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Fernández, López Olga. "Dissenting exhibitions by artists (1968-1998) : reframing Marxist exhibition legacy." Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1346/.
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The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.
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Palmer, Daniel. "Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.
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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable category of 'Conceptual art,' but played an active role in the construction of that category. Through individual case studies, this thesis analyses the processes through which the history of this relatively recent art 'movement' has been elaborated. It seeks to understand how works of art can be accommodated to a museum-based art history and how they can be called upon to support particular curatorial narratives. At the same time, it considers to what extent they may be able to resist the conditions of display imposed upon them and may, instead, continue to signify independently of curatorial intention. In so doing, this thesis re-emphasizes the notion of critical practice, as well as the performative and discursive dimensions of Conceptual art that have often been passed over in historical exhibitions. It rejects the "oppositional" model of radical artists pitted against conservative institutions and argues for an understanding of Conceptual art based upon the recognition that claims for its independence from the institutional art world were made within the available rhetorics of a discourse that sustains the self-identities of both artists and institutions. Ultimately, this thesis reflects the understanding that to continue to regard artist and institution, artwork and exhibition, in their isolated functions is to fail to attend to the ways in which art, as a social practice, may support broader ideological structures.
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Evans, Caitlin Irene. "EXHIBITING VOICES THE PRESENCE OF NATIVE AMERICAN VOICES IN MUSEUM EXHIBITIONS." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192336.
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Taxén, Gustav. "Towards Living Exhibitions." Licentiate thesis, KTH, Numerical Analysis and Computer Science, NADA, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-1616.
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This thesis introduces the concept of living exhibitions:continuously evolving museum exhibitions that are cooperativelydeveloped and evaluated by teams of museum professionals andvisitor representatives. The author argues that the livingexhibition design process should draw its inspiration frommultiple resources, including current research on museumlearning, interaction principles and technology. As acase-in-point, the thesis provides a description of how suchresults have inspired the design of The Well of Inventions, apublic installation at the Museum of Science and Technology inStockholm. Furthermore, the thesis describes how an evaluationmethodology from cooperative design was adopted andsuccessfully applied within the museum domain. The ultimate aimof the work is to increase the opportunities for communicationbetween museum professionals and their audiences.
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Sommer, Michelle Farias. "Teoria (provisória) das exposições de arte contemporânea." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/151285.
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A tese concentra-se em estudos expositivos, especificamente em proposições curatoriais e artísticas que questionam o topos expositivo contemporâneo. O recorte temporal dessa pesquisa concentra-se em exposições vivenciadas no período 2012-2016, em contextos geográficos distintos: Porto Alegre, Curitiba, São Paulo, Rio de Janeiro, Berlim, Veneza e Londres. A metodologia de pesquisa constrói-se a partir da experiência em exposições visitadas, configurando estudos de caso da tese. Quais são os limites das canonizações ocidentais que reforçam tendências particulares e inscrevem ortodoxias em estudos expositivos? Entre “lá fora” e “aqui dentro”, se lá está a dicotomia, aqui está o hibridismo como matriz experimental das produções expositivas nacionais. Nesse contexto aqui e agora, desenvolve-se o conceito de ‘contraexposição’, que redefine o lugar expositivo através da experimentação direta na investigação, produção, apresentação e documentação de proposições curatoriais e artísticas em sua dimensão pública. Considera-se, ainda, o âmbito das megaexposições, especificamente bienais, debatendo a suposta crise do modelo através do mapeamento dos padrões recorrentes como possível estratégia de reinvenção do formato hegemônico internacional. (Continuação ) Nessa tese, entre exposições, megaexposições, contraexposições, são verificadas tentativas de engatar o sujeito para um primeiro plano das experiências expositivas, fazendo com que o questionamento direcione-se aos endereçamentos expositivos e à produção de associações obra-públicoS. Em tese: seja em instituições culturais – topos expositivo reconhecido como lugar da arte – ou no topos expositivo outro – qualquer lugar –, a exposição contemporânea está em incessante redefinição.Situated within the realm of exhibition studies, this thesis focuses specifically on those curatorial and artistic proposals which question the topos of contemporary art exhibitions. The research was carried out between 2012 and 2016, visiting exhibitions in different geographical locations: Porto Alegre, Curitiba, São Paulo, Rio de Janeiro, Berlin, Venice and London. The research methodology was built on the experience at these exhibitions, through which the thesis’ case studies have been configured. What are the limits of the Western canons, which reinforce particular trends and generate orthodoxies within exhibition studies? Between the ‘out there’ and the ‘in here’, whether there resides the dichotomy, here lies hybridity, as an experimental matrix for the making of exhibitions in Brazil. It is in this context, here-and-now, that the thesis develops the concept of “counter-exhibition”, redefining the exhibition space through direct experimentation in the investigation, production, presentation and documentation of curatorial and artistic proposals in their public dimension. The thesis also takes into account the context of mega-exhibitions, and specifically biennials, discussing the supposed crisis of the model by mapping its recurring patterns, as a possible strategy to challenge the hegemony of the current international format, and reinvent it. Among exhibitions, mega-exhibitions and counter-exhibitions, the thesis explores attempts to bring the subject of the exhibition experience to the fore, in this way directing the debate towards what or on who the exhibitions are addressing, exhibition approaches, as well as on the associations between artworks and publics that they (seek to) produce. In essence: either within cultural institutions – the exhibition topos recognised as the place of art –, or other exhibition topos – that is, anywhere –, contemporary exhibitions are being constantly redefined.
