Dissertations / Theses on the topic 'Art galleries'
To see the other types of publications on this topic, follow the link: Art galleries.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Art galleries.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Jonsson, Håkan. "Guarding art galleries with one guard." Licentiate thesis, Luleå tekniska universitet, Datavetenskap, 1995. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-17769.
Full text
2
Jun, Jinhee. "Perceived constraints to art museums/galleries participation." Texas A&M University, 2003. http://hdl.handle.net/1969.1/1173.
Full textAbstract:
Research on constraints to leisure and recreation participation has focused on various types of activities in which people would like to participate, are currently participating, or have stopped participating. However, little attention has been made to identify constraints associated with art activities participation.
The objectives of this study were to 1) identify factors which limit people's attendance to art museums/galleries; 2) address the issue of the internal heterogeneity between two constrained leisure behaviors; 3) reveal the role of previous participation, interest in future participation, gender and lifecycle in the perception of constraints to art activities; and 4) show the validity of segmentation criteria which are previous participation, interest in future participation, gender and lifecycle.
Data from the Survey of Public Participation in the Arts (SPPA 1997) was used in this study. Total sample was divided into four categories by previous participation and interest in future participation. Further, the categories 'participants with interest' and 'non-participants with interest' were sub-divided based on gender and lifecycle. The results revealed that time, cost, access and availability were considered as the most significant constraints to art activity participation across all segments. However, the array and intensity of constraints differed depending on the types of constrained leisure. In addition, different types of constraints were experienced with different intensity by segments defined by previous participation, interest in future participation, gender and lifecycle. The analyses demonstrated that previous participation, interest in future participation, gender and lifecycle were important segmentation criteria in constructing homogeneous groups with respect to perceived leisure constraints.
3
Onsal, Basak. "Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.
Full textAbstract:
This thesis attempts to analyze the emergence of private art galleries in Turkey by
focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquos Gallery, and Society of Artlovers&rsquo
Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.
4
Krueger, Pamela. "Counterfeit cultures, cultural appropriation, art by Native artists and Canadian art galleries." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ31446.pdf.
Full text
5
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.
Full text
6
Riding, Deborah. "Challenging the rules of engagement : co-creation of knowledge in the public art museum." Thesis, University of Chester, 2017. http://hdl.handle.net/10034/620832.
Full textAbstract:
This research examined perceptions of knowledge about art in the gallery and explored the potential of co-creation as a possible model with which to genuinely learn with our audience. Data for the study was generated at a gallery I have been based at throughout the period of undertaking the research. Participants were recruited from this gallery from groups implicated in knowledge co-creation: educators, curators, gallery assistants and audience members. Participants took part in a group workshop at the gallery facilitated by an artist educator, designed to provide opportunities to develop new knowledge together. Following the workshop, participants were interviewed and their experiences analysed. Other data generated through the workshop, as well as analysis of organisational documentation, and reflection on my own practice as a gallery educator, have been drawn together through a bricolage approach. Through analysis of data, I have constructed a situated taxonomy of knowledge types in the gallery and a conceptual model of co-creation. Key paradigms of knowledge have been identified, and the issues associated with the authoritative nature of institutional knowledge presented as a significant barrier to co-creation. Findings indicate that a fundamental shift in the epistemological stance of the gallery is required. A new not-knowing paradigm has been constructed to accommodate models of co-creation shown to be successful in generating a collaborative learning experience, which I have termed ‘learning-with’.The material being presented for examination is my own work and has not been submitted for an award of this or another HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis was undertaken collaboratively, the nature and extent of my individual contribution has been made explicit.
7
Liu-Devereux, Pauline Carol. "Galleries and drift : mapping undermined landscapes." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3283.
Full textAbstract:
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.
8
Iordanidou, Chrysavgi. "Daylight openings in art museum galleries : A link between art and the outdoor environment." Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-215338.
Full textAbstract:
This thesis is investigating how the typology of daylight openings in art museum galleries is affecting the connection to the outdoor environment. Museum architecture nowadays emphasizes on the museum’s public role and interaction with the urban context, with transparency as the key to this approach. Considering the benefits and challenges of introducing natural light in art museum galleries, its controlled use enhances the experience of both the artworks and the space. The different typologies of daylighting and their design parameters have a direct impact on the connection to the outdoor environment and the shaping of views. Two case studies are analyzed in order to investigate various daylight openings designs, their integration in the exhibition space and the relationship they form with the exterior. Examining the findings, a discussion is developed on the range of factors that affect the connection to the outdoors. The thesis concludes that the design of daylight openings determines the way and the degree the galleries communicate with the exterior environment.
9
Scott, Helen E. "Confronting nightmares : responding to iconoclasm in Western museums and art galleries." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/788.
Full text
10
Kruse, Markus. "Museums, Galleries, Art Sites, Virtual Curating and the World Wide Web." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394727380.
