Dissertations / Theses on the topic 'Ballarat Fine Art Gallery'
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1
Lieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.
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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.
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Whall, R. J. "Documentum de transmutatio : rhizomatous modelling in hypertext for the digital reformation and extension of gallery circumscribed art-installation." Thesis, Coventry University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319854.
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McNiven, Andrew. "‘Monkey Business’ : an artist’s action research into the parameters of temporary gallery installation through reflexive formal and informal documentary practice." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/985/.
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The term ‘installation’, referring to both process and product, is a significant component of contemporary fine art practice and the working lives of those involved. Consequently ‘installation’ can be seen as a domain of both fine art professional development and practice-led research. However, as art historian Mary Ann Staniszewski has observed (1998), the implication is that as process, this is an underresearched field of knowledge and this Ph.D. is an attempt, through a thesis and a body of practical work, to address this omission. Writing as an artist with significant experience as a technician, the thesis explores the insights that inform the work of technicians, using related theoretical concepts which map the conditions particular to the processes of installation: that of exhibits being subject to a binary condition, which I term ‘proper/improper’, and the concept of ‘tacit knowing’, developed by Michael Polyani (1966) as an index of specialist embedded understanding. Both ‘proper/improper’ and ‘tacit knowing’ are concealed by the sense of what I term ‘effortlessness’ that makes displayed objects part of an immutable fabric of exhibition culture. This is, in turn, compounded by the photographic ‘installation shot’, a form of documentation that, for commentators such as the writer and artist Brian O’Doherty (1976), creates idealized images of artworks. In reflecting upon the action research I have undertaken in order to penetrate the idealized surface of the ‘installation shot’, the thesis journeys from the visual to the aural in order to open up the ‘sensual 7 culture’ (Howes, 2005) around ‘installation’. Although not directly settingout to respond to Staniszewski’s proposition, the experiments with sound practice described and exhibited do, I claim, offer a creative response to our amnesia and an unfolding re-presentation of the processes and conditions of exhibition as it is currently experienced throughout museum and gallery culture.
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Kolokytha, Chara. "Formalism and ideology in 20th century art : Cahiers d'Art, magazine, gallery, and publishing house (1926-1960)." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/32310/.
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The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house active in Paris from 1926 to 1960 with special attention, and without particular regards to biography, to the intellectual development of its founder Christian Zervos from his early years in Alexandria at the beginning of the century to his professional establishment in the French capital. Its originality resides in the presentation of a significant corpus of unpublished archival information and the examination of the role that the network centred around Cahiers d’Art played in the institutionalisation of independent art in the first half of the century, the propagation of abstraction through the popularisation of European primitivism which was presented as a direct link to the modern era, and the passage from the Mechanist to the Atomic Age, its effects in the artistic domain and the ideological connotations it encased. The overall analysis focuses on particular transitional phenomena that marked the course of the 20th century. Particularly, the passage from analysis to synthesis which found diverse expressions in the contemporary artistic discourse since the beginning of the century giving birth to an increased interest in pragmatist approaches to art and architecture, social engagement, and a course towards formal simplification. The thesis observes the way in which the medieval and the primitive past contributed to the consecration of the international School of Paris and the conflicts of interest of their exponents. It furthermore pays close attention to Zervos’ position-taking with regards to these conflicts, his disdain for antiquity, its aftermath in western art, and the way that these positions affected his presentation of Picasso’s work in the voluminous catalogue raisonné of the artist’s work. Finally, it seeks to re-appreciate from the perspective of Cahiers d’Art, a significantly influential network of worldwide reputation, issues associated with the consecration and popularisation of international independent art in France and abroad, as well as the conflicting aspirations for decentralisation in a context dominated by Eurocentric attitudes and the formal and ideological projections of post Wold War Two liberal critique.
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Schubauer, Allison. "From Screen to Paper to the Gallery Walls: Comic and Confessional Drawing in the Digital Age." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/581.
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In the last half-century, a number of artists have chosen to abandon notions of good taste, skill, and aesthetics in the field of drawing in order to investigate and critique our social and cultural landscape. Two very different approaches have been taken to accomplish this – the use of humor, borrowing from the format of comics; and confessional art, in which the artist ostensibly lays themselves bare in order to act as a mirror for the viewer. In my senior thesis project, I explored these two forms of drawing in relation to my own life and identified institutional (within the Claremont Colleges) and larger cultural threads within my work.
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Bělotová, Jana. "Marketingové plánování krajské galerie výtvarného umění." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-113698.