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Lee, Stephanie Maria. ""The Will to Create" Exhibition Photographic Documentation of, and Narrative on the Body of Work in Sculpture, Painting and Mandala." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/LeeSM2008.pdf.
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Hsieh, Ching-yueh. "Exhibiting minority culture : an exploration of exhibitions of indigenous culture in museums of Taiwan." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/38217.
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The research subjects of this study are temporary museum exhibitions of indigenous culture in Taiwan. Via three case studies, each typifying a different approach to exhibition making, this study isolates the factors that affect the process of making museum exhibitions of indigenous culture in Taiwan, examines the effects that exhibition making has on the exhibited subject and delineates the nature and characteristics of such exhibitions themselves. The key findings of this study are that such factors as the rules and resources generated by cultural policy, administration and performance evaluation, the values, exhibition-making experience and reflexive insights -of exhibition planners, and the relationships among key actors in the exhibition-making process function to both constrain and enable the process; and via a mutually interlocking, mutually influencing means construct the exhibition content. The common characteristics produced during the process include 1) rule and resource constraint and enablement, 2) a marked effect on the exhibition produced by multiple-status actors, 2) mutual validation or recognition as the starting point of relationships between actors, and 4) reciprocity as the core behaviour in interpersonal relationships during the process. This study also examines the effects that the making of such exhibitions has on the exercise and development of indigenous rights in Taiwan. Among its discoveries are that top-down cultural policy intended to promote the exhibition-making development of local-level museums ends up narrowing their cultural representation options. Also, cooperation between exhibition planners and the source community can promote indigenous cultural self-determination but also can constrain cultural representation diversity and produce power inequalities within the source community. Based on the findings from its various case studies, this research provides recommendations for concrete ways that museums can foster the enhanced understanding and exercise of indigenous rights.
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Altınkaya, Nilufer Seçkin Yavuz. "Mobile Display Design/." [s.l.]: [s.n.], 2004. http://library.iyte.edu.tr/tezler/master/endustriurunleritasarimi/T000506.pdf.
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Christophe, Alice. "Exhibiting connections, connecting exhibitions : constructing trans-Pacific relationships through museum displays in Oceania (2006-2016)." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/63757/.
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This research explores the correlation between exhibitions and networks in the context of the 21st century Pacific. Firstly, exhibitions are envisioned as relational and connective practices that trigger interactions through their making. Secondly, exhibition-‐products are regarded as the result of these relationships, which bring together a wide range of agents including makers, things, spaces and epistemologies. Applying the Actor-‐Network-‐Theory to the field of exhibition studies, this thesis follows the path of six trans-‐Pacific museum displays. These case studies were developed between 2006 and 2016 by three major institutions of Oceania, located in Aotearoa New Zealand (Auckland Museum), Hawai‘i (Bernice Pauahi Bishop Museum) and Taiwan (Kaohsiung Museum of Fine Arts). After a theoretical and methodological introduction, Chapter 2 dwells on the history of the institutions included in this research and pieces together the genealogical grounds for each exhibition case study. Short-‐term exhibitions and their capacity to open new museum routes are explored in Chapter 3. Long-‐term displays and the musealisation of temporary pathways are presented in Chapter 4. While reassembling the trajectories of each exhibition in Chapter 3 and 4 and connecting their genealogies, this study examines the existence of parallels, translations and echoes amongst the case studies in Chapter 5. Chapter 6 further emphasises these relationships and equally dwells on the limitations and impacts of connective narratives by analysing the Pacific maps displayed in these trans-‐Pacific exhibitions. By and large, this research explores the increasing development of a trans-‐Pacific culture of display in Oceania, which is examined through the lens of exhibitions developed and presented in this region at the dawn of the 21st century.