Full text
11
Picchi, Giuliano <1976>. "Business models of art galleries: a thematic synthesis of the literature." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15109.
Full textAbstract:
Art galleries have long been pivotal actors on the art market and the ways they conduct business, blending it with art, vary greatly. Some have distinctly a retail profile whereas others are rather into production, embedded in a value constellation that creates art value. A wide segment of galleries struggle to make any profits while a few top galleries dominate the market, but mobility within the market is strongly influenced by the art fairs. Art fairs have become powerful brands and commercial platforms able to make the difference for galleries and artists’ success, and as such have a strong power on them. Despite the relevance of art galleries as economic actors and of the established phenomenon of art fairs, scientific knowledge on the topic is inconspicuous and very fragmented. This thesis has the purpose of identifying and synthesizing the relevant literature existing on the topic, in particular on the different business models found and on how the art fair is influencing them and the decision making of gallery managers. To do so, a method of literature review is adopted that comprises a structured literature search and a thematic synthesis. The resulting synthesis offers an overview of the functioning of art galleries and highlights their prevailing inside-out strategic perspective while letting the dynamics between galleries and art fairs emerge.
12
Woodall, Alexandra Caroline. "Sensory engagements with objects in art galleries : material interpretation and theological metaphor." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37942.
Full textAbstract:
This thesis aims to explore sensory engagements with material objects. In other words, it investigates the physical encounter between a person and a thing, particularly through a focus on the sense of touch. It does so within the art gallery context. It looks at the capacity of such embodied practices to inspire creative response to objects, an approach which, the thesis argues, does not necessarily rely on knowing contextual information or fact, but rather allows for responses including imagining and making. The research coins the term ‘material interpretation’ to describe such an approach to the interpretive process. The work is interdisciplinary in nature: building on studies of materiality in the museum context, it draws especially from sensory anthropology and studies of material culture. Significantly however, the research develops an entirely new field of critical dialogue. Uniquely and unusually, by bringing museology together with concepts from the discipline of theology, the thesis develops an unprecedented approach to exploring interpretation practice through a lens of what it calls ‘theological museology’. Arising from the researcher’s professional practice and experience of interpretation projects in which such sensory engagements with objects were given priority, the research comes from a practical grounding. As such it argues that material practices be embedded within the institution through a strategic approach to creative and inclusive interpretation. The research takes a qualitative approach and is based on case studies. These include exploring a collection in storage (the Mary Greg collection at Manchester Art Gallery); projects based on artist-made interpretive objects called Object Dialogue Boxes (including at Museums Sheffield); and the creative use of a city’s handling collection (the Artemis Collection in Leeds).
13
Harvey, Melinda. "Art Center: Individual and Group in the Context of Galleries and Studios." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2714.
Full textAbstract:
This is an adaptive reuse thesis project of an old warehouse on the south side of Richmond, Virginia. Through this project, the possibility of designing an art center to occupy the space is explored. This art center houses artist studios, gallery space as well as open studio space for art classes. The design concept establishes a building language and varies that language based on the space and its requirements. The final design also deals with the spaces in between, where one rule set meets another.
14
Girardot, Kendra Sue. "Teaching and learning in the art museum galleries: tour guide strategies and approaches." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406885494.
Full text
15
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/.
Full text
16
Lu, Dawei. "A sociological exploration of cultural distinction in Chinese contemporary art museums and galleries : contemporary art and its visitors." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18187/.
Full textAbstract:
Based on fieldwork that has been conducted at three contemporary art museums and galleries (National Art Museum of China, Ullens Centre for Contemporary Art, and Shengzhi Space) in the People’s Republic of China (PRC), including both questionnaire surveys (2376 respondents) and interviews (11 interviewees), this thesis elucidates how contemporary art, an internationally sanctioned legitimate art form, configures into the PRC’s national hierarchy of cultural genres. Through the use of a cluster analysis, a multinomial logistic analysis, and a thematic analysis, this current research demonstrates that the flow of the ‘world culture’ between countries does not necessarily contribute to the prevalence of a hegemonic and internationally universal pattern of cultural consumption in diverse cultural contexts. The most obvious finding to emerge from the analyses is that a negotiation has been taking place between cultural forces that represent different cultural and aesthetic ideologies at the borders of the PRC’s social and cultural context. One consequence of this negotiation is that the public art museum and galleries visitors have a lower probability of encountering artworks that overtly challenge the established Chinese aesthetic, ethical, and political norms. By making compromises with the political interests of the Communist Party of China (CPC) mentioned above, the avant-garde characteristics of the public museum-based contemporary artworks have become increasingly blurred (for instance, by taking a less aggressive stance towards the established traditional aesthetic principles). One of the drawbacks of this compromise lies in its negative influence on the development of the public museum-based contemporary Chinese art. The evidence is sufficient to demonstrate that the public museum-based contemporary Chinese artworks were less attractive for both art professionals and the ‘lay’ visitors. Thus, the PRC’s cultural policies, which aim to preserve the national characteristics of contemporary Chinese art, ended up running counter to its stated goal.
