Dissertations / Theses on the topic 'Galleria arte'
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1
Lora, Alice <1995>. "Il deposito del museo di arte contemporanea come nuova ‘sfida’ per la didattica museale. Il caso della Galleria d’Arte Moderna e Contemporanea Achille Forti di Verona." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17389.
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È ormai opinione condivisa che i depositi museali non siano dei meri contenitori, polverosi e chiusi, di oggetti preziosi, ma che essi rappresentino invece il ‘cuore’ del museo. Sono una viva miniera di ricchezze a cui però, purtroppo, nella gran parte dei casi il pubblico ancor’oggi non ha accesso. La presente ricerca si propone, dunque, di analizzare come la didattica museale possa, nel prossimo futuro, essere utilizzata per rendere maggiormente accessibili e fruibili, attraverso una serie di attività guidate, i caveau o gli archivi di musei e gallerie.
Dopo una prima analisi dell’attuale situazione della didattica nei musei d’arte contemporanea in Italia, l’elaborato si concentra sul dibattito internazionale relativo all’importanza e alla valorizzazione del deposito quale elemento fondamentale della realtà museale. In particolare, viene preso in esame il caso della Galleria d’Arte Moderna e Contemporanea di Verona Achille Forti, per la quale vengono sviluppati, in via sperimentale, alcuni brevi percorsi educativi rivolti ad un pubblico di adolescenti e adulti, atti a valorizzare i depositi del museo veronese.
2
Ligorio, Giulia <1992>. "Il Mercato dell'Arte e il Ruolo delle Gallerie. La Galleria Alberta Pane." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20690.
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Il presente elaborato analizza il complesso sistema dell’arte contemporanea, focalizzandosi sul ruolo svolto dalle gallerie private. Analizzando i singoli attori che animano il mercato dell’arte (artisti, collezionisti, gallerie, case d’asta, musei, ecc.) e la sua articolata struttura, è possibile comprendere la centralità delle gallerie d’arte contemporanea, al fine di un corretto funzionamento del sistema. Considerando la crisi provocata dalla pandemia di Coronavirus, l’elaborato riporta problematiche e dati in riferimento alla situazione delle gallerie. Dall’analisi del mercato delle gallerie si passa al caso della galleria Alberta Pane, con le sue due sedi a Venezia e a Parigi, con l’obiettivo di mostrare il ruolo che essa svolge all’interno del sistema.
3
Gollini, Serena <1994>. "Professione gallerista: la Galleria Alberta Pane, un caso di studio." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14368.
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Questa tesi di laurea si pone come obiettivo lo studio e l’analisi della professione di gallerista, considerando il caso di studio della Galleria Alberta Pane, attiva nelle città di Parigi e Venezia. Si analizza il ruolo del gallerista all’interno del sistema dell’arte contemporanea, specificando in cosa consista questo mestiere, e si ripercorre lo sviluppo di questa figura portando ad esempio le personalità più rilevanti di questo ambito. Si propone un approfondimento sul sistema galleristico in Francia e in Italia e dall’analisi generale ci si concentra al particolare, presentando il caso di studio della Galleria Alberta Pane, che viene analizzata sotto diversi aspetti in modo da mostrare un’analisi più ampia e approfondita possibile. Dopo aver studiato la galleria dal lato economico-gestionale, si considera l’ambito espositivo, attraverso un focus su quattro mostre organizzate, due personali nella sede parigina e due collettive in quella veneziana. Viene esposto, poi, uno studio sul sistema fieristico internazionale per le gallerie d’arte contemporanea, proponendo l’esempio di una fiera alla quale la Galleria Alberta Pane ha partecipato. Infine, vengono esaminati le collaborazioni tra istituzioni simili che impegnano la galleria oggetto di questo elaborato. Lo scopo di questo lavoro, perciò, è analizzare la professione di gallerista mediante la Galleria Alberta Pane e la sua posizione nel sistema artistico delle due città in cui opera.