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Fernsebner, Susan R. "Material modernities : China's participation in World's Fairs and expositions, 1876-1955 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3059908.
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Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.
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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Smith, Daniel Charles Patrick. "City revealed : the process and politics of exhibition development : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/253.
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This thesis examines the ways in which the process of exhibition development and the politics this involves affects the practice of history in the museum. It does this by establishing the broad parameters of history practice in the museum and places this in relation to academic practice, focusing on the New Zealand context and specifically upon Auckland War Memorial Museum. From this basis the thesis examines the development of City exhibition at Auckland Museum as a large-scale museum history exposition. The development process for this exhibition was created with the aim of changing the traditional Museum approach so as to create a more engaging and scholarly history exhibition than is traditional. At the same time however, there was also an aim of retaining the appearance of the traditional Museum within this programme of change. These aims were to be met by the innovation of the collaboration between an academic historian and the Museum's practitioners in the development process.The research is based upon a detailed investigation of the roles played by the exhibition team members and the decisions, negotiations and compromises that they made through the development process. Beginning with their original intentions and concepts for the exhibition its metamorphosis into the exhibition as it was installed in the Museum gallery is traced. Emphasis is placed on the resonance that the various decisions and changes carried into the finished exhibition. The findings indicate that the Museum's traditions of developing and displaying knowledge exerted a strong conservative effect over the exhibition development in conflict with the programme of change. This conservatism vied with the authorial intentions of the exhibition development team. As a result of this influence the exhibition developed leant towards the conventional. The unexpectedly orthodox outcome resulted from the absence of critical museological practice. The thesis argues that although Auckland Museum had undergone extensive restructuring, including the introduction of new exhibition development processes and a new outlook as an organisation, the conception of history in the Museum had not changed. Ultimately this precluded that the practice of history in the institution would advance through the revised exhibition development process. However, the development of City did help achieve the updating of social history in the Museum and remains a platform upon which a more critical approach to the past can be built.
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Lu, Su-Huei, and Ling-Fang Wei. "Displays and exhibitions in university libraries." School of Communication & Information, Nanyang Technological University, 2006. http://hdl.handle.net/10150/105687.
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The purpose of this paper is to examine the displays and exhibitions in university libraries. It was conducted by questionnaire survey on six theses: Frequency and purpose, Staffing, Funding, Space and safeguards, Subjects, materials and sources, and Marketing. The results reveal that most libraries held displays and exhibitions and thought displays and exhibitions as marketing and educational ser-vices to patrons. But supporting resources such as staffing, funding, space, security, and facilities were informal and scant. To improve the displays and exhibitions, this paper suggests that libraries should pay more resources and concerns on displays and exhibitions to achieve the marketing and educational goal. Besides, librarians play important roles in displays and exhibitions. To plan a professional and successful displays and exhibitions, librarians need more support on training, display knowledge and credits.
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Rose, Julie K. "The World's Columbian Exposition idea, experience, aftermath." [Charlottesville, Va. : University of Virginia], 1996. http://xroads.virginia.edu/%7EMA96/WCE/title.html.
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McCormack, Bernadette. "Blockbustering Australian style: Evolution of the blockbuster exhibition in Australian museums." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/200164/1/Bernadette_McCormack_Thesis.pdf.
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This research critically evaluates the development of the blockbuster exhibition within an Australian museum context. Drawing on semi-structured interviews, reflective practice, and critical historiography, this research argues that current iterations of the blockbuster genre have given rise to a new ecology of 'attractor' exhibitions that are fundamental to visitor engagement strategies in the 21st century Australian museum. These findings are then operationalised in a practical field guide for the implementation of blockbuster exhibitions, providing new knowledge for the Australian museum practitioner to employ in contemporary industry practice.
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Page, Patrick J. "Submission to shelter." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137666.