17
Domingue, Natalie. "New Orleans Auction Galleries: Sustaining Vitality in Shifting Auction Markets." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/aa_rpts/203.
Full textAbstract:
This report examines an internship experience as the Auction and Fine Art Department Assistant at New Orleans Auction Galleries with discussion of the Company’s history, operating structure, and role in the auction market. In addition, an evaluation of the Company’s strengths, weakness, opportunities and threats and a discussion of the auction industry’s best practices used by international auction houses as they related to New Orleans Auction Galleries is also found. The report concludes with recommendations made by the intern, for the Company’s future sustainability in the auction market.
18
Havlik, Michele Lynne, and havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.
Full textAbstract:
Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
19
Checchia, Viviana. "Beyond the exhibition : a vessel for self-reflexive curating in the Mediterranean." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25048.
Full textAbstract:
This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.
20
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.
Full text
21
Roth, Diana Eibner. "A luz natural como elemento compositivo na arquitectura contemporânea." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1997. http://dited.bn.pt:80/29893.
Full text
22
Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
Full textAbstract:
This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.
23
Logue, Laurel R. "Representative Policies for Displaying Art in Student Union Galleries and Public Spaces in the United States." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/31814.
Full textAbstract:
The purpose of this descriptive study was to establish a comprehensive and representative portrait of written policies with respect to displaying art in student unions in the United States. This study was designed to answer the following question: What policies are implemented in member colleges and universities of the Association of College Unions International with respect to the display of art in galleries and public spaces in student unions in the United States?
One hundred institutions were selected for study by a stratified random sampling of the 1997 membership list of the Association of College Unions International. A total of 67 institutions responded including 16 research universities, 33 comprehensive state universities, 15 liberal arts colleges, and three community colleges. The result of the document analysis demonstrated that the majority of institutions in the sample, 60 percent, do not have a policy with respect to displaying art in the gallery or public spaces within the unions. Only 24 percent of the institutions in the study have such a written policy. The remaining institutions, 16 percent, have gallery mission statements or exhibition contracts. All policies received were classified according to the a priori evaluation criteria set in the study. Representative policy statements were formulated from the information received.Master of Arts
24
Campbell, Nancy. "Sources of educational philosophy implemented in western Canadian art galleries : an analysis of the educational, curatorial and institutional educative philosophy of seven western Canadian art galleries and its effect on the organizational structure of art institutions in the 1980's." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28160.
Full textAbstract:
The problem of this study was to explicate both the curatorial and art educational philosophies that underlie educative programming in seven western Canadian art galleries. The underlying premise of the study, reflecting the literature of the field, was that curatorial and art educational philosophies within the art institution were not congruent. This perceived incongruency was believed to be the cause of art institutions to fall short of their task to interpret art and exhibition to the public successfully. As a result of this premise information regarding the nature of this incongruency needed to be collected. Related information regarding the possibility of a cooperative inter-departmental networking of objectives, educational goals and philosophy between curators and educators, as well as an exploration of the organizational structures of the gallery, also needed to be collected. The study employed survey research procedures. The survey was conducted using a questionnaire which was administered by personal and telephone interview to seven curators and seven art educators in seven western Canadian art galleries.
The results of the study show that it is not solely the differing philosophical and ideological beliefs of the educators and curators functioning within the art institution which make the development of strong educational gallery programming difficult. It was found that, in general, curators and educators support the educational mission of galleries today, despite differing personal or departmental goals. The larger problem revealed in the study regarding the establishment of a strong educative programme in the art gallery is a problem of tradition, hierarchy in job position, and the basic organizational structure of the gallery itself. The findings show that it is the organization of galleries which has to adapt in order to support the growing educational mission. Implications of these results are discussed and suggestions for further research are outlined.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
25
Thidemann, Anne. "The art of dealing : commercial galleries in Paris towards the end of the nineteenth century." Thesis, University of Cambridge, 2004. https://www.repository.cam.ac.uk/handle/1810/265467.
