Dissertations / Theses on the topic 'British exhibitions'
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Edwards, Anthony David. "International exhibitions, British economic decline and the technical education issue 1851-1910." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366662.
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Kong, Da. "Imaging China : China's cultural diplomacy through loan exhibitions to British museums." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/33072.
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China’s worldwide cultural promotion has attracted considerable attention in the past decade. Art exhibitions sent out by the Chinese government, as an important part of such initiatives, have been ever more visible in Western museums. How and why the Chinese government uses such exhibitions, however, has rarely been explored. This study examines how such exhibitions have contributed to China’s cultural diplomacy, through shaping the image of China in the British media. It demonstrates how China’s loan exhibitions contribute to an advanced and civilised, democratic and humanist (with Chinese characteristics), innovative and creative, multi-ethnic and multi-cultural, open, collaborative and peaceful image of China, and how such image is consistent with China’s cultural diplomacy in the new century. This study examines the factors which have an impact on the media interpretation of such exhibitions, namely the image of China in the media. It explores the involvement of the Chinese government and the influence of museum professionals on both sides (China and the UK) in producing and delivering these exhibitions, and the relationships between them. It demonstrates that the Chinese government plays a vital role in delivering loan exhibitions, but the role is more bureaucratic and facilitating, rather than didactic or propagandistic. The Chinese government is aware of the value of loan exhibitions for cultural diplomacy, but still allows the museums involved enough freedom in shaping the exhibitions. This study also considers the operation of China’s current system of managing loan exhibitions, and their implications for China’s cultural diplomacy and Chinese museums. It concludes that the Chinese government should reform the current system to encourage Chinese museums on all levels to actively engage in international collaboration, without intervening in their professional independence.
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Winston, Susan. "Great Exhibitions : representing the world at the Great Exhibition, the Crystal Palace at Sydenham and early British films shows." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309960.
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Lee, Yunah. "Selling modern British design : overseas exhibitions by the Council of Industrial Design, 1949-1971." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/da8871a2-8a20-4744-a0f1-7d6a3e7a09d9.
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This thesis reviews the notion of British modern design promoted by the Council of Industrial design during 1950s and 1960s through a comparative analysis of the series of overseas exhibitions organised or participated in by the Council of Industrial Design (CoID) between 1949 and 1972.
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Spooner, Rosemary Gall. "Close encounters : international exhibitions and the material culture of the British Empire, c.1880-1940." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7386/.
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Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.
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Deeter, Burton Charles. "A survey of science fairs in school district 36 (Surrey)." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26806.
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The Surrey School District has sponsored a District elementary schools science fair (grades 4-7) for 21 years and voluntary participation has increased throughout this time. Despite this popularity, no studies have been conducted regarding the science fair. A survey of the elementary schools in the Surrey School District was conducted. The four areas identified for investigation were:
(a) participation in school and district science fairs
(b) organization of school science fairs
(c) relationship between science instruction and science fair participation,
(d) teacher participation in science fairs.
Two questionnaires were developed. One was distributed to all elementary teachers in Surrey and the other was distributed to all elementary principals in Surrey. Response rates were 77% (teacher's questionnaire, n=346) and 88% (principal's questionnaire, n=59).
Data analysis was in the form of frequencies of response expressed in percentages. Some crosstabulatons were calculated.
The major findings of the study were:
(a) most schools (95%) participate in the science fair, (b) most schools (85%) Include primary students in the science fair,
(c) 4 827 Intermediate students (83%) completed a
science fair project, (d) all schools encourage public viewing of their
science fair,
(e) teachers do not vary their science Instructional activities, lnstructonal materials, or their instructonal time, from the fall to the spring, (f) teachers provide extra instructional time and extra-curricular time to assist students with preparation of science fair projects, (g) teachers evaluate science fair product and not the
process of completing a science fair project, (h) most teachers (75%) reported a willingness to
attend science fair inservice, (i) teachers and principals have very similar
attitudes toward science fair, (j) many teachers (n=89) and principals (n=39) made general comments about the science fair. The study recommends that the Surrey Elementary Schools Science Fair be continued and that further study be conducted regarding the type and amount of assistance that elementary students require to complete a science fair project satisfactorily.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Clarkson, Verity. "The organisation and reception of Eastern Bloc exhibitions on the British Cold War 'home front' c.1956-1979." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/99502e86-6691-4cc6-82a2-df6c575d6cc9.
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This thesis investigates government-sponsored exhibitions originating in the USSR and Eastern Europe held in Britain between 1956-1979. These incoming manifestations of cultural diplomacy were a locus for cultural exchange during the ideological conflict of the Cold War, providing temporary public spaces in which cultural artefacts from the eastern bloc – perceived as an unfamiliar, isolated and rival territory – were displayed and responded to. This research scrutinises the organisation and reception of these usually reciprocal displays of art, historical artefacts, and commercial goods on the British Cold War ‘home front’.
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Heinonen, Alayna. "CONTESTED SPACES IN LONDON: EXHIBITIONARY REPRESENTATIONS OF INDIA, c. 1886-1951." UKnowledge, 2012. http://uknowledge.uky.edu/history_etds/1.