4
Jarzebska, Aneta. "Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.
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This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.
5
Silveira, Andrea Aparecida Capssa de Lima da. "CONSIDERAÇÕES SOBRE AS GALERIAS VIRTUAIS E SUAS RELAÇÕES COM O MERCADO DE ARTE." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/5244.
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This research in the field of History, Theory and Criticism of Art with an emphasis on Art and Technology, aims a theoretical and practical study of virtual galleries from contemporary art to cyberspace. It aims to understand the functions of the galleries and the role of the gallerist as entrepreneur / strategist for the art market. In this study are selected six art galleries - all Brazilian and distinct characteristics - which can contribute to the recognition methods to choose exclusively online environment or act between physical and virtual environments. According to the data found, all virtual galleries seek legitimacy through the interested public, collectors, and other art dealers are made up of expository and informative environments, but only a few follow with e-commerce.Esta pesquisa no campo da História, Teoria e Crítica da Arte, com ênfase em Arte e Tecnologia, tem como objetivo um estudo teórico das galerias virtuais, a partir de questões pertinentes à arte contemporânea e ao ciberespaço. Visa compreender as funções das galerias e o papel do galerista enquanto empreendedor/estrategista para o mercado da arte. Neste estudo são selecionadas seis galerias de arte todas brasileiras e com características distintas que podem contribuir para o reconhecimento das estratégias dos galeristas que optam por trabalhar em ambiente exclusivamente online ou atuar simultaneamente em ambientes físicos e virtuais. De acordo com os dados encontrados, todas as galerias virtuais buscam legitimação através do público interessado, dos colecionadores e dos demais galeristas, estão constituídas de ambientes expositivo e informativo, mas apenas algumas seguem com e-commerce.
6
Arnett, Joanne. "Rogue gallery." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555301.
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I seek to capture the ephemeral in a series of large-scale weavings that examine relationships between public and private, real and artificial, the mundane and the extraordinary.
I use mug shots as a device because they represent a perfect juncture between conflict and resolution. I assume the role of the accused in all the compositions. Rather than present the images as photographs I transform them into weavings. The zeros and ones that make up a digital image file become a code which translates as the over and under of warp and weft and embeds the image in the finished cloth. Matte yarn is used for the warp, shiny wire is used for the weft, transforming darks and lights in to rich tactile surfaces. The resulting image appears and disappears depending on the viewer's perspective.
The viewer is required to physically interact with the artwork in order to see the portrait, creating a dynamic between him and the person pictured. The image slips away as the viewer steps closer, shifting the viewer's focus to other aspects of the work, and as he circles the art work to recapture the portrait there is time for layers of information to be read. The luxurious weavings are enigmatic and inspire a sense of wonder. Content, materials, and form combine to create a moment where the viewer is taken out of the expected, suspending a fleeting exchange in time and resulting in an experience rather than just a viewing.
7
Domingue, Natalie. "New Orleans Auction Galleries: Sustaining Vitality in Shifting Auction Markets." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/aa_rpts/203.
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This report examines an internship experience as the Auction and Fine Art Department Assistant at New Orleans Auction Galleries with discussion of the Company’s history, operating structure, and role in the auction market. In addition, an evaluation of the Company’s strengths, weakness, opportunities and threats and a discussion of the auction industry’s best practices used by international auction houses as they related to New Orleans Auction Galleries is also found. The report concludes with recommendations made by the intern, for the Company’s future sustainability in the auction market.
8
Grappin, Benjamin. "An internship with Arthur Roger Gallery, LLC." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/6.