Full textAbstract:
Art plays a central role in our society as a representation of who we are and as a challenge to our values. This thesis looks at the moment in which art became an object of speculation and the art world had to face the challenges of commercialisation. Throughout the nineteenth century the French State was the main patron of the aitists. The Salon, the annual Academic exhibition, provided a secure career path and a reliable income from public commissions. Around 1880, State patronage began to decline prompting a whole generation of artists to seek representation by private dealers. Thus began a thirty-year struggle for a new market structure. This thesis considers the role played by the art dealers in this change, an area which, till now, has largely been neglected. The starting point was the business history of the Galerie Georges Petit questioning how this gallery grew into the largest in Paris and maintained its prime position for over thirty years. In 1879 Georges Petit, inhelited a smaller gallery from his father, which dealt mostly in plints. Eyeing the potential of the expanding art market Petit decided to increase the scope of the business. In May 1882 he inaugurated a new building to house the gallery and presented his first exhibition in this vast space, luxuriously decorated in velvety fabrics and with comf01table chairs for relaxed and sociable enjoyment of the works on display. Petit invented the exclusive gallery expelience, which became important as a means to promote the work of contemporary aitists to the financial elite. The initiatives of the Galerie Georges Petit influenced other gallelies significantly. A comparative study of the activities of the Galerie Arnold & T1ipp, also founded in 1882, revealed a surplising level of collaboration between dealers. Despite fierce rivalry art dealers shared investments and risks, passed on clients, and used each other's expertise to authenticate works of ait. The results of the research have shown that dealers accepted their patronage of the arts with an entrepreneulial approach introducing innovative exhibition concepts, assuming a new ment01ing role and establishing relationships between artists and collectors. This thesis has also provided new insight into the financial structure of the commercial galleries and the development of contractual agreements between artists and dealers. Art dealers promoted the transition from public to private patronage actively and must therefore be p:;v~ntral to the development of the modern art market.
26
Robson, Anne Deirdre. "The market for modern art in New York in the nineteen forties and nineteen fifties a structural and historical survey /." Thesis, Online version, 1988. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.324692.
Full text
27
Mortati, Sofia <1994>. "Internationalization of Italian contemporary art’s galleries in China. An analysis based on the case of Galleria Continua, a pioneer Italian art gallery in China." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14194.
Full textAbstract:
Since the Chinese consumer has lately shown an interest towards the art market, the art galleries should try to answer this demand. Therefore, the purpose of this thesis is to hypothesize good practices for successfully internationalize Italian contemporary art’s galleries in China by responding to the main difficulties that a gallery can face inside the Chinese market. These difficulties have been highlighted trough an analysis between marketing to China’s literature and international gallery’s system literature, and have been identified as: how can an Italian contemporary art gallery successfully go international in China despite the low level of education of the Chinese consumers about the Italian contemporary art and how can find and deal with the right network of Chinese players? After a description of the present situation of the Italian and the Chinese contemporary art’s markets, the questions about the difficulties of internationalize in China have been answered using a qualitative analysis consisting in an investigation of the experience of Galleria Continua, one of the first Italian contemporary art gallery to open in China. By combining marketing to China’s practices and the experience of Galleria Continua the research reaches its conclusions.
28
Sprenger, Maria Tiziana <1998>. "E-commerce in small and middle-sized contemporary art galleries. Proposal for a new business model." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21889.
Full textAbstract:
The thesis starts with the analysis of the contemporary art market and the art gallery sector, investigating their complexities, pyramidal structures, and inner hierarchies. Moreover, the weaknesses that characterize small and middle-sized galleries and their difficulties in staying afloat are highlighted. As underlined by several authors, these problems are primarily linked with the outdated business model implemented by these galleries that consequently need to completely renovate their way of working. The literature also suggests some proposals to guide them on this path.
Considering contemporary art galleries' final acceptance and implementation of e-commerce in the last two years due to the Covid-19 pandemic, the thesis aims to understand all the possible advantages that the correct use of online sales and digital strategies can bring to small and middle-sized galleries within the process of business model renovation illustrated by scholars. Furthermore, the issues these galleries must face to be successful online are explained, and some possible solutions are proposed.
In the end, the ultimate goal of the thesis is to propose a new hybrid business model visualized through a business model canvas and based on an integration of offline and online strategies, in light of the positive role that e-commerce can play in reaching economic sustainability.
29
Jarzebska, Aneta. "Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.
Full textAbstract:
This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.
30
James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
31
James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Full textAbstract:
This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
32
James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
Full textAbstract:
Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
33
SILVA, ADRIANA MEDEIROS FERREIRA DA. "DISCOURSES ABOUT URBAN ART IN RIO DE JANEIRO: THE LEGITIMATION OF GRAFFITI IN THE STREETS AND GALLERIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21038@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEste trabalho procura refletir sobre o crescimento e a consolidação do grafite no Rio de Janeiro. Uma das expressões da cultura hip-hop, o grafite surgiu nos Estados Unidos, na década de 1970. No início eram apenas assinaturas, que depois evoluíram para desenhos elaborados. São Paulo foi a primeira cidade brasileira onde este tipo de escrita urbana se desenvolveu nos anos 1980 e 1990. Mas no Rio, a atividade de pintar muros chegou mais tarde e somente se firmou nos anos 2000. O grafite começou a ser feito por grupos da Zona Norte, do subúrbio e do município de São Gonçalo. Porém, quando jovens da Zona Sul – alguns estudantes de design – levaram o grafite para os muros da área nobre da cidade houve uma mudança de conceito: o que era considerado marginal passou a ser visto como uma arte urbana legítima e moderna. O Rio repetiu um pouco a experiência ocorrida em Nova York, nos anos 1970, quando jovens artistas do circuito underground passaram a pintar prédios do SoHo e paredes do metrô. Com isso, o grafite adquiriu status e chegou às galerias de arte. Hoje, este tipo de intervenção urbana não só é aceita pela população carioca que antes a rejeitava como foi totalmente incorporada pelo mercado. Alguns discursos sobre a cultura que tomou conta das ruas do Rio – como os da imprensa, da publicidade e de grafiteiros – foram a base para a análise e reflexão deste trabalho.