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Following the first world exhibition, the 1851 Crystal Palace Exhibition in London, exhibitions became routine events across the West that merged both education and entertainment to forward political and economic goals. For the most part scholars have taken the frequency, popularity, and propagandistic efforts of exhibitions at face value, viewing them as successful reassertions of the imperial, industrial, and technological superiority of Western nation-states. Though offering valuable insights into the cultural technologies of imperial rule, these works miss the complexities of imperial projects within specific temporal and geographical contexts.
This manuscript traces the historical dynamics of India at exhibitions held in London during and after imperial rule: the 1886 Colonial and Indian Exhibition, the 1908 Franco-British Exhibition, the 1924-25 British Empire Exhibition, and the 1951 Festival of Britain. In historicizing the exhibitionary administration and display of India over time, this study argues for a more complex reading of exhibitions in which displays invoked a mélange of meanings that destabilized as well as projected imperial hierarchies. It also examines the ways in which Indians administered, evaluated, and contested imperial displays. Rather than seamlessly reinforcing imperial dominance, exhibitions, located within specific historical contexts, emerged as contested, multifaceted, and even ambiguous portrayals of empires.
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Medina, Gonzalez E. I. "Structuring the notion of 'ancient civilisation' through displays : semantic research on early to mid-nineteenth century British and American exhibitions of Mesoamerican cultures." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1310263/.
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This research focuses on studying the representation of the notion of ‘ancient civilisation’ in displays produced in Britain and the United States during the early to mid-nineteenth century, a period that some consider the beginning of scientific archaeology. The study is based on new theoretical ground, the Semantic Structural Model, which proposes that the function of an exhibition is the loading and unloading of an intelligible ‘system of ideas’, a process that allows the transaction of complex notions between the producer of the exhibit and its viewers. Based on semantic research, this investigation seeks to evaluate how the notion of ‘ancient civilisation’ was structured, articulated and transmitted through exhibition practices. To fulfil this aim, I first examine the way in which ideas about ‘ancientness’ and ‘cultural complexity’ were formulated in Western literature before the last third of the 1800s. This results in a basic conceptual structure about the notion of ‘ancient civilisation’, which is then analysed in relation to the representations formulated by eight displays on Mesoamerican objects, monuments, and people that date from the 1820s to 1870s, all which have been poorly studied up until now. This work is an original approximation of the history of Mesoamerican archaeology that concludes that early to mid-nineteenth century British and American exhibits structured some aspects of the notion of ‘ancient civilisation’ for the representation of Pre-Columbian cultures by articulating a language code composed of a set of conceptual traits. It also shows that the representation of the notion of ‘ancient civilisation’ through Mesoamerican exhibits was a complex, problematic and changing phenomenon. On one hand, it involved the use of visual, textual, spatial, object-based and performative display technologies and, on the other, the ideas articulated by the displays developed together with the theoretical, conceptual, informational, and socio-political transformations of the era.
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Ryan, Deborah S. "The Daily Mail Ideal Home Exhibition and suburban modernity, 1908-1951." Thesis, University of East London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283702.
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This thesis examines the ways in which the Daily Mail Ideal Home Exhibition educated (, and entertained the public in the first half of the twentieth century by promoting a modern way of life, helping to establish a commercial culture of homemaking. By exploring the ways in which the Exhibition represented popular conceptions of the 'modern' within their social and historical contexts, the thesis challenges the dominance of Modernist aesthetics and values on writing on design, architecture and consumption. Chapter one explores the unease felt by a particular group of writers towards the Ideal Home Exhibition, which it locates in relation to a wider intellectual condemnation of modernity and suburbia. Chapter two looks at the founding of the Exhibition by the Daily Mail in 1908. Chapter three analyses how the Daily Mail and the Exhibition constructed an 'ideal audience' and why the idea of an 'ideal home' was so appealing. Chapter four looks at the ways in which ideas about 'labour-saving', which were part of a concern with national efficiency that drew on the doctrines of scientific management, have constructed the 'ideal home' as a site of change and experimentation. Chapter five explores how the 'Tudorbethan' semi and the popular appropriation of the Modern Movement in the Exhibition represented tensions between the longings for the past and aspirations for the future. Chapter six investigates the representation of non-English peoples and places and the display of Empire in the Exhibition. Chapter seven looks at how the Exhibition addressed the question of the 'house that women want', focusing on the actual participation of women in the Exhibition, as 'natural' experts and paid professionals. Chapter eight makes some conclusions on the ways in which the audience's experience of 'suburban modernity' in the Exhibition was dependent on the interaction of the themes outlined in the earlier chapters. The thesis ends with a review of the past, present and future of the Ideal Home Exhibition.
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Morrison, Barrs Eanna. "'Great British Fashion Is...' : An Institutional Analysis of Vogue and the V&A." Thesis, Stockholms universitet, Modevetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184198.