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The goal of this project was to create a mobile structure in which a suite of paintings could be transported and viewed. When the structure and paintings are arranged as an "installation," they will create a more active role for a "viewer" who could then be defined as a "participant." The participant would be involved in the assembly of the environment and would find more opportunities for interaction in the assembled environment than he or she would in a traditional gallery or museum setting. A description and explanation of the processes involved in the creation of this project is preceded by a discussion of different historical, cultural, and methodological ways by which artwork is or has been presented. Also referenced are different artists and philosophies that informed this project.Department of Art
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Karbe, Ariane. "Learning from Hollywood? : narrating exhibitions with suspense." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/42752.
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A modern exhibition should be entertaining and suspense plays a vital role for entertainment media offerings. The lack of research on suspense in museum exhibitions is astonishing. This thesis aims to address this gap by investigating if and how cultural historical exhibitions could be narrated more attractively by adapting scriptwriting techniques used to produce suspense in popular films. A comparative analysis of three classical Hollywood films and three cultural historical exhibitions reveals that all dramaturgic devices described in cognitive film theory (Bordwell 1985) and how-to guides (Gulino 2004) are applied in the films, whereas barely any have been used in making of the exhibitions. As this does not prove that an application is impossible, a thought experiment explores possibilities to establish dramatic tension in exhibitions. The experiment together with the analyses suggest that decisive criteria of the exhibition medium complicate a narrating of suspenseful stories by fragmenting its structure. Having thus carved out the epic character of exhibitions (see Hanak-Lettner 2011) – in contrast to the dramatic nature of popular films – this thesis suggests, based on one of the rare scriptwriting manuals to address unconventional films (Benke 2002), that suspense could be created in exhibitions by introducing techniques which support the narrative flow, balancing exhibitions’ typical fragmentary structures. Conclusively, this thesis proposes to distinguish between mild and wild suspense, as a finer tool set for identifying different kinds of suspense. Thus the ground is laid for further studies on narrative suspense in exhibitions and also for practical experiments to tell suspenseful exhibition stories. This thesis contributes to transmedial narratology by describing the narrative potential of the exhibition medium but also the limitations of its storytelling capacity.
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França, Anna Sofia Meyer. "Trajectory of collections and museography of the brazilian industrial exhibitions: from national to international exhibitions in the XIX century." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30685.
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Esta investigação visa analisar e detalhar informações sobre a apresentação de coleções
industriais nas Exposições Nacionais Brasileiras e Universais do século XIX. A primeira
participação oficial brasileira numa Exposição Universal foi em 1862 em Londres. Com esta
participação, o país começou a preparar exposições nacionais para organizar e selecionar
coleções de produtos a serem apresentados nas Exposições Internacionais. De 1861 a 1889, o
Brasil organizou cinco Exposições Nacionais. Explorando estes eventos, e através da análise
das descrições, documentos iconográficos, a análise do enquadramento histórico, e a circulação
do conhecimento trocado, é possível investigar as coleções industriais que foram apresentadas
nas Exposições Nacionais e Internacionais e a museografia utilizada nestas apresentações. O
nosso objetivo é também identificar a existência de objetos apresentados nas Exposições que
hoje se encontram nos museus brasileiros; Trajectory of collections and Museography of the Brazilian Industrial Exhibitions: from
National to International Exhibitions in the XIX century
Abstract:
This research aims to analyse and detail information about the presentation of industrial
collections in the Universal and Brazilian National Expositions in the 19th century. The first
Brazilian official participation in a Universal Exhibition was in 1862 in London. With this
participation, the country began to prepare national exhibitions to organise and select
collections of products to be presented in the International Exhibitions. From 1861 to 1889,
Brazil organised five National Exhibitions. Exploring these events, and through analysing the
descriptions, iconography documents, the analysis of the historical framework, and the
circulation of knowledge exchanged, it is possible to investigate the industrial collections that
were presented in the National and International Exhibitions and the museography used in these
presentations. We also aim to identify the existence of objects presented in the Exhibitions that
are now found in Brazilian museums; Trajectoire des collections et muséographie des expositions industrielles brésiliennes:des
expositions nationales aux expositions internationales au XIXe siècle
Résumé:
Cette recherche vise à analyser et à détailler les informations relatives à la présentation des
collections industrielles dans les Expositions universelles et nationales brésiliennes du XIXe
siècle. La première participation officielle du Brésil à une exposition universelle a eu lieu en
1862 à Londres. Avec cette participation, le pays a commencé à préparer des expositions
nationales pour organiser et sélectionner des collections de produits à présenter dans les
expositions internationales. De 1861 à 1889, le Brésil a organisé cinq expositions nationales.