This work is a reflection on the rise and consolidation of graffiti in Rio de Janeiro. One of the expressions of hip hop culture, graffiti was born in the United States in the 1970s. At first, it comprised only signatures, which later evolved into elaborate drawings. São Paulo was the first Brazilian town to see the development of this sort of urban writing, around the 1980s and 1990s. The activity of painting walls came later to Rio and only became established in the 2000s. Graffiti in Rio began at the hands of groups from the North Zone, the suburbs and the town of São Gonçalo. Then, however, groups from the South Zone youth – some of them design students – took graffiti to the walls of the city’s noble areas, allowing a conceptual change: what was first considered unlawful became legitimate modern urban art. In truth, Rio was witness to a replication of the 1970s New York experience, when underground young artists such as Keith Haring and Jean- Michel Basquiat started painting Soho buildings and subway walls. Thus graffiti gained status and moved into art galleries. Nowadays, this kind of urban intervention has been accepted by the population of Rio, who used to reject it in the past. Not only that, it has also been completely incorporated by the market. Some of the discourses about this culture that has taken over the streets of Rio – such as from the press, advertising and graffiti artists themselves – have been the base for the reflection and analysis presented in this work.
34
Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.
Full textAbstract:
This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.
35
Prior, Nick. "Taste, nations and strangers : a socio-cultural history of national art galleries, with particular reference to Scotland." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/22565.
Full textAbstract:
In the register of a socio-cultural history this thesis attempts to unpick relations between the nation-state, class and politics as they interface with artistic and exhibitionary forms in the context of modern European, English and Scottish history. Beginning with a broad cultural history of national art museums in Europe and England, the thesis moves to a more focused socio-genesis of the National Gallery of Scotland and Edinburgh's art field, based on primary archive data. As ambiguous and double-coded spaces, national art museums emerged to cater for shifts in the structure of governance, stripping away older vertiges of monarchical or aristocratic grandeur under the aegis of the "nation", while symbolically purifying themselves of "lower" historical tendencies in the act of distinction. This happened at different speeds and according to different socio-cultural conditions in the three cases presented. The National Gallery of Scotland, it is shown, grew on the fissured terrain that was British history. Its presence threw into relief centuries of poverty, uncertainty and political dislocation, emerging as a symbol of civic and national well-being, bourgeois confidence and increasing state guidance. It grew on the fertile soil of enlightenment and Scottish civil society, later reconfigured in the context of early Victorian self-reliance, and fuelled both by romanticism and class conflict. It was the summation of pointed struggles for recognition amongst a modern group of artists, the Royal Scottish Academy, whose claims to space, coupled with a desire for autonomy, placed an incendiary in the art field. By foregrounding questions of nationhood, class and ideology, the thesis chronicles a history of prohibitions as well as invitations, tracing specific histories of institutional control and attempting to reveal how the National Gallery of Scotland's internal space - its architecture, decor, collection and codes of conduct - signalled its genesis in civic refinement, professional distinction and artistic modernisation.
36
Lorente, Jesús Pedro. "Museums for nineteenth century art? : a socio-historical study of the creation of Galleries of Modern Art before World War I and their legacy." Thesis, University of Leicester, 1993. http://hdl.handle.net/2381/35307.
Full text
37
McCredie, Athol. "Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University." Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.
Full textAbstract:
This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.
38
Grappin, Benjamin. "An internship with Arthur Roger Gallery, LLC." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/6.
Full textAbstract:
The following report is the analysis of a three-month internship within this organization, and will discuss topics as they relate to the cuniculum of the Arts Administration degree. The for-profit nature of this internship and its completion within a small-scale structure presented me with several not-so-clearly delineated tasks. In order to properly introduce the topics associated with the responsibilities of the assignment at Arthur Roger Gallery, the reader must first become familiar with the nature of the business, and its management structure. Chapter II is exclusively devoted to the purpose of the internship. By considering the role of the intern, who acted in the role of an assistant to the staff, this section will outline the importance of compiling an inventory, and the necessity of maintaining the gallery's website in the most accurate manner. The third chapter of the present report is an attempt to identify the reasons that separate the Arthur Roger Gallery from its competitors. This section will address several elements discussed through our cuniculum, particularly during the Visual Art and Marketing classes. Broadly speaking, it will show that Arthur Roger has fully understood the "who, what, where, why, when and how" of selling fine art in his market area. The final section of the discussion will involve several points dealing principally with management and technical concerns, for the most part related to the growing activity of the business and its recent evolutions.