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Both the fashion magazine and the fashion exhibition are powerful and authoritative sites for the representation, interpretation, and construction of fashion. Despite various intersections between the two, their relationship has remained relatively unstudied. This thesis aims to reveal and problematize the relationship between leading institutions in the United Kingdom: British Vogue and the Victoria and Albert Museum (V&A). An analysis of British Vogue’s content and the V&A’s fashion exhibitions of Vivienne Westwood: 34 Years in Fashion (2004) and Alexander McQueen: Savage Beauty (2015) is employed in order to unpack how these institutions are involved in defining and institutionalizing what fashion is in a national context. This institutional analysis considers the wider implications of the conception of British fashion produced by these institutions in regard to class, race, and gender, as Great British fashion is dependent on a system of representations that reveals hierarchies and exclusions.
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Hållen, Nicklas. "Travelling objects : modernity and materiality in British Colonial travel literature about Africa." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-46365.
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This study examines the functions of objects in a selection of British colonial travel accounts about Africa. The works discussed were published between 1863 and 1908 and include travelogues by John Hanning Speke, Verney Lovett Cameron, Henry Morton Stanley, Mary Henrietta Kingsley, Ewart Scott Grogan, Mary Hall and Constance Larymore. The author argues that objects are deeply involved in the construction of pre-modern and modern spheres that the travelling subject moves between. The objects in the travel accounts are studied in relation to a contextual background of Victorian commodity and object culture, epitomised by the 1851 Great Exhibition and the birth of the modern anthropological museum. The four analysis chapters investigate the roles of objects in ethnographical and geographical writing, in ideological discussions about the transformative powers of colonial trade, and in narratives about the arrival of the book in the colonial periphery. As the analysis shows, however, objects tend not to behave as they are expected to do. Instead of marking temporal differences, descriptions of objects are typically unstable and riddled with contradictions and foreground the ambivalence that characterises colonial literature.
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Skiada, Anastasia. "Exhibition in the British film business 1939-1945." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/28794.
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This thesis concentrates on the exhibition sector of the cinema industry and argues that the cinema industry was very successful during the war, despite bombing, rising costs, and wartime shortage. The success of the cinema business is understood not only via the analysis of the financial statements of the companies, but also as a business phenomenon which relates to government manipulation, and cinema goers' expectations. Given the important position played by the combines in the evolution of the cinema industry, and the lack of any available data about independently owned cinemas it concentrates on the financial performance of the combines, in order to demonstrate the success of the cinema industry. The evolution of the cinema industry during the war years is also demonstrated by the further development of industrial concentration. This happened through merger and added to the increase in the industry's profits and its further strengthening. It is argued that the success of the circuits was due to the prevailing conditions in cinema exhibition during the war: the barring system, rise of film hire, and conditional booking, due to the government's 'inertia', and most of all due to the state's policy and actions. These were directed towards the strengthening of the cinema industry, since the state used it as means of propaganda and for morale boosting purposes. The unique role played by the cinema in wartime was its social function. The cinema emerged as the main focal point of the community's social life through the organisation of events which helped the community, from charity concerts to recruiting drives. A visit to the local cinema offered a much wider experience than film consumption; it gave a feeling of security, provided a cheery and friendly atmosphere, and a sense of solidarity. This is how its patrons experienced the cinema was experienced and this thesis demonstrates how publicity and marketing helped establish its central place in the community.
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Ryu, Jiyi. "Visualising and experiencing the British Imperial World : the British Empire Exhibition at Wembley (1924/25)." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21902/.
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This thesis examines the British Empire Exhibition (1924/25), the first example of intra-empire exhibitions during the interwar period. The Exhibition encapsulated postwar anxieties as well as imperial pride and inspired numerous, under-researched interwar propaganda activities, involving the visual arts. Following a substantial historiographical and methodological introduction, Chapter 1 examines the interrelationship between imperial knowledge and imagined (imperial) community. By rereading supplementary publications, I construe how a bird’s eye view and imperial abstract minds, incorporated in the public materials, developed an informed audience of imperial-minded individuals and groups, especially children. In this chapter, I also suggest a new approach to connecting an urban core and its suburbs through imperial urban networks, moving beyond existing scholarship on dominant economic, political, cultural and ceremonial locations in the heart of the city. The ideas of suburban imperialism and circulation expanded the physical experience of the miniaturised empire at the Exhibition to a large number of homes, extending imperial citizenship from the public to the domestic. Chapters 2 and 3 focus on the Palace of Arts section of the Exhibition, and provide a close analysis of the public art displays at Wembley, which challenge the conventional division between modernist and non-modernist, and the tension between art and craft/design within an imperial framework. Chapter 3, in particular, underlines the importance of the Queen’s Dolls’ House, designed by Edwin Lutyens, unveiled to the public in the Palace of Arts at Wembley, and now held in the Royal Collection. The House epitomises the characteristics of Britain as a nation and an empire through its English exterior and British objects within.
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Freeman, Julian David. "Breaking Cover : Exhibiting Early Modern British Art 1979-1995." Thesis, University of Brighton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507202.