En explorant ces événements, et à travers l'analyse des descriptions, des documents
iconographiques, de l'analyse du cadre historique et de la circulation des connaissances
échangées, il est possible d'étudier les collections industrielles qui ont été présentées dans les
Expositions nationales et internationales et la muséographie utilisée dans ces présentations.
Nous cherchons également à identifier l'existence d'objets présentés dans les expositions qui se
trouvent aujourd'hui dans les musées brésiliens.
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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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Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.
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Thesis (M.A. Ed.)--Georgia State University, 2009.Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).
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Fiser, Margaret L. "Marketing strategies of selected small county fairs in northern Wisconsin." Online version, 1998. http://www.uwstout.edu/lib/thesis/1998/1998fiserm.pdf.
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Hall, Sebastian. "Creating Strong Cross Media Concepts for Museum Exhibitions." Thesis, Umeå universitet, Institutionen för informatik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-73243.
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In this paper I argue that, in an effort to create novel cross media exhibition concepts, museums should use service design. By realigning their organizations and embrace the fact that what they are offering is indeed a service, they can gain a new outlook and generate new ideas about how to create novel cross media exhibition concepts. I also suggest that treating the exhibition in a similar way that film studios treat franchises could help shift the mindset and make it cross media-centric. In order to arrive at these conclusions I performed an observational study and conducted qualitative interviews with museum professionals working in various museums in Sweden. The observational study was designed to get a grasp of the current state of digital artefacts in Swedish museums whereas the interviews were aimed towards identifying attitudes as well as knowledge of current opportunities and obstacles. The observational study taught me that instances of rich, meaningful interactions with ties to an overall concept was not common, and that there is definitely opportunities to think differently about delivering these types of distributed user experiences. The interviews gave me a greater understanding of the intricacies of the field of cultural preservation and museums, as well as insight into some of the reasons why things are the way they currently are. Using service design to align these organizations could perhaps aid with some of these reasons.
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Nguyen, Tuan. "Queering Australian Museums: Management, Collections, Exhibitions, and Connections." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18169.
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Queering Australian Museums addresses the problem of how queer or LGBTIQ communities can be further included in Australian museums on their own terms. It looks at four areas of museums—management, collections, exhibitions, and connections with audiences and communities—to consider barriers and enablers of queer inclusion in these often heteronormative institutions. Case studies of queer-inclusive efforts in public Australian museums are interpreted from institutional and community perspectives drawn from 25 interviews. The interviews are put into critical conversation with archival material and literature from museum studies and the emerging field of queer museology. The study evaluates the visibility of the history, cultures, and identities of queer communities in Australian museums. It establishes that many public representations of queerness have been driven by the efforts of LGBTIQ communities, particularly through community-based heritage organisations. It also gathers and reflects upon examples of critical queer inclusion that have occurred in public museums. Using these exemplars, it argues that queer communities should be empowered to make decisions about their own heritage with the support of museums and their unique attributes; that individual and organisational leadership, involving queer individuals and allies, should be brought to bear on this task; and that effectively navigating the tensions between museums and queer communities requires mutual understanding and accommodation. Through the process of queering the museum, it is suggested, each party might be transformed, leading to LGBTIQ diversity being valued as an integral part of society. The thesis addresses the gap in Australian museum studies literature on queer or LGBTIQ inclusion compared with Euro-American settings. It further contributes original case studies to the international field of queer museology, and to museum studies literature on including and empowering diverse communities. Both recognising the agency of queer communities and also engaging with the language and conventions of museums, it constructs a distinct account of how to navigate the historical tensions between the two. It thereby aims to enrich museum offerings for all audiences on the terms of those erstwhile excluded.
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Forstrom, Melissa. "Interpretation and visitors in two Islamic art exhibitions." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.