39
Ceron, Irene Sofia. "The culturalexperiencein a museum from inside out - How side openings and view interferewith users’ perception and preferencesin art galleries." Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280065.
Full textAbstract:
This thesis discusses the role of side openings in museums, in relation to users’ visiting experience.The research particularly focuses on the feature of view, analysing if the connection with the outsideenvironment provided through windows, results in an enriched museum’s experience and enhancedcultural identity. The analysis is based on the case study of the Nationalmuseum in Stockholm, wherethree rooms with stronger, moderate and weaker connection with the outside environment have beenevaluated through visitors’ surveys. Results show that the public revealed considerable awarenessabout windows and their landscape and yet the view was rarely considered a distracting feature. Theavailable literature on daylight in museums hardly includes view among the acknowledged daylightbenefits, and, also due to the difficulty in controlling the daylight intake, side openings have gained abad reputation in the museum field. However, as in the analysed case study, the view was consideredby many as an enriching part of the visiting experience, this thesis calls for further research on therole of view in exhibition rooms and on how to include it properly in museums’ design.
40
Horňáková, Lucia. "Uplatnenie umelca na trhu výtvarného umenia v Českej republike." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-199746.
Full textAbstract:
This diploma thesis considers the theme of the art market in Czech republic. The cooperation between gallerists and artists is not following the professional tradition seen in American and European galleries. Those led the artist to present his artworks exclusively in one and only institution in return for services gallery offer him. The change of attitude in needed in both, galerists' and artists' parts. In my diploma thesis, I am confronting their opinions so I can create a model of their cooperation leading to a professionalization of the relationship.
41
Fasoli, Lyn, and n/a. "Young children in the art gallery : excursions as induction to a community of practice." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.
Full textAbstract:
Learning in 'communities of practice' is a new way of describing and investigating how
people learn and has not been applied extensively in research in early childhood or in art
galleries. This thesis is a critical case study undertaken with preschool children as they
prepared for, participated in and followed up a series of excursions to the National Gallery of Australia. The study explores and analyses children's induction into the
practices of the art gallery and their negotiation of the meanings around these practices in
the gallery and in their preschool. Children's engagement in practices is analysed using a
sociocultural framework for learning called 'communities of practice' (Wenger, 1998) in
combination with a multilevel analysis of the artefacts of practice derived from the
philosophical writings of Wartofsky (1979). Multiple data sources included photographs
of children, their drawings, tape recordings of their incidental talk and group discussions,
and results of play activities as children participated in the practices of the art gallery and
the preschool. Data was also collected through semi-structured interviews with gallery
and preschool staff. In a study involving such young children, the use and juxtaposition
of these multiple sources of data was important because it allowed for the inclusion and
privileging of the material and non-verbal resources as well as verbal resources that
children used as they engaged in practices. Outcomes of this research have been used to
illuminate and problematise early childhood as a site for the intersection of multiple
communities of practice. Learning to make sense of experience is portrayed as more than
language-based 'scaffolding' and the representation of experience through child-centred
play activity. The study provides a detailed descriptive account of children's learning and
sees it as a fundamentally unpredictable and emergent process. It shows that relations of
power are always a part of learning and can be seen through an analysis of the resources
available to children, those they took up and were constrained by in the local situation
and those they brought from other communities of practice. In this process, the children,
as well as their teachers, were active negotiators. They participated in complying with
community-constituted views of knowledge as well as shaping, resisting and contesting
what counted as knowledge. This study makes a contribution to understanding children's
learning in early childhood as fundamentally social, unpredictable, productive and
transformative rather than individually constructed, stable, predetermined and
representational of experience.
42
Schönfeld, Susanne, and Andreas Reinstaller. "The effects of gallery and artist reputation on prices in the primary market for art: a note." Inst. für Volkswirtschaftstheorie und -politik, WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/342/1/document.pdf.
Full textAbstract:
This paper advances a decision theoretical foundation for pricing scripts by means of a simple model of product differentiation implementing the undercut-proof equilibrium concept. We argue that while sociological factors play undoubtedly an important role, economic analysis can complement the insights from economic sociology on pricing in the primary art market. Our model analyzes the effects of the gallery's and the artist's reputation on the price the gallery charges. The results suggest that prices positively correlate with an artist's reputation and negatively correlate with a gallery's reputation. The model may therefore explain the results of recent empirical studies that have led to similar results. (author's abstract)Series: Department of Economics Working Paper Series
43
Baker, Erin L. "Arts interventions in dementia care." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12839/.