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The master thesis, "Marketing planning of regional gallery for fine arts," consists of two major segments; theoretical and practical. The first includes theoretical bases concerning marketing plans and most importantly, Arts marketing. The regional gallery of fine arts in Zlin can be given a practical definition with special focus on; characteristics, buildings, visitors, competi-tion, current marketing activities etc. The main attribute of this thesis and the initial goal con-sists of proposed communication solutions linked to the plan of exhibitions for the year 2012. Recommended communication regards the nature of exhibitions and using the suitable com-munication channel that finds the target group. The original proposal concerning the lower financial inputs while using targeted communication was proved. The effectiveness of rec-ommended solutions expressed by a higher number of visitors could be proved only after full application of proposed solutions.
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Bass, Matthew L. "Cutting Into Relief." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3416.
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The following is an examination of the ideas and decisions that went into an art exhibition held in gallery 303 of the Harris Fine Art Center February 1-13, 2013. The exhibition explores the relationships of the artwork, artist, viewer, and space. The catalyst for the above mentioned exploration is a process of making art using linoleum relief printing. The subject of the artwork is an in-depth examination of the material and printing process. It is my contention that such a close look at the art making process reveals the attitudes and decisions that we make with any human endeavor.
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Reed, Hillary Nicole. "Failing, Falling, Flying, and the Knowledge “Gap”." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492005385494479.
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Hoffman, Sheila K. "L'histoire de la documentation des oeuvres d' art du 17e au 21e siècle : les impacts des technologies optiques et numériques sur les pratiques documentaires des galeries nationales à Londres, Ottawa et Washington D.C." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H014/document.
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Cette thèse examine les convergences et divergences le long de l'histoire de la documentation muséale dans trois galeries nationales en Angleterre, au Canada et aux États-Unis. Elle met en évidence un modèle commun, émanant plus particulièrement des deux types d'institutions apparues en Angleterre au 17e siècle : les musées publics, fondés sur des principes scientifiques et populistes, et la galerie privée, ancrée dans des traditions élitistes. Les galeries nationales analysées constituent un modèle hybride, en conflit avec ces deux formats antagonistes, mais leurs similitudes les plus frappantes résident dans l'évolution de leurs pratiques respectives de la documentation des œuvres d'art. La lutte continue afin d'intégrer véritablement la technologie dans la documentation d'art trahit l'héritage difficile entre ces deux modèles opposés. Tout au long des trajectoires uniques à chacune des institutions étudiées, peu de preuves montrent que les technologies optiques ou numériques ont eu des répercussions importantes sur les méthodologies ou les philosophies de la documentation des œuvres d'art. Au contraire, on observe que la documentation de forme numérique repose toujours sur une approche minimale de recueil de données, sur un groupe restreint de personnes habilitées à les collecter et sur un accès limité à ces données. Cette recherche renforce l'argumentation pour une redéfinition de la documentation des œuvres d'art pour repenser ses stratégies et ses philosophies directrices, pour poser un nouveau regard sur la recherche dans les collections et pour élargir l'intégration des technologies numériques dans ces processusThis research examines the divergences and convergences across the histories of three national galleries, in England, Canada and the United States, providing evidence of a common model that emanates particularly from two types of institutions that appeared in England during the 17th century: public museums founded on scientific and populist principles, and private art galleries anchored in elitist traditions. The national galleries compared in this study constitute hybrids in conflict with the original antagonistic models. But their most striking similarities reside in the evolution of their respective documentation practices. The continued struggle to truly integrate technologies in the documentation of art betrays the difficult heritage between these two opposing models. Throughout the unique historical trajectories of these institutions, there was little proof that optical or digital technologies had had important repercussions on the methodologies or the philosophies of the documentation of works of art. On the contrary, it was observed that documentation, even in digital form, continued to rely on minimal standards of data gathering, restricted groups of persons trained to collect data, and limited access to any data captured. This research reinforces the need to redefine museum documentation in order to rethink its strategies and guiding philosophies, to enable new research into museum collections, and to enlarge the integration of digital technologies into the process
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Bordo, Vanessa C. "Making a Case for the Use of Foreign Language in the Educational Activities of Nonprofit Arts Organizations." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1311135640.
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Kornel, Jasmine Amanda. "Physical Manifestations of Stress." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524235305700143.
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Smith, Allison Hope. "162 Springcrest." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.
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Huang, Yin-Shan, and 黃尹珊. "An Action Research of Gallery Teaching in National Taiwan Museum of Fine Art." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/66268640797253924505.