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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideologies like Orientalism and Islamophobia. Contemporaneously, there has been a steadily growing body of research on interpretative theory in new museology. However, no significant attempt has been made to amalgamate and apply the recent academic research in interpretative theory, including design interpretation, museum graphics and written interpretation to the analysis of Islamic art exhibitions. This thesis examines the interpretation, the process(es) of interpretation production and visitors responses in two Islamic art exhibitions in the United States: the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia (New Galleries) at the Metropolitan Museum of Art in New York City and Pearls on a String: Artists, Poets, and Patrons at the Great Islamic Courts (Pearls) at the Walters Art Museum in Baltimore, Maryland. This thesis utilizes a triangulated methodological approach where the theoretical research in interpretative theory is applied to a case study of New Galleries interpretation. A critical reflection method is adopted to examine the author’s professional involvement in the Pearls exhibition. Summative visitor evaluations of both exhibitions were undertaken in order to better understand the meanings visitors’ make. Ultimately this thesis argues that a unified, process-based approach (Whitehead,2012) to interpretation with both design and written interpretation is important because of the association or slippage between Islamic art exhibitions and the broader social and political contexts.
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West.
In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.published_or_final_version
Fine Arts
Master
Master of Philosophy
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Zhang, Linzhi. "Contemporary art and the exhibitionary system : China as a case study." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289428.
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The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to explain how the exhibitionary system shapes artistic production. The answer was sought by observing exhibition making in the Chinese exhibitionary system, from which quantitative data about 1,525 exhibitions, held in 43 exhibition spaces between 2010 and 2016, were also collected. I argue that the exhibition context shapes the physical basis of individual artworks and the construction of an artist's oeuvre. Through the contextualised creation of artworks for public viewing, artists aim to raise their visibility, which is crucial for artists' career prospects and symbolic consecration. An artist's visibility is, however, constrained by where she exhibits and with whom she co-exhibits. My method for measuring visibility reveals its binary nature, divided along a singular dimension and a collective dimension. Yet no binary division between the non- profit and for-profit is found within the exhibitionary system with regards to the selection of artists. Rather, both sectors contribute to a dual selection of marketable artists. A model of professional autonomy, which reconciles "art and the market" on the level of practices and awareness, prevails in the exhibitionary system. The sociology of exhibitions has solved persistent theoretical problems in the sociology of art. My empirical findings give rise to new research questions. Finally, I have offered a dialogue between studies of non-western and western cases within the same framework.
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Kidd, Verity. "Perfection? - Recreating the human : an exhibition of works by Orlan, Patricia Piccinini, Margi Geerlinks and Jake and Dinos Chapman." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0036.
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Perfection? - Recreating the Human is an exhibition of recent works of art by Orlan, Patricia Piccinini, Margi Geerlinks and Jake and Dinos Chapman. Each of the artists engages, in various ways, with issues relating to biotechnology and the body. The convergence of technology and the body arouses both utopian desires and dystopian nightmares; many of these desires and fears are prefigured in ancient myth and legend. The artists and artworks are therefore discussed with reference to reoccurring tropes from both ancient myth and science fiction.
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Piehl, Jona. "Reframing exhibition graphic design : an exploration of the multiple roles of graphic design and its impact on storytelling in museum exhibitions." Thesis, University of the Arts London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.720018.
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Welbourne, J. "Design theory and exhibition practice in Britain, 1924-1938 : The articulation and representation of modernist design theory between the Empire Exhibitions." Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375731.
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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.
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Tabibi, Baharak. "Exhibitions As The Medium Of Architectural Reproduction "." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606077/index.pdf.
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This thesis studies the influential role of architectural exhibitions in shaping and directing architectural discourses. The study accepts architectural exhibitions and associated publications as the critical act of architecture, in which (the work of) architecture is interpreted, reproduced and publicized. The main focus of this thesis is Modern Architecture: International Exhibition, held in 1932 at the Museum of Modern Art (MoMA). This particular exhibition is a significant historical event, which officially announced architecture of the early 20th century as International Style. The thesis underlines the role of the 1932 exhibition and MoMA as an architectural media in reproducing the works of architecture and reformulating the agenda of 20th century modern architecture especially in U.S.A.
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Qureshi, Sadiah. "Living curiosities : human ethnological exhibitions in London, 1800-1855." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435706.
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Zefran, Gani Vered. "Sculpture since 1945 in the Documenta Exhibitions 1955-1992." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388573.
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Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
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Lin, Chungju. "Special exhibitions and national museums in Taiwan : an investigation." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/33293.