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The following report is the analysis of a three-month internship within this organization, and will discuss topics as they relate to the cuniculum of the Arts Administration degree. The for-profit nature of this internship and its completion within a small-scale structure presented me with several not-so-clearly delineated tasks. In order to properly introduce the topics associated with the responsibilities of the assignment at Arthur Roger Gallery, the reader must first become familiar with the nature of the business, and its management structure. Chapter II is exclusively devoted to the purpose of the internship. By considering the role of the intern, who acted in the role of an assistant to the staff, this section will outline the importance of compiling an inventory, and the necessity of maintaining the gallery's website in the most accurate manner. The third chapter of the present report is an attempt to identify the reasons that separate the Arthur Roger Gallery from its competitors. This section will address several elements discussed through our cuniculum, particularly during the Visual Art and Marketing classes. Broadly speaking, it will show that Arthur Roger has fully understood the "who, what, where, why, when and how" of selling fine art in his market area. The final section of the discussion will involve several points dealing principally with management and technical concerns, for the most part related to the growing activity of the business and its recent evolutions.
9
Prete, Elisa <1982>. "Incontenibili : nuove avanguardie e gallerie d'arte nel panorama italiano e francese degli anni Sessanta." Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3010.
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La presente ricerca propone un’analisi del contesto artistico italiano e francese degli anni Sessanta in cui si sono sviluppate le correnti neoavanguardia (dal Nouveau Réalisme alla Pop Art, dalle ricerche cinetiche e programmate agli sviluppi concettuali, dall’Arte Povera alle esperienze multimediali e alla pratica dell’happening), con particolare riferimento all’attività espositiva delle gallerie private che in questo decennio si dimostrano i luoghi più adatti per accogliere le sperimentazioni e dare voce all’aspetto performativo delle nuove operazioni artistiche. L'analisi è strutturata in tre parti fondamentali: la prima è dedicata all’attività espositiva degli spazi privati nei maggiori centri italiani (Venezia, Roma, Milano, Torino, Genova, Bologna) e alle iniziative legate alla produzione delle neoavanguardie; la seconda riguarda la vicenda del Nouveau Réalisme e i rapporti che si instaurano tra la scena artistica francese e quella italiana, ricostruiti attraverso il profilo delle gallerie parigine maggiormente impegnate nel sostegno e nella promozione dei membri del gruppo; la terza riflette infine sulla trasformazione della tradizionale idea di “oggetto” artistico, che nel corso del decennio modifica in modo significativo tanto le modalità di percezione da parte del pubblico quanto il rapporto dell'opera con lo spazio, portando ad una crisi della stessa sede espositiva.The following research offers an analysis of the artistic context in Italy and France during the sixties, when important neo-avant-garde trends developed (from Nouveau Réalisme to Pop Art, from Kinetic to Conceptual Art, from Poor Art to multimedia experiences and Happening). In this decade, the private galleries turn out to be the most appropriate and suitable places to host the new artistic experimentations and performances. The research is divided into three parts: the first one is about the private exhibition spaces of some of the most important Italian cities (Venice, Rome, Milan, Turin, Genoa, Bologna) and all the initiatives related to the production of the neo-avant-garde; the second part concerns the history of the Nouveau Réalisme and the relationships developed between France and Italy, recreated throughout the profile of the Parisian galleries more committed for supporting and promoting the members of the group; the third part is focused on the transformation of the traditional idea of artistic "object" in the course of the decade, that significantly changes both the way the public perceives the artwork and the relation between the artwork and the space, leading to a crisis of the gallery and the exposition space.
10
Lieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.
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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.
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Poletti, Alice <1993>. "L'attività espositiva della Galleria Mazzoli di Modena, 1977-2019." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15210.
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La tesi prende in esame l’attività espositiva della Galleria Mazzoli a Modena fondata, dopo la breve esperienza della Galleria Futura, dal gallerista emiliano Emilio Mazzoli nel 1977 e attualmente ancora attiva. Data la notevole attività del gallerista, la tesi è struttura in cinque capitoli, uno introduttivo e storico, e quattro inerenti ai quarantanni di storia espositiva: la scelta è stata quella di suddividere ognuno di questi quattro capitoli in dieci anni di attività prendendo come esempi quattro mostre di quattro autori diversi per ogni decennio, mettendone in questo modo in luce sia i rapporti con il gallerista, sia gli aspetti peculiari di ognuno di essi.