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'Early Modern British Art' was executed between c1880 and c1920, but from 1940 until the later 1970s it was a neglected generic area in the study of Art in the British Isles, directly at odds with many of the prevalent trends in American - European art. Though its constituent works ranged from the inherently representational to the (at least) semi-abstract, such diversity in so short a time-span attracted little research in Britain, and with certain important exceptions the era was generally undervalued by the British art market. This thesis considers the evolution, research, philosophical positioning, and contribution to the history of British art of four exhibitions, Made at the Slade, The Art of Frank Brangwyn, Jewish Artists in an English Context and Life at Arm's Length: Sir Edward Poynter, devised and exhibited by the writer during the period 1979-1995. The critical positioning of the exhibitions and their accompanying catalogues were based on a long-standing familiarity with works of the era, and upon extensive, rolling research using a combination of pre-existing and entirely novel sources. Before 1960, most catalogue essays had been brief and of a narrative / documentary nature. Even when over-arching evaluations of the early Modern British era were presented in exhibition and catalogue format, they were usually repetitious, lacking in analysis, and so broke little new perceptual or historical ground. The four exhibitions confronted this tendency, and in their different ways, their investigations of ideas and practice uncovered and redirected British art histories that demanded greater general awareness and appreciation within the setting of Modernism. The thesis notes the increasing importance and value of exhibition catalogues, during the 1970s and afterwards, as vehicles for the dissemination of new ideas and information in the absence of commentary in book format, whilst setting in context the publication of new books during the 1980s which treated early Modern British art to a level of analytical commentary formerly absent. The thesis introduces the catalogue texts in chronological order, setting out the conceptual background to each exhibition, and evaluating its contemporary impact, and its current value. Made at the Slade was the first commentary to use archival material to begin to unpick the Slade's activities and achievements over so long a period, and to attempt a revaluation of the school's importance from c1880-1925, the period of its greatest fame, until 1960. The exhibition and its catalogue challenged all previous exhibited surveys of early Modern British art, by successfully presenting familiar, unknown and forgotten artists of quality to a new audience. The Art of Frank Brangwyn evolved from an interest in Brangwyn's drawing. It was first intended to be a reassessment, only to become an extensive, objective revaluation of a 'difficult' and marginalised figure, the first since 1924, and the last until 2006. The essay to Jewish Artists in an English Context accompanied an invited exhibition for a conference setting, and seized the opportunity to challenge the inadequacies of sociological and art historical analyses of an era in Britain in which the social integration and assimilation of immigrant Jews was of real importance for Modern art. The final essay, Life at Arm's Length on Sir Edward Poynter, remains the artist's sole career overview since Poynter's obituary. It developed what until then had been a very incomplete understanding of Poynter's varied career, to consider issues that were as pertinent in 1995 as they had been in 1895, including public and establishment reactions to Poynter's treatment of the nude figure, especially that of the female nude, in drawing and painting during the second part of his career; the development of art training, and the place of the Royal Academy in Victorian and Edwardian society.
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Chuang, Yiao-hwei. "An investigation into the exhibition of Buddhist objects in British museums." Thesis, University of Leicester, 1993. http://hdl.handle.net/2381/35301.
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This work gives an overview of Buddhist material culture in British museums. It first attempts to be a comprehensive study of the objects. It also examines Buddhists' impressions upon using their objects in displays. Displays and interpretations are rarely constant and neutral. They reflect merely a viewpoint from a specific angle. There are, however, many other valid interpretations about an object. An identical object has different significances under different contexts. Nowadays, community people play an increasing role in the whole processes of the work of a museum. Museums should reflect this fact in their approaches. The study discusses such issues: the nature, common characteristics, specific characteristics, symbolic messages, provenance, surviving threats, displays, interpretations, themes, communities, misunderstandings, misplacements, and suggestions for improving the use of these objects. In addition to analyse the merits and shortcomings of displays, the study also explores new insights into the objects. As visual expressions of a living spiritual heritage, the objects are not dead relics. Instead, emanating timeless messages of Buddhism, the objects are relevant to the human condition today. Besides, being displayed as solid objects, they signify intangible truths. They are meant to help people to know more about themselves and the world in which they are living. It is a challenge to museums to decode their in-depth significance rather than their outside features to viewers. The relevance of the objects should be re-interpreted in this social cultural context. Objects housed in museums are for men rather than vice versa. A person should look forward rather than backward. Thus, the study also explores the relevance of the objects in this multicultural society. Buddhism has become an integral part of British culture. Its objects are no longer exotic rarities. Far from being the antique specimens of many dead civilisations, the objects still articulate vividly the perennial realities of wisdom and compassion. They are more than aesthetic arts. Displays ignoring the spiritual dimensions of the objects would be expressing an injustice to them. The messages embodied in these objects can not only enrich the content of a culture but can also widen one's vision. Museums should use them to transcend the division and barriers of different beliefs. Above all, the study proposes conception-oriented themes to find a common ground for dialogue, comparison and communication among different beliefs and cultures. As 'religion' is a dangerous topic, many museums dare not take the risk of being criticised by displaying religious themes. They usually tackle the objects as aesthetic arts. Besides, many displays have not explored the connection of the objects to the general public. This kind of trite approach seems unable to kindle the curiosity and imagination of viewers. The study attempts to explore other alternative options for using them. In this interdependent world, mutual understanding and mutual respect become more important. Men should seek common ground for co-operation rather than for discrimination, division or conflict. Through sympathetic approaches, e.g. take the viewpoints of the original makers and owners of these objects, museums can contribute to peace and harmony in society.
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Dalal-Clayton, Anjalie. "Coming into view : black British artists and exhibition cultures 1976-2010." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4356/.