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One hundred years ago, the museum was founded in Taiwan by the Japanese government. This “new” cultural institution did not exist in the past, so the distance between the museum and the public was to be expected. On the other hand, the expositions broadly took place around Taiwan, and although most of them were mainly for commercial purposes, these exhibitions have become a form of social memory for most of the Taiwanese people and to allow for experiencing art and world wonders (Lu Shao-Li 2005). In the 1990’s, holding special exhibitions in Taiwan’s national museums was a vital strategy to increase the visit rate and international exchange. Because these special exhibitions were wildly accepted by the general public, the special exhibition culture in Taiwan was formed. This special exhibition culture creates the special visitor community which views special exhibitions as their major leisure activities. In order to attract large amounts of special exhibition visitors, the museum undertakes certain special exhibitions that might not match the purpose of the establishment. This situation has been questioned by Taiwanese scholars and cultural critics. It is my intention to investigate special exhibitions in Taiwan's national museums to find how they influence the museum and how the museum has been changed. The National Museum of History in Taiwan is my case study and also the major target of discussion, because this particular museum has been famous for being a special exhibition venue and, also, this old museum once was the most important museum for international exchange in Taiwan. The special exhibition has been an important medium to convey art and cultural concepts to the Taiwanese public; therefore, by exploring special exhibitions and the relationship with museums, I attempt to discover this tendency for future museum strategies.
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Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.
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Bhagat, Dipti. "The poetics of belonging : exhibitions and the performance of white South African identity, 1886-1936." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271826.
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Borchardt-Hume, Achim. "The history of the Esposizione Quadriennale d'Arte Nazionale 1927-1943 : sixteen years of aesthetic pluralism under Facist patronage." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248636.
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Nestor, Jared N. "Unethical practices in exhibiting animals as observed by West Virginia extension agents and high school agriculture teachers." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1833.
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Thesis (M.S.)--West Virginia University, 2001.Title from document title page. Document formatted into pages; contains vi, 46 p. Vita. Includes abstract. Includes bibliographical references (p. 29-30).
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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.
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Master of Visual ArtsThe Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1098.
Full textAbstract:
The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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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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Littler, Jo. "Capital displays : exhibitions and consumer culture in twentieth-century England." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368277.
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Gregory, B. E. "The spectacle plays and exhibitions of Imre Kiralfy, 1887-1914." Thesis, University of Manchester, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233417.
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The thesis is concerned with the large spectacle plays produced by Imre Kiralfy between 1887 and 1903, and the international exhibitions which he created and staged between 1895 and 1914. The purpose of the study is four-fold; to show the origins of mire Kiralfy's development of the spectacle theatre form to describe the, spectacle plays which he produced in the United States and in England; to examine the combined spectacle plays and exhibitions which he Staged at Olympia and Earl's .Court in London; and finally to characterize the way in which Kiralfy subsumed spectacle theatre into the large International exhibitions which he staged at the White City in London. In the Introduction I set out the structure of the thesis, and make some observations on the problem of genre in the study of nineteenth century spectacle plays and exhibitions, Chapter 1 serves as a background to the later chapters, and outlines Kiralfy's early life as a Variety dancer and then as a theatre manager in New York. Chapter 2 is concerned with the pageant plays produced in Cincinnatti in r the 1880s, and the ways in which they were appropriated by Kiralfy and subsequently staged by him at St. George, Staten Island in 1887 and 1888. Chapter 3 deals with the spectacle plays presented by Kiralfy at Olympia in London between 1889 and 1893. Chapter 4 describes the two spectacle plays produced by Kiralfy in the United States in association with the Columbus Celebrations of 1892-3. Chapter 5 details the nine exhibitions and their accompanying spectacle entertainments which Kitalfy staged at Earl's Court between 1895 and 1903. Chapter 46 describes the political financial and 'architectural background to the construction of the White City exhibition grounds, the international exhibitions presented there between 1908 and 1914, and the staging of the Olympic Games in 1908.
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Allen, Jasmine. "Stained glassworlds : stained glass at the International Exhibitions 1851-1900." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/3991/.