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Berliner, Meghan. "The Role of the Viewer in the Gallery Space." Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/scripps_theses/12.
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My installation, "The Viewers", consists of three life-sized figures and a projected video feed. The figures are placed in and around the gallery space, and the video originates from a hidden camera installed in one of the figures eyes. The first figure that the viewer encounters upon entering the gallery space is hyper-realistic security guard. His position behind the gallery circulation desk, a space which is traditionally assumed not to be an 'art space' allows him to view those entering the gallery while remaining relatively unnoticed. A camera that is installed in his one of his eye sockets and hidden behind sunglasses feeds live images that "he perceives" to another part of the gallery where they are projected. The second figure is a male soldier, positioned covertly on a lighting ledge connected to the ceiling of the gallery. From his high-post, he can clearly view the gallery's occupants through his binoculars, while only being noticeable himself from particular angles. The third figure is a real person dressed as a gorilla. Throughout the evening, he will move through the gallery, viewing and contemplating the artworks and its viewers as well. The purpose of the gorilla is primarily to view the exhibit and the social interaction generated by the gallery setting, but inevitably, viewers will want to interact with him, drawing them into the playful drama of the piece as a whole. Together, and through their individual means of viewing, each figure alludes to the idea of playing a part: the security guard in his fulfillment of the role of a security guard, the soldier in the almost costume-like quality evoked by his camouflage attire, and the gorilla being fairly obviously a performer in costume. That each is in a sense playing a role, and that each has a particular means of viewing the people in the gallery, suggests the additional roles and importance of the fourth element, that of the viewers. My work aims to suggest that the viewers are always playing a part of sorts when viewing an exhibition: the part of the viewer. This references not only the integral nature that the viewer has in defining the meaning of an artwork, but also the role that the viewer agrees to take on – the set of assumptions and mode of viewing the art as ‘art’ – as soon as one enters the gallery space.
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Doucette, Valerie Anne. "The art museum in code: display strategies of the National Gallery of Canada." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.
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This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective, highly authored, and one-way communicative practices in digital space. Other online interfaces such as the steve.museum project and the Art Matters blog of the Art Gallery of Ontario are examined as possible alternatives to the NGC's approach through their use of more open, collaborative, and social practices made possible by digital media.La présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.
14
Arnett, Joanne M. "Rogue Gallery." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366636723.
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Harvey, Melinda. "Art Center: Individual and Group in the Context of Galleries and Studios." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2714.
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This is an adaptive reuse thesis project of an old warehouse on the south side of Richmond, Virginia. Through this project, the possibility of designing an art center to occupy the space is explored. This art center houses artist studios, gallery space as well as open studio space for art classes. The design concept establishes a building language and varies that language based on the space and its requirements. The final design also deals with the spaces in between, where one rule set meets another.
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Vicens, Rebeca. "Alley-Gallery." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9660.
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The site chosen for this thesis project is located in downtown Blacksburg, Virginia. It consists of a 30'x110' infill lot and an alley running parallel to it. An initial desire to blur the boundary between the alley and the proposed building led to a study of the potential of parallel planes overlapped along the shared border. Representation of these planes in two dimensions allowed almost simultaneous perceptions of multiple spatial and geometrical configurations among them. The architectural consequences of this phenomenon became the main subject of inquiry. Exploration through silkscreen prints and model studies culminated in the design of an outdoor art gallery.Master of Architecture
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Onsal, Basak. "Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.
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This thesis attempts to analyze the emergence of private art galleries in Turkey by
focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquos Gallery, and Society of Artlovers&rsquo
Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.
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Tonetti, Ana Carolina. "Interseções entre arte e arquitetura. O caso dos pavilhões." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-04072013-115801/.