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This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of non-art-historical conceptual and alternative curatorial models: Afro Modern (Tate Liverpool), Action (The Bluecoat), and a retrospective of works by Chris Ofili (Tate Britain). Comparative exhibitions of the past were typically premised on concepts of difference that ultimately resulted in the notional separation of black artists from mainstream discourses on contemporary art and histories of British art. Through a close and critical textual analysis of these three recent exhibitions, which is informed by J.L. Austin’s theory of speech acts (1955), the study considers whether, and to what extent the delimiting curatorial practices of the past have been successfully abandoned by public art museums and galleries, and furthermore, whether it has been possible for British art institutions to reject the entrenched, exclusive conceptions of British culture that negated black contributions to the canon and narratives of British art in the first place. The exhibition case studies are complemented and contextualised by an in-depth history of the Bluecoat’s engagement with black creativity between 1976 and 2012, which provides a particular insight into the ways that debates about representation, difference and separatism have impacted the policies and practices of one culturally significant art gallery that is frequently overlooked in histories of black British art. With reference to the notion of legitimate coercion as defined by Zygmunt Bauman (2000), the study determines that long-standing hegemonic structures continue to inform the modes through which public art museums and galleries in Britain curate and control black creativity.
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Lister, Ayako. "The Japan-British exhibition of 1910, Its Diplomatic, Economic and Educational Aspects." Thesis, London School of Economics and Political Science (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532160.
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David, Robert G. "A region of beauty and delight : British imagination and the Arctic 1818-1914." Thesis, Lancaster University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242817.
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Murray, Katie. "Memorials of endurance and adventure : exhibiting British polar exploration, 1819-c.1939." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/11087.
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Over eighty polar-themed exhibitions were held in Britain between 1819 and the 1930s, a time of intense exploration of both the Arctic and Antarctic. These varied from panoramas and human exhibits to displays of ‘relics', equipment, photographs and artwork, waxworks and displays shown as part of a Great Exhibition. This period also saw the creation of the first dedicated polar museums. These displays were visited by thousands of people throughout the country, helping to mediate the subject of exploration for a public audience. Despite this, the role exhibitions played in forming popular views of the polar regions has not been fully assessed. This thesis addresses this gap. It is the first to consider all the polar exhibitions held during this period as a collective body, making it possible to study how they developed over time and in response to changing circumstances. The thesis uses a variety of archival sources to both reconstruct the displays and place them in their historical and museological contexts. The study shows that exhibitions evolved in response to changes both in the museum sector and in exploration culture. It demonstrates that, while they were originally identified with the shows of the entertainment industry, polar exhibitions began to take on more of the characteristics of museum displays. At the same time their dominant themes changed; the natural world was relegated in favour of ideas relating to the human experience of the regions such as heroism, adventure and everyday life in an exotic environment. While other media may have been more effective in disseminating ideas about exploration, visitors could find the experience of visiting an exhibition more compelling. This thesis contributes to our understanding of this distinct role that exhibitions played in presenting the polar regions to the British public.
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Lee, Jenny Rose. "Empire, modernity and design : visual culture and Cable & Wireless' corporate identities, 1924-1955." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16467.
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During the twentieth century, Cable & Wireless was the world’s biggest and most important telegraphy company, employing large numbers of people in stations across the world. Its network of submarine cables and wireless routes circumnavigated the globe, connecting Britain with the Empire. This thesis examines the ways in which the British Empire and modernity shaped Cable & Wireless’ corporate identity in order to understand the historical geography of the relationships between Empire, state, and modernity. Additionally, it investigates the role of design in the Company’s engagement with the discourses of modernity and imperialism. Historical Geography has not paid sufficient attention to the role of companies, in particular technology companies, as institutions of imperialism and instruments of modernity. The study of businesses within Historical Geography is in its infancy, and this thesis will provide a major contribution to this developing field. This thesis takes an interdisciplinary approach that sits at the intersection of three main disciplines: Historical Geography, Design History and Business History. This thesis examines how Cable & Wireless’ identity was produced, transmitted and consumed. This thesis is based on detailed research in Cable &Wireless’ corporate archive at Porthcurno, examining a wide range of visual and textual sources. This pays particular attention to how the Company designed its corporate identity through maps, posters, ephemera, corporate magazines and exhibitions. Drawing upon the conceptualizations of the Empire as a network, it argues that Cable & Wireless’ identity was networked like its submarine cables with decision-making power, money and identity traversing this network. This thesis seeks to place both the company and the concept of corporate identity within a broader historical and artistic context, tracing the development of both the company’s institutional narrative and the corporate uses of visual technologies. No study has been conducted into the corporate identity and visual culture of Cable & Wireless. This thesis not only provides a new dimension to knowledge and understanding of the historical operations of Cable & Wireless, but also makes a substantive contribution to the wider fields of Historical Geography, Business History, Design History and the study of visual culture.
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Grosvenor, Christopher. "Cinema on the Front Line : a history of military cinema exhibition and soldier spectatorship during the First World War." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/34733.
