse. The second part of the thesis shifts its focus on how the work of art was re-framed through the discourse of Taiwanese identity. Using as a starting point the writings of Benedict Anderson, the idea of the nation as a universe or microcosm of knowledge is used to describe a new pattern of representation of the nation that emerged since 1995, with the inauguration of the Taiwan Pavilion at the Venice Biennale. This part of the thesis concentrates on how this new and pluralist pattern of nationalism was created, repeated, and re-confirmed, but also re-written over the years, projecting an archetypical image of an “imagined community” or a microcosm of knowledge of the nation, rooted in the past, projected into the future, and centred around a synthesis of the nature of its territory and the urban experience of the capital. The third part of the thesis describes how the subaltern position of local artists and curators in relation to the museum have re-shaped their analysis of the nation, and how the notion of centrality of the nation was de-constructed once the question of the voice of a nation, but most of all of its curators and artists within a globalised world came to the fore.
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Liu-Devereux, Pauline Carol. „Galleries and drift : mapping undermined landscapes“. Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3283.
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This is a creative/critical project, a collection of narratives inspired by critical discourse that map a local landscape and chart a personal topography. As a result of interdisciplinary study, particularly in the area of cultural geography and map making, I found new ways to explore ideas about Cornwall’s heritage, her undermined landscape and expand upon issues raised in my MA dissertation. Recognising the instability and partiality of maps provided insight and mapping became method as newly revealed pathways and subtly shifting perspectives inspired fresh narratives which challenge stereotypical images of Cornwall and reveal the sometimes dark realities of rurality. The more personal narratives in this collection reveal a different undermined landscape: ideas about romantic constructions and inheritance led to explorations of nostalgia, memory and identity. Life events became life writing and many of these narratives reflect a search for direction and for a missing person: the artist I once was. But there are other disappearances in these narratives and the final chapter gives an account of family events that had to be recorded but which raise ethical questions that life writers cannot ignore. We must take responsibility for the way we write about vulnerable subjects and recognise what this writing tells us about ourselves: that, as Nancy K. Miller has suggested, by exposing our lives to others through life writing, we too become vulnerable subjects. The essay accompanying these narratives reflects upon process and finds ways of giving an account of the writer writing. It uncovers contemporary theories that are embedded in the narratives and I describe it as an orouboros, a creature that continuously eats its own tail. Like the text it subjects to scrutiny, the essay is a life narrative, an autobiographical act that merges creative and critical thinking and this amalgamation has been my aim since my studies began.
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Zhu, Chenlu (Cindy). „Searching For A Graspable Past: Landscapes, Nostalgia, And Chinese Contemporary Art“. Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1311.
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Landscape art reinvents itself throughout history, along with changes in relationships between humans and nature. During unprecedented processes of urbanization, industrialization, and globalization, the past two hundred years witnessed shifts in global landscapes. The idea of using art to cope with a sense of loss becomes the departure point for my art project. To contextualize my work, I will discuss art scenes in urbanizing Europe and contemporary China and explore the powerlessness of individuals under the formidable trend of development reflected in landscape art.
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Howard, Courtney L. „Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art“. Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
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Linton, Jerry. „Chance images“. Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9862.
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Grunenberg, Christoph. „The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947“. Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.
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Rapp, Karen M. „"Not the romantic west" : site-specific art, globalization, and contemporary landscapes /“. May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Chasse, Sarah Noble. „"A Certain Kinship": The First Exhibitions of American Folk Art, New York, 1924-1932“. W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539626675.
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