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Esta dissertação tem como foco central o estudo de edifícios pavilhões e sua relação com a produção tridimensional - entendida como instalação e escultura. Para tanto, articula-se o conceito de \"campo ampliado\", elaborado por Rosalind Krauss em texto de 1979 para abarcar as transformações da escultura a partir dos anos 60, com seu recente deslocamento, para o âmbito da arquitetura por parte de alguns autores, nomeadamente Antony Vidler. A pesquisa não se resume apenas a uma investigação da contribuição do espaço arquitetônico para a escultura ou da escultura para a arquitetura, mas foca especialmente a linha que as separa, visto que a tendência de convergência das duas disciplinas faz com que seu elo de reciprocidade se dissolva numa produção intersticial, realizada por artistas, arquitetos ou mesmo por ambos em colaboração. O pavilhão sempre foi entendido como um campo experimental para os arquitetos, especialmente ao longo do século XX quando ajudou a consolidar as premissas da arquitetura moderna. Hoje, apresenta grande visibilidade através de diversos programas que oferecem condições únicas de encomenda e concepção pressupondo uma arquitetura singular, que configura uma produção desvinculada do binômio forma-função e cujo assunto autorreferente é a própria arquitetura. Do ponto de vista das artes o pavilhão representa uma expansão da instalação para um todo espacial que passa a envolver também o edifício e, quando tomado como meta arquitetura, opera também como plataforma de afrontamento crítico. O embate teórico acerca dos desdobramentos do \"campo ampliado\", bem como a investigação sobre aspectos essenciais do termo \"pavilhão\", de natureza maleável, são confrontados com uma análise crítica de casos selecionados em três instituições com características bem distintas- Bienal de Veneza, Instituto de Arte Contemporânea do Inhotim e Serpentine Gallery -, e possibilitam alinhavar conclusões sobre esta produção contemporânea no limiar dessas duas disciplinas.This dissertation is focused on the study of pavilions and their relationship with the three-dimensional production - understood as installation and sculpture. Therefore, the concept of \"expanded field\", elaborated by Rosalind Krauss in the 1979 essay to encompass the transformation of sculpture from the 60\'s, is articulated with the recent shift of this same concept into the realm of architecture by some authors, namely Antony Vidler. The research is not just an investigation on the contribution of the architectural space for sculpture or, on the other hand, from sculpture to architecture, but focuses especially the line that separates them, understood as a disposition of convergence by the two disciplines which dissolves the reciprocal bonds in a interstitial production, performed by artists, architects or even both together. The pavilion has always been understood as an experimental field for architects, especially during the twentieth century when it helped consolidate the assumptions of modern architecture. Today it has gained great visibility through several programs that offer specific conditions by commissioning and assuming a unique architecture design that sets up a production untied from the binomial form-function, resulting in a self referent building whose subject is the architecture itself. From the point of view of the arts, it represents an expansion of the installation configuring a spatial whole that also implicate the building and, when taken as meta architecture, also operates as a platform for critical confrontation. The opposition on theory about the ramifications of the expanded field, as well as a research on the essential characteristics to a malleable term, are faced with a critical analysis of selected cases in three institutions gathering rather distinct characteristics - the Venice Biennale, the Institute of Contemporary Art Inhotim and the Serpentine Gallery -, and allow conclusions on this contemporary production in a disciplinary threshold.
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Vitale, Raffaela <1958>. "Michelangelo Antonioni:schedatura e analisi del fondo pittorico custodito presso le Gallerie di Arte Moderna e Contemporanea di Ferrara." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4477.
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Michelangelo Antonioni occupa un posto di assoluto rilievo tra i più importanti registi italiani. Egli è stato uno dei protagonisti della stagione che, a partire dal secondo dopoguerra, ha reso celebre il cinema italiano nel mondo. Passata quella stagione, ha continuato a lavorare con esiti di altissimo livello, come attestano i prestigiosi riconoscimenti internazionali e i numerosi premi che ha ricevuto nel corso della sua carriera. I suoi film hanno segnato la storia del cinema, inaugurando un nuovo e personalissimo linguaggio filmico.