Full textAbstract:
This thesis – ‘Cinema on the Front Line: A History of Military Cinema Exhibition and Soldier Spectatorship during the First World War’ - provides an overview and examination of an element of British cinema history that remains largely undocumented within the disciplines of Film Studies and military history. Built upon highly original and extensive research, the thesis documents how the cinema intersected with the lives of British and dominion soldiers at practically every stage of their military career: from recruitment drives to the front line and, finally, in the convalescent hospitals and camps that attempted to rehabilitate an entire generation. By bringing this largely unknown history to light, the thesis dismantles many previously held assumptions regarding British cinema exhibition during the First World War, documenting how a significant percentage of the cinema-going public – British soldiers – still engaged with cinema entertainment outside of the commercial theatrical venue. As a study of historical exhibition, it documents the scale and orchestration of the British Expeditionary Force’s implementation of cinema entertainment on the Western front between 1914 and 1918. Significantly, it is also argued that, as a historically specific demographic, British soldiers represented an actively discerning and uniquely positioned body of wartime spectators, particularly in relation to the output of topical films and newsreels which purported to document the realities of the conflict. Accounting for this hidden history of wartime film spectatorship within extraordinary and unconventional sites of exhibition, the thesis challenges established ideas regarding the practices and concerns of film exhibitors, the behaviour and preferences of wartime audiences, and the significance and impact of the material conditions in which films were exhibited.
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Parsons, Thad. "Science collection, exhibition, and display in public museums in Britain from World War Two through the 1960s." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:16cadaac-fb44-4edf-9063-d6ee6a9ffd09.
Full textAbstract:
Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.
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Barnett, Maura. "The contemporary response to British art before Ruskin's "Modern painters" : an examination of exhibition reviews published in the British periodical press and the journalist art critics who penned them : from the late eighteenth century to 1843." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/34732/.
Full textAbstract:
A particular literary genre, the exhibition review, forms the subject of this dissertation. It represents one facet of a discourse which began to develop in Britain during the latter years of the eighteenth century. Art historians have become increasingly interested in such criticism, but have usually treated it, not as an historical phenomenon which in itself deserves a full investigation, but as a pool of evidence from which to draw remarks concerning individual artists or works of art It is argued that such a one-dimensional approach is unsatisfactory, but that in attempting to go beyond it, the methodological problems posed by this primary source need to be considered. It is stressed that the building up of a basic corpus of knowledge is very important, and an inventory of identified critics is presented in order to assist this. Some observations on the careers of these critics are given. The exhibition reviews published in two contrasting periodicals, the Sun and The Examiner, form the subjects of case studies. The latter are known to have been penned by Robert Hunt and present no problems of attribution. The former are ascribed to John Taylor and the supporting evidence is put forward. The reviews are compared and it is shown how they differed according to their published contexts, and according to the idiosyncracies of their authors. It is suggested that in spite of these differences, a shared critical idiom was a strong force which led reviewers to make many similar comments. This idiom and the precedents which determined its nature are examined. The ways in which it at once harboured and yet disguised certain ideologies are demonstrated. Evidence which helps to place reviews into a more rounded picture of the past is given in conclusion, including statements which show that contemporaries perceived the press as an important influence on the development of taste.
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Davies, Veronica. "A comparative study of state art policies : institutional practices and exhibition organisation in Britain and Germany c.1945-51 with particular attention to the cultural policies of the British-occupied zone of North West Germany during these years." Thesis, University of East London, 2005. http://roar.uel.ac.uk/1300/.
Full textAbstract:
This thesis is a comparative study of state policies and institutional practices relating to art in Britain and Germany in the period from 1945-5 1. This study examines the context for the production of visual art and considers its dissemination through art exhibitions and criticism in this important transitional period. It also assesses the contribution of the visual arts towards the process of cultural reconstruction and to the re-negotiation of national identities in both countries. Significantly, the cultural history of this period has been relatively under-examined and has not been the subject of extensive nor detailed research. Until now, mainstream art-historical accounts have tended to focus on the Paris-New York axis during these years, rendering Anglo-German art developments relatively peripheral. It is this marginalisation that this thesis seeks to counter. This study is divided into two main sections. The first focuses on the British Zone of occupation in postwar Germany. My research draws on a wide range of British and German archival and other sources to compare the experiences and perceptions of the British occupying forces with the different approaches adopted by German artists and arts administrators involved in reconstruction. The second section offers a detailed comparative case study of two regional art museums, Leeds City Art Gallery and the Kaiser Wilhelm Museum in Krefeld. A particular feature of this comparison is the detailed investigation of these museums' exhibition and acquisition policies, and how these relate to the wider political issues and cultural imperatives identified in the first section. My conclusion reinforces the broader view that the years 1945-51 form a turbulent transitional period in the cultural histories of both Germany and Britain. What is underlined is the often provisional and contingent nature of arts policies as they were aligned with and incorporated into wider aims of cultural reconstruction. What also emerges are the complex ways in which the visual arts contributed towards, and were subject to, the fluctuating and evolving political and cultural circumstances of both countries in the years leading up to the Cold War.
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Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.
Full textAbstract:
The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
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McKellar, Erin E. "Tomorrow on display: American and British housing exhibitions, 1940-1950." Thesis, 2018. https://hdl.handle.net/2144/31686.