Full textAbstract:
Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Psychologically-informed arts and health interventions may be particularly valuable ways of improving the lives of people with a dementia and their carers. This study investigated arts-based interventions at two, London and Nottingham, art galleries where 12 people with mild to moderate dementia and their 12 carers were engaged in art-viewing and art-making. Post-intervention interviews with participants (n=12) and facilitators (n = 4), field notes and extensive written communication between the facilitators and research team was analysed using a grounded theory approach to establish how the intervention affected those involved. Three categories, a valued place, intellectual stimulation and social interaction, combined to create positive emotional and relational effects for both those with dementia and carers. In addition, there was evidence of a changed perception of dementia by facilitators. The resulting theory has potential implications for the use of arts within health and social care by applied psychologists, health, social care and museum professionals, as well as community services.
44
Johnson, Joana. "Psychosocial interventions and museums." Thesis, Canterbury Christ Church University, 2015. http://create.canterbury.ac.uk/13809/.
Full textAbstract:
Previous research has shown that people with dementia and carers derive wellbeing-related benefits from group art-viewing, and that facilitated museum object handling is effective in increasing subjective wellbeing for people with a range of health conditions. The present study aimed to compare the impact of these activities on subjective wellbeing of people with dementia and carers. A quasi-experimental crossover design was used. People with early to middle stage dementia and their respective carers (N = 66) attended a museum session in small groups where they participated in three activities: museum object handling, a refreshment break and art-viewing. Visual analogue scales were used to rate subjective wellbeing pre and post object-handling and art-viewing. Mixed-design ANOVAs indicated wellbeing significantly increased for people with dementia and carers during the museum session irrespective of the order in which they participated in object-handling and art-viewing. Analysis of pre and post-condition scores across pooled orders indicated wellbeing significantly increased from object-handling and art-viewing for carers; wellbeing for people with dementia significantly increased from object-handling; the increase from art-viewing was not statistically significant. A refreshment break did not produce significant change in wellbeing for either group. An end-of-intervention questionnaire indicated that experiences of the session were positive. Limitations and directions for future research were discussed. Results provided a rationale for partnership working between museums and healthcare professionals.
45
Zamani, Pegah. "Views across boundaries and groupings across categories the morphology of display in the galleries of the High Museum of Art 1983-2003 /." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/31823.
Full text
46
Jaekel, Paola de Oliveira. "Pavilhões e o campo ensaístico da arquitetura: o caso da Galeria Serpentine em Londres." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-27062017-152844/.
Full textAbstract:
Este trabalho tem como objetivo a análise de uma tipologia - os pavilhões, dentro de um caso singular que são os Pavilhões de Verão da Galeria Serpentine em Londres. Para se entender tanto a tipologia como o próprio programa desenvolvido em Londres, essa pesquisa se valeu de levantamento bibliográfico sobre o tema e sobre os projetos da Serpentine, assim como visita a um dos pavilhões e a obras do arquiteto desse projeto, o chileno Smiljan Radíc. Como ponto de partida foi usado como referência o autor Moisés Puente e o livro \"100 anos de pavilhões de exposição\", e na sequência, publicações sobre história da arquitetura e monografias sobre alguns arquitetos. Sobre a Galeria Serpentine, a pesquisa teve início com a publicação comemorativa aos dez anos do evento: \"Serpentine Gallery Pavilions\", do autor Philip Jodidio, assim como publicações sobre cada pavilhão. Por fim, foram levantadas as publicações monográficas sobre o arquiteto Smiljan Radíc, assim como sobre o pavilhão de 2014. Com isso, foi possível traçar um panorama sobre esses edifícios na história, e também reconhecer algumas das obras emblemáticas para a disciplina da arquitetura, e a partir daí, analisar as propostas que vem sendo desenvolvidas desde o ano 2000 por essa galeria de arte. Dessa forma, o pavilhão visitado em 2014 é apresentado juntamente com a obra do seu autor em uma investigação sobre o campo ensaístico desse arquiteto, campo esse também verificado na análise de alguns dos pavilhões mais significativos da história.This paper aims to provide analysis of a typology - the pavilions, more specifically the case of the Serpentine Gallery Summer Pavilions in London. In favor of comprehending the typology as well as the developed program in London, this research was based on a selected bibliographical survey on the subject-matter and other Serpentine Gallery projects, additionally to a visit to one of the pavilions and other works by the same architect, the Chilean Smiljan Radíc. It has been used, as starting point, the reference of the author Moisés Puente and his book \"100 anos de pavilhões de exposição\", subsequent to publications on architecture history and monographs by other architects. Regarding the Serpentine Gallery, the research began with the 10-year commemorative publication of the event: \"Serpentine Gallery Pavilions\", from author Philip Jodidio, along with other publications about each pavilion. Lastly, monograph publications were gathered on the architect Smiljan Radíc, as well as on the 2014 pavilion. Therefore, it was possible to draw a panorama on these buildings throughout history, likewise some of its emblematic works for the discipline of architecture, and ther after, analyse the propositions that have been made by this gallery since the 2000s. As a result, the pavilion visited in 2014 is presented along with the author\'s work in an examination of the rehearsal field of the architect, the same field is further analysed in some of the most significant pavilions in history.