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碩士國立臺南藝術大學
博物館學與古物維護研究所
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The author of the study is an art-museum-exhibition teacher interested in teaching art but has limited teaching experience. During the summer/winter art camps for elementary school children themed “Open the National Taiwan Museum of Fine Art! Open up for the Essence of Art Collection” held by NTMoFA, the author adopted the museum movement technique to conduct exhibition-based teaching. The first attempt at using this technique caused problems, including controlling the pace of teaching, unfamiliarity with the museum movement technique, and schoolchildren’s queue order when entering the exhibition, as well as how open they felt about the exhibition. The study included the entire course of action-exploration and reflection to improve exhibition-based teaching; it also presented challenges and difficulties that the author faced as an exhibition teacher in a teaching scenario that could not be fully controlled. The awakening process helped the author realize a variety of things. Art-museum-exhibition-based teaching is a procedure that needs to proceed step by step; self-reflection on the pedagogy, raising questions, and gradual changes from the exhibition teacher will enhance professional development, and improve art museum theories and practices. During the three cycles of this action research, the author continued to use reflection notes, teaching journals, observations, in-class voice recordings and videos, collaborative partner feedback, and behavioral analysis of school children as references to modify art-museum-exhibition-based teaching and action projects. The major findings of the action research are as follows: 1.Teaching practices and experiences of reflection became the driving force for self-motivation. 2.Keeping calm can help overcome the barrier in controlling the pace of teaching. 3.The museum movement technique adopted during exhibition-based teaching can taught facilitate participate learning. 4.Listening and learning are good solutions to changing and overcoming the big challenge coming from exhibition-based teaching. Lastly, the paper provided suggestions to future action researchers, researchers in the field of art-museum-exhibition-based teaching, and art-museum-exhibition teachers. This thesis is a truthful record of exhibition-based teaching experiences and reflections. It can serve as a good reference for art museums and schools when they plan art-museum-exhibition-based educational activities in the future.
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Omar, Fahmeeda. "Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg." Thesis, 2012. http://hdl.handle.net/10413/10622.
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The aim of this dissertation is to contextualise the use of porcelain by the South African
ceramist Thelma Marcuson (1919-2009). This paper focuses on her ceramics in the Tatham
Art Gallery’s Permanent Collection in Pietermaritzburg. I hope to give recognition to
Marcuson as she is considered one of the pioneer South African studio potters by Garth Clark
and Lynne Wagner’s in Potters of Southern Africa as she is ranked amongst the top fifteen in
that distinct group (appendix 4: Potters’ art demo).
This dissertation is divided into three chapters. Chapter one primarily focuses on the
influence of contemporary European studio potters on Marcuson’s work, in particular that of
Lucie Rie, Mary Rogers and Ruth Duckworth. This chapter also examines the development
of ceramics from industrial ceramics, involving mass productions in factories, to the
modernist revival of studio ceramics by Bernard Leach, where each piece was handmade and
often regarded as an art form, as in the work of the twentieth century British ceramist
William Staite-Murray. Chapter two focuses on Marcuson and South African studio ceramics
and considers South African potters who had an influence on Marcuson’s early training, and
also looks at her involvement with the Association of Potters of Southern Africa (APSA)
founded in 1972. In the last section of this chapter I will discuss ceramic practices and
technical issues about porcelain and high-firing glazes, specifying how they are made and
used, with particular reference to South African developments and local studio potters. As
Marcuson was particularly interested in porcelain, this chapter also outlines glaze
applications with specific reference to porcelain and firing methods. Chapter three focuses on
Marcuson’s ceramics and offers in particular an analysis of the nine pieces of her work in the
Permanent Collection of the Tatham Art Gallery in Pietermaritzburg. Through my research I
was able to acquire photographic documentation from other South African museums for
comparative purposes, such as the Durban Art Gallery and the William Humphreys Art
Gallery in Kimberley, as well as some private collections (see appendix 1).Thesis (M.A)-University of KwaZulu-Natal, Pietermaritzburg, 2012.
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"The nineteenth-century French landscape painting collection in the Tatham Art Gallery." Thesis, 2004. http://hdl.handle.net/10413/2621.
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This dissertation initially attempts a brief history of the landscape tradition in the West with the emphasis on developments in nineteenth-century French landscape painting. A collection of these paintings in the Tatham Art Gallery is then closely examined in the light of the socio-political circumstances that influenced their origins and acquisition. Finally a full catalogue of the paintings is presented with digital images and documentation.Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 2004.
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Casey, Emily Clare. "A fully-developed womanhood the collecting of fine art and a woman's education at Smith College 1875-1910 /." 2009. http://hdl.handle.net/10090/8413.