Full textAbstract:
American and British exhibitions of town planning, dwellings, and home furnishings proliferated during World War II as architects seized an opportunity to rethink housing on a mass scale. “Tomorrow on Display” analyzes a range of these displays to illuminate how wartime planning and modern architecture were inextricably intertwined. The dissertation demonstrates how concepts such as the neighborhood unit and the production of modern dwellings were spurred by the war as architects in the U.S. and Britain envisioned more egalitarian forms of living. But it also illustrates how architects, curators, and institutions promoted such concepts, visualizing postwar housing for non-professional audiences by connecting architectural designs to ideas about democracy during and following the war. As “Tomorrow on Display” shows, with men enlisted in the conflict, many of these new curators and museum personnel were women.
Chapter one analyzes the exhibitions Wartime Housing (Museum of Modern Art, 1942) and Rebuilding Britain (Royal Institute of British Architects, 1943) to illustrate how curators framed the war as an opportunity to modernize housing. Chapter two examines Look at Your Neighborhood (MoMA, 1944) and Planning Your Neighborhood (Army Bureau of Current Affairs, 1945) to illuminate the ways in which town-planning displays communicated to visitors the egalitarian potential of the neighborhood unit. Chapter three looks at Integrated Building (MoMA, 1945) and Kitchen Planning (British Gas Industry, 1945) to elucidate how kitchen-planning exhibits encouraged women to think of the postwar future by planning their new homes. Finally, chapter four studies how model housing displays such as Idea House II (Walker Art Center, 1947-48) and 4 Ways of Living (Ministry of Health/Council of Industrial Design, 1949) encouraged postwar audiences to envision themselves living in and furnishing modern homes. Collectively this research reveals how curators and their institutions called upon visitors to advocate, personalize, and consume as democratic duties. Ultimately, the project argues that the exhibitions’ underlying ideological agendas constructed and reinforced a democratic citizenry to combat the totalitarian regimes against which the U.S. and Britain were unified.2025-10-31T00:00:00Z
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Goudie, Tanya. "Tracing change in Northwest Coast exhibit and collection catalogues, 1949-1998." Thesis, 2001. http://hdl.handle.net/2429/11730.
Full textAbstract:
This thesis explores changing perceptions, theory, structure and policy within art exhibit and
collection catalogues of First Peoples' objects from the Pacific Northwest Coast. This work looks
at emerging viewpoints on material culture and its display over forty years as they present
themselves in catalogue entries, textual content and labeling of Native groups and individuals.
Early concepts based on salvage anthropology such as Native cultural demise and the
degeneration of remaining people weakened as scholarship changed from a predominantly
anthropological understanding of the objects to an aesthetic understanding based in art history.
Political actions by Native groups have demanded policy changes within Canadian museum
structure that includes the Native voice in curatorial decisions and textual discussions on both old
and new objects. These very policy changes bring with them increased responsibility for the
museum as well as new challenges of representation of the objects and their makers. The theme
explored in this thesis is the changing role and responsibility of academia in the representation of
the Other.
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Hughes, Deborah. "Contesting whiteness : race, nationalism and British Empire exhibitions between the wars /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3314795.
Full textAbstract:
Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008.Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1941. Adviser: Antoinette Burton. Includes bibliographical references (leaves 242-261) Available on microfilm from Pro Quest Information and Learning.
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Lee, Yun, and 李昀. "The Grosvenor Gallery's Exhibitions and Its Promotion of British Art, 1877-1890." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/80455217288754770155.
Full textAbstract:
碩士國立中央大學
藝術學研究所
101
The Grosvenor Gallery, established in 1877, promoted contemporary and earlier art during its 14 years of operation. Grosvenor Gallery’s exhibitions attracted much attention because Sir Coutts Lindsay, its owner, adopted a new method of inviting painters and hanging of paintings. It was also well-known for its versatility of new art styles. While the Royal Academy was conservative towards new trends of art and continued its outsiders-unfriendly tradition of exhibition practices, the Grosvenor Gallery provided contemporary artists with an ideal alternative. This thesis explores the function of the Grosvenor Gallery’s exhibitions and its promotion of British art by examining its exhibition practices and paintings on show. The first chapter traces the background of the establishment of the Grosvenor Gallery and its owner’s original ideas. It is important to know how Lindsay’s aristocratic breeds and education gave birth to the establishment of the Grosvenor Gallery and how the past careers of the two managers influenced the exhibition practices. The second chapter examines Grosvenor Gallery’s exhibitions’ strategies. Apart from discovering what kinds of art styles were shown, the second part of this chapter will focus on the demonstration of British art’s development in winter exhibitions. The third chapter explores how Grosvenor Gallery’s summer exhibitions benefited different artist groups. For example, the younger associates of Pre-Raphaelite circle got chances to show their paintings and to participate in Universal Exhibitions. In addition to this, academicians and artists who frequented the Royal Academy exhibitions also made use of this alternative chance to show their works, which were not often shown in the Royal Academy exhibitions. In order to trace the influence upon Grosvenor Gallery’s exhibitions made by other newly established art institutions in the 1880s, the third part of this chapter will discuss the choices made by young artists who were either members of London Impressionism groups or influenced by foreign naturalist painters. In the conclusion, I will point out that the Grosvenor Gallery, as a private institution, demonstrated the taste of its owners and artists and successfully promoted British art in the late Victorian period.