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Studies of nineteenth-century stained glass are sparse, and tend to focus on the medium in its ecclesiastical and architectural settings. This thesis broadens such approaches by placing stained glass in its wider cultural, political, economic and global contexts by considering its display at ten international exhibitions held in England, France, the USA and Australia between 1851 and 1900. These temporary exhibitions provide a unique vantage point from which to survey the perception, practice, and status of stained glass during the peak of the medium’s revival. Drawing on contemporaneous written and visual sources, as well as recent studies of nineteenth-century culture, this study explores the extent to which the international displays of stained glass at these exhibitions shaped and developed the appreciation, application, understanding and permeation of stained glass throughout the nineteenth-century. This thesis demonstrates how the classification and various modes of displaying stained glass impacted future perceptions and displays of the medium. It considers the ways in which stained glass was part of a broader culture of spectacle in this period. It identifies those who made and exhibited stained glass for display at the international exhibitions, revealing their motives for participating and additional roles as reviewers and judges of exhibits. This project reveals, for the first time, the significance of the international exhibitions in the history of stained glass. It draws on nineteenth-century critical reviews, visual records and exhibits (both extant and non-extant) and offers close readings of specific stained glass exhibits, which are analysed in relation to stylistic developments, and to medieval and modern glazing techniques. Finally, the thesis demonstrates how stained glass was a symbolic and iconographic vehicle for expressions of nationalism and imperialism at these international events. By considering the presence of stained glass in the international exhibition environments, this thesis suggests the medium is a crucial and neglected aspect of nineteenth-century modernity.
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Nolting, Jacqueline Michele. "Mitigating zoonotic disease transmission among youth participating in agricultural exhibitions." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523853465813264.
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邱亭瑜. "Exhibiting Reproductions? Case Studies of “The Divine Michelangelo” and “Master of Light:Vermeer” Exhibitions." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/d2t9x7.
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碩士輔仁大學
博物館學研究所碩士班
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With the development of technology, museums gradually include reproductions in exhibitions while this practice has caused criticisms and debates. My thesis aims to discuss the museum’s roles when showcasing reproduction works in exhibitions. "The Divine Michelangelo" hosted by the National Museum of History in Taipei in 2013 and "Master of Light: Vermeer" hosted by the National Chiang Kai-Shek Memorial Hall in Taipei in 2014, both of which included quite a few reproductions, are employed as my case studies. Based on these two cases, I address two research questions: 1. How does the museum exhibit reproductions in different time and space? 2. How do visitors respond to the museum’s showcasing reproductions in exhibitions? My research firstly reviewed how and why reproductions were used in exhibitions in the West. Second, my research compares the two said exhibitions by conducting semi-structured interviews with one curator and four visitors, as well as resourcing secondary materials. My research shows that, first of all, the museum exhibits reproductions because it is difficult to obtain the original work. Second, the museum exhibits reproduction for educational purposes. Visitors can better experience the time and space of the original work reconstructed by the museum through reproduction works. Third, visitors consider that the museum holds reproduction exhibitions as positive and helps visitors better understand artists. However, visitors still have the desire to see the original work because of its authenticity. Hence, the museum needs to consider the visitor’s expectations for both seeing the original work and the reproduction. Finally, using reproduction in exhibitions has gradually become accepted in museums in Taiwan. This research also shows that the criticism of the museum’s hosting reproduction exhibition is partly due to unclear information. The study suggests that the museum needs to provide the complete information for visitors on whether reproductions are included in exhibitions. This research further recommends that the museum provide different and rich exhibitions by incorporating reproductions appropriately for visitors to enrich their imagination.
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"Exhibition as a marketing tool for China trade." Chinese University of Hong Kong, 1985. http://library.cuhk.edu.hk/record=b5886332.
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Knutson, Karen Leslie. "Hanging Emily : exhibition strategies and Emily Carr." Thesis, 1999. http://hdl.handle.net/2429/10784.
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This study examines the impact of new museological theory on museum education
practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a
case study that concerns both the negotiation of meanings around Emily Carr's work as they
are situated within current and traditional art historical/ historical beliefs, and the desire to offer
museum visitors a more sufficient or comprehensive educational experience.
The dissertation examines the installation of Carr in a variety of galleries across
Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver
Art Gallery) as a means of contextualizing a range of problems associated with museum
practice. The National Gallery chapter explores issues of ideology raised by the new
museology. The chapter concerning the display at the Art Gallery of Greater Victoria
concerns the particularities of site and place (Victoria was Carr's birthplace) as well as
notions of resonance and contextualization in art displays. The discussion of the Art Gallery
of Ontario concerns contextualization of a different sort, the display created with a solid
foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with
that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of
subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the
Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in
the earlier chapters, by the challenges of post-modem theorists to historical understanding,
historiography, and museum practice.