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Hosking, Sarah. "Tradition and innovation : Rorke's Drift ceramics in the collection of the Durban Art Gallery, KwaZulu-Natal." Thesis, 2005. http://hdl.handle.net/10413/3715.
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The Rorke's Drift Art and Craft Centre is examined in its historical context. In order to place the pottery workshop in the context of the Evangelical Lutheran Church (ELC) Arts and Crafts Centre, the history of the centre's other workshops, Fabric printing and Weaving as well as the Fine Art School will be compared and contrasted. The pottery workshop is investigated and compared with the printmaking of Rorke's Drift. A selection of Rorke's Drift ceramics from the Durban Art Gallery's collection has been selected and examined to determine some of the stylistic changes that have occurred in the Rorke's Drift Pottery studio from 1970 to 1994. Fifteen works appear in an illustrated catalogue which examines the imagery and stylistic content of each work. The similarities between the prints of Rorke's Drift artists and the ceramics are explored; gender issues are analysed.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005
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Shao, Leigh-Lin Ning. "Evaluation and critical analysis of the Chinese porcelains in the Whitwell collection Tatham Art Gallery: Pietermaritzburg." Thesis, 2002. http://hdl.handle.net/10413/3734.
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The first chapter is a broad review of the recent history of Chinese porcelain from the Ming period to the present day. It includes remarks on the ceramics town of Jingdezhen and on aspects of materials, construction techniques, glazing and enamelling as well as a brief summary of the types of wares. The second chapter is divided into two parts. The first part introduces the formation of the Tatham Art Gallery and the Whitwell Collection. The second part focuses, firstly, on the blue and white porcelain, secondly, on the enamelled porcelain. The pieces are individually physically examined and catalogued under these headings: General description, rim, foot ring, construction, iconography and motifs, glazes, marks and date. The last chapter compares the blue and white pieces, the enamelled pieces and both pieces. This chapter suggests the qualities and special attributes of the wares such as brush marks.Thesis (M.A.F.A)-University of Natal, Pietermaritzburg, 2002.
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Sloupová, Andrea. "Galerie umění a akviziční politika v době normalizace." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-352101.
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The doctoral thesis Czech public art collections and the acquisition policy during the normalization era deals with the topic of domestic institutional operation in 1970s and 1980s, with specific focus on activities of galleries incorporated in the national, hierarchically organized network of art institutions. The research of these acquisition activities uncovers composition of the works of art acquired this way. It finds aspects in which individual institutions differed and detects the reasons behind these differences. Besides the acquisition process itself, the thesis also outlines the circumstances of establishment of the gallery network and summarizes its activities in more tolerant 1960s based on various material sources and oral history. The acquisition policy of galleries as such is analysed in the thesis covering the period from the beginning of the year 1970, when the resolution of the turning meeting of the Central Committee of the Communist Party of Czechoslovakia in April 1969 started to be fulfilled, until the end of the year 1989. Geographically, it is limited to the Czech territory. The results obtained by the analysis point out fundamental differences between individual institutions and between regions in which they operated. The results bring answers to questions concerning...
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MÁČOVÁ, Eva. "Příspěvek k recepci uměleckých děl v teorii a praxi." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-153029.
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This thesis deals with the problems of reception of art works. The theoretical part induces this theme. It lists the most common factors which influencing our perception and assessment of art works and watching them from the position of art teacher. The practical part is trying to work with these findings in the glass objects and is also verified in the pedagogical work with children in the gallery.
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Kaločová, Lucie. "Plocha a prostor ve výtvarných činnostech v MŠ." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-344978.
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TITLE: 2D and 3D Dimension in Kinderdarten Art Education AUTHOR: Bc. Lucie Kaločová DEPARTMENT: Department of Art Education SUPERVISOR: Mgr. Magdalena Novotná, Ph.D. ABSTRACT: This diploma thesis deals with the transition of areal and three-dimensional imagery in the works of selected artists, which are the basis for didactic transformation, into artistic activi- ties in the kindergarten program 'Starting Together'. The empiric part deals with the deve- lopment of spatial and areal perception among preschool children. The theoretical part discusses the contemporary understanding of art teaching and its full development potential in preschool education. It outlines the teacher's role in planning of artistic activities and his/her ability to provide children the world of culture and art in kinder- garten in comparison with the role of a gallery educator in an art gallery. It seeks to provide theoretical support for the empiric part and for the realized interdisciplinary project. It deals with the development of selected cognitive abilities of children of preschool age, sensation and perception, along with the possibilities of the development of spatial intelli- gence including the process of comparing during artistic activities. Art is put into the context of mathematics (didactics of mathematics education...