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Korteweg, Elisabeth (Lisa) Maria. "Mining the curriculum: comparing the form and content of the museum exhibit Mine games with other mining curricula." Thesis, 1996. http://hdl.handle.net/2429/4618.
Full textAbstract:
In 1993, facing a future of escalating land-use controversies and a less than
sympathetic public attitude towards mining, major corporations in the British
Columbia mining industry and the provincial government invested in a public
education project: Vancouver's Science World's Mine Games exhibit.
This thesis will examine two pedagogical highlights of the Mine Games exhibit
promoted by Science World and its sponsors. They are the interactivity of the
exhibit (as evidenced by the hands-on stations and the computer games) and the
decision-making or 'consensus-building' process experienced in the simulated
town-meeting, Hotseat! One of the virtues of an exhibition that explicitly makes
a case for its merits and attempts to tell an important story is that it encourages
debate and makes possible the suggestion of other stories.
In this thesis, I critique Mine Games on the claims it has made for itself. The
thesis adopts a comparative approach, contrasting the pedagogical goals and
content of the Mine Games exhibit with school based mining curriculum. I argue
that the narrative and museological conventions of the exhibit reveal the story
of Mine Games for what it is — a specific, comedic story that excludes other
stories. Hidden under the facade of high-tech displays and computer games is a
traditional approach used both in schools and museums to exercise control and
deliver a non-threatening message: environmental controversies are resolvable,
all it takes is reasoned compromise.
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Chen, Chih-Ping. "Re-mapping female space: The politics of exhibition in nineteenth-century women writers." 2000. https://scholarworks.umass.edu/dissertations/AAI9988770.
Full textAbstract:
My dissertation investigates the “museum” as a site of cultural politics intersecting with the spectacle of the female body. My study aims to extend the cultural and historical readings of museums and exhibitions and focuses on female encounters with the display, collection, and civic education functions of nineteenth-century exhibition phenomena. I identify the exhibition logic in an emerging national museum culture as a triangular dynamic of the host, the exhibit, and the viewer. In this triangle, the host is figured in different roles—as an exhibitor, as a representative of the patriarchal/imperialistic culture, and as an observer of the female body. Posing the female body as a locus of discipline and resistance, women writers in that period borrow this triangulated model to destabilize patriarchal power relations: Their heroines confront the host in a variety of exhibitions to gain a measure of agency and selfhood. My first chapter traces the host-exhibit-viewer relations in the increasing popular mass visual market beginning in the eighteenth-century and culminating in Great Exhibition of 1851. With the images of power, I give an overview of the uses of “exhibition” as a metaphor in both male- and female-authored fiction. Chapter Two explores the “freak show” as a metaphor, in Charlotte Brontë's Jane Eyre, a metaphor for women's marginalization and re-imaging of a self in a patriarchal society but also a metaphor that reinforces imperialist dominance. Chapter Three investigates the female spectatorship of visual art in Brontë's Villette as an act of subversion and a critique of the patriarchal constraints on women's visibility. Chapter Four examines, in George Eliot's treatment of her heroines' relations with men in the museum space in “Mr. Gilfil's Love Story” and Middlemarch, how the museum as a cultural classroom can become problematic when “culture” as field of knowledge is defined as exclusively masculine. In my readings, I seek to open new understanding of these authors and explore the dialogical complexity of museology, literature, and societal tensions.
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Li, YingYing, and 李盈盈. "A Study on the Performance of Utilizing Integrated Marketing Communication in Non-profit Organization: A Case Study of the British Council's Education Exhibition in Taiwan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/27808409591703708512.
Full textAbstract:
碩士中國文化大學
新聞學系
99
In the face of a relentless competitive environment, both for-profit organizations and conglomerates and non-profit organizations (NGOs) are increasingly utilizing Integrated Marketing Communications (IMC) to extend their reach, convey their messages and achieve their goals. This study, based on the theory of IMC, examines the marketing strategies and marketing communications tools utilized by NGOs to reach its target audiences; how the NGO communicates with its target audiences; and the effectiveness of utilizing IMC. The study was conducted via a purposive sampling questionnaire survey, in-depth interviews and secondary analysis, and appraises the organisation’s achievements in the following three areas: firstly, analysis of the audiences reached to ascertain whether they met the NGO’s criteria; secondly, assessment of the effectiveness of the marketing communications tools; thirdly, audience satisfaction analysis to discover how far they were satisfied with the NGO’s services. The 2011 March Education UK Exhibition conducted by the British Council Taipei, an international cultural relations organisation aiming to create educational opportunities between Taiwan and the United Kingdom, was chosen for the case study. The findings reveal the following: firstly, the visitor profiles predominantly met the criteria of the NGO; secondly, the various marketing communication tools (outdoor advertisements, internet and word-of-mouth channels) were differentially effective according to the ages of the target audiences; thirdly, regarding audience satisfaction, the majority of visitors were content with the information, services and overall planning of the exhibition, but some areas need to be improved, such as the flow of the exhibition venue, the amount of information about British culture and the content of the event website “EDUKEX”.