Uomo di grande spessore culturale, attento alle forme artistiche contemporanee, ne acquisisce le tematiche
e le esterna, quale tipico mezzo espressivo, attraverso le tecniche cinematografiche.
Presso le Gallerie d’Arte Moderna e Contemporanea di Ferrara è custodito un fondo di documenti e oggetti relativi all'attività di Michelangelo Antonioni, straordinario per ampiezza e valore.
Tale fondo, acquisito dal Comune di Ferrara nel 1997, è attualmente conservato presso i Depositi delle Gallerie ed è costituito da documenti personali del regista quali libri, dischi, collezioni fotografiche, appunti, premi, oggetti personali, la cineteca e le opere pittoriche.
Questa tesi è partita eseguendo una schedatura sistematica delle 381 opere pittoriche, nella quale vengono esaminati e identificati soggetti e tecniche. Poi si è cercato di ripercorrere le tematiche della cinematografia del regista ferrarese attraverso una lettura finalizzata a metterne in luce in modo specifico gli aspetti pittorici che si rilevano nei suoi film, i quali diventano parte integrante del suo linguaggio cinematografico.
Si è messo in evidenza il suo interesse per gli artisti contemporanei, attraverso le molteplici citazioni nei suoi film, e soprattutto attraverso i suoi rapporti personali con alcuni di essi.
Infine, una volta venuti a conoscenza di questa particolare espressività pittorica, analizzata ed evidenziata, si è cercato di individuarne i medesimi presupposti anche nei suoi dipinti, estrapolando dalle numerose opere quelle più significative e di maggior spessore tecnico-artistico.
Fermo restando che Michelangelo Antonioni è fondamentalmente un regista e non un pittore, lo scopo di questo studio è quello di confermarne il consistente livello artistico - culturale e dimostrare che anche la sua pittura è parte integrante ed elemento di approfondimento del suo linguaggio cinematografico.
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Moore, Catlin F. "An analysis of the adaptive contemporary art gallery model in Culver City following the 2008 global recession." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523296.
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The purpose of this thesis is to explore how the contemporary art gallery model has been adapted in order to suit a post-2008 global recession marketplace. Using Culver City as a case study, I have analyzed how three local gallerists have changed their business practices made in response to a rapidly changing economic environment as well as the demands of the current "Knowledge Age" and also demonstrated how these adaptations follow from historical developments in American gallery culture. My findings suggest the degree to which socioeconomic changes inspired shifts within the design of the current gallery business model, which enabled galleries in Culver City to survive the most challenging economic recession of their time. Findings from this study can benefit future gallerists, collectors, artists, or historians engaging in the contemporary art marketplace.
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Fasoli, Lyn, and n/a. "Young children in the art gallery : excursions as induction to a community of practice." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060710.095714.
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Learning in 'communities of practice' is a new way of describing and investigating how
people learn and has not been applied extensively in research in early childhood or in art
galleries. This thesis is a critical case study undertaken with preschool children as they
prepared for, participated in and followed up a series of excursions to the National Gallery of Australia. The study explores and analyses children's induction into the
practices of the art gallery and their negotiation of the meanings around these practices in
the gallery and in their preschool. Children's engagement in practices is analysed using a
sociocultural framework for learning called 'communities of practice' (Wenger, 1998) in
combination with a multilevel analysis of the artefacts of practice derived from the
philosophical writings of Wartofsky (1979). Multiple data sources included photographs
of children, their drawings, tape recordings of their incidental talk and group discussions,
and results of play activities as children participated in the practices of the art gallery and
the preschool. Data was also collected through semi-structured interviews with gallery
and preschool staff. In a study involving such young children, the use and juxtaposition
of these multiple sources of data was important because it allowed for the inclusion and
privileging of the material and non-verbal resources as well as verbal resources that
children used as they engaged in practices. Outcomes of this research have been used to
illuminate and problematise early childhood as a site for the intersection of multiple
communities of practice. Learning to make sense of experience is portrayed as more than
language-based 'scaffolding' and the representation of experience through child-centred
play activity. The study provides a detailed descriptive account of children's learning and
sees it as a fundamentally unpredictable and emergent process. It shows that relations of
power are always a part of learning and can be seen through an analysis of the resources
available to children, those they took up and were constrained by in the local situation
and those they brought from other communities of practice. In this process, the children,
as well as their teachers, were active negotiators. They participated in complying with
community-constituted views of knowledge as well as shaping, resisting and contesting
what counted as knowledge. This study makes a contribution to understanding children's
learning in early childhood as fundamentally social, unpredictable, productive and
transformative rather than individually constructed, stable, predetermined and
representational of experience.