47
Spears, Jessica, and Deyse Bravo. "Art in the Library: Using the Digital Commons Platform to Preserve Library Exhibits." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/dcseug/2018/schedule/4.
Full textAbstract:
McKee Library has cultivated relationships with local artists as well as partnered with several departments on campus to exhibit a variety of art works in different mediums throughout the year. We have used our digital commons platform to digitally preserve these exhibits, promote the artists, and encourage future partnerships. In our presentation, we will discuss the following: developing partnerships around campus and the community, artist agreements, creation of digital exhibits, and gallery promotion.
48
Evezard, Juliette. "« Un art autre » : le rêve de Michel Tapié de Céleyran, il profeta de l’art informel (1937-1987) : une nouvelle forme du système marchand - critique." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100010.
Full textAbstract:
L’objectif de cette Thèse est de collecter, d’analyser et de faire connaître le contenu des archives internationales et familiales inédites, rendant compte, par leur diversité, des activités protéiformes de Michel Tapié de Céleyran (1909-1987). Inventant sa profession d’entrepreneur d’art en conciliant plusieurs activités : critique d’art, éditeur, conseiller artistique, courtier et collectionneur, il a mis en relation des galeries internationales en organisant, à travers le monde des expositions de ses artistes. Il a contribué aux destinées internationales de plus de cent-quatre-vingt artistes dont certains noms brillent, dans la constellation Tapié, plus que d’autres : Dubuffet,Mathieu, Pollock, Riopelle, Sam Francis, Tapiès, Saura, Fontana, De Kooning.Soucieux de se créer une position pour l’actualité et pour l’histoire, il inventa « Un Art Autre », un véritable système théorique et marchand s’appuyant sur des méthodes de communication qu’il sut créer avec l’aide de ses amis artistes de combat : l’édition au service de son autopromotion, la fabrication de l’événement à partir des expositions itinérantes relayées par la presse, en France, en Espagne, aux États- Unis, en Italie, au Japon et en Iran.« Il Profeta » est le surnom que lui attribuent les artistes italiens, séduits par la personnalité de Michel Tapié qui est venu en Italie apporter la parole de l’art Informel dont il inventa l’appellationThe aim of this PhD thesis is to collect, analyse and promote the content ofunpublished international and family archives, highlighting the diversity of MichelTapié de Céleyran (1909-1987)’s activities. Tapié invented his own trade as an artentrepreneur, mixing several occupations: art critic, publisher, art councillor, trader and collector. He also connected together international galleries, organising exhibitions of his own artists, worldwide. He took part in the international fate of more than 180 artists, forming Tapié’s constellation, in which some names still shine more that others, such as Dubuffet, Mathieu, Pollock, Riopelle, Sam Francis, Tapiès, Saura, Fontana, De Kooning.Paying close attention to his own status in the current events and in history, Tapié invented « An Art of an Other Kind », which is a true theoretical and tradingsystem. Thus, he relied on communication methods that he created with the help ofhis battle friends: publishing for self promotion, creating a buzz based on travelling exhibitions, with media coverage in France, Spain, United States, Italy, Japan and Iran.« Il Profeta » was the nickname attributed to him by Italian artists, seduced by Michel Tapié’s personality, who came to Italy and brought in the Informal art’s word, which he invented the designation
49
Lange, Candy. "Marketing the visual arts in New Zealand a critical analysis of promotional material by Christchurch's art galleries : a thesis submitted to the Auckland University of Technology (School of Communication Studies) in particular fulfilment of the requirements for the degree of Master of Arts (Communication Studies), October 2007." Click here to access this resource, 2007. http://hdl.handle.net/10292/308.
Full textAbstract:
Thesis (MA--Communication Studies) -- AUT University, 2007.Includes bibliographical references. Also held in print (xi, 242 leaves : col. ill. ; 30 cm.) in the Archive at the City Campus (T 708.99383 LAN)
50
Todd, Carolyn. "Exploring the role of museums for socially isolated older people." Thesis, Canterbury Christ Church University, 2017. http://create.canterbury.ac.uk/16278/.
Full textAbstract:
Research suggests that social prescribing schemes can offer health and psychological wellbeing benefits to older people across a range of interventions. The present study sought to understand how museum programmes, designed to support socially isolated older adults, created opportunities to enhance wellbeing and change experiences of social isolation. A grounded theory approach was used to analyse initial interviews, 3-month follow-up interviews, and participant diaries, from 12 participants who took part in 10-week programmes across six different museums in London and Kent. A theoretical model was developed showing elements of museum programmes, such as the role of the facilitator, activities and physical space, that enabled both individual journeys and relational processes. In addition, individual journeys and relational processes influenced each other, enhancing the experience. These components operated within an interacting social context that was enriched by the museum programme. The theoretical model links with psychological concepts of attachment theory and self-esteem to explain how cultural group programmes could provide opportunities for change in older people. Limitations of the research, implications for clinical practice and recommendations for future research are discussed.