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Schubauer, Allison. "From Screen to Paper to the Gallery Walls: Comic and Confessional Drawing in the Digital Age." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/581.
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In the last half-century, a number of artists have chosen to abandon notions of good taste, skill, and aesthetics in the field of drawing in order to investigate and critique our social and cultural landscape. Two very different approaches have been taken to accomplish this – the use of humor, borrowing from the format of comics; and confessional art, in which the artist ostensibly lays themselves bare in order to act as a mirror for the viewer. In my senior thesis project, I explored these two forms of drawing in relation to my own life and identified institutional (within the Claremont Colleges) and larger cultural threads within my work.
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Orler, Cesare <1997>. "Carlo Cardazzo e La Galleria del Cavallino. Le mostre dal 1942 al 1963." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21735.
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Questa tesi indaga la figura di Carlo Cardazzo in qualità di collezionista d’arte contemporanea, editore delle Edizioni del Cavallino e direttore della omonima galleria veneziana. Dopo aver approfondito il valore storico della sua collezione, l’importanza dell’attività svolta dalle Edizioni del Cavallino, anche attraverso la creazione di un apposito padiglione alla Biennale di Venezia, si analizzerà la Galleria del Cavallino partendo dalla struttura realizzata da Carlo Scarpa prima nel 1942 e poi nel 1949, in occasione del trasloco in una nuova sede. Verranno quindi elencate tutte le mostre della Galleria del Cavallino dalla sua apertura nel 1942 fino alla scomparsa prematura di Carlo Cardazzo nel 1963 integrando tutti i dati reperibili riguardo ai cataloghi delle esposizioni, ai testi critici pubblicati in quelle occasioni, alle opere esposte, ai prezzi, alla corrispondenza tra il gallerista e gli artisti e infine gli articoli di giornale che recensivano l’evento. Il fine è quello di creare un testo che possa riunire una notevole quantità di dati e farli interagire per comprendere in profondità quali siano stati gli artisti su cui il gallerista ha maggiormente investito, quali siano stati i suoi punti fermi e quali invece dei fenomeni passeggeri.
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Esteves, Wyatt Matthew. "Cole Pratt Gallery: An Internship Academic Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/193.
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This academic report is the result of a 480--‐hour internship at Cole Pratt Gallery. Cole Pratt Gallery is a for--‐profit art gallery located at 3800 Magazine Street, New Orleans, Louisiana. During my internship, I worked as a Gallery Assistant and assisted in daily operations at the gallery, produced monthly exhibitions, sold artwork and maintained steady communication with artists, clients and ownership of the gallery. This internship has given me insight into the workings of the complex art market, allowing me to learn industry practices and formulate my own ideas in managing an art gallery. This report begins with a brief history, continues with analysis of the gallery’s daily operations, SWOT analysis, best practices, short and long--‐term effects of my employment and concludes with my final thoughts and recommendations.
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Neeriemer, Ann Louise. "Modern vernacular : Arts Link Education Center and Gallery in Asheville, NC." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3640.
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Thesis (M. Arch.) -- University of Maryland, College Park, 2006.Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Grutzius, Heather L. "The Nature of Building A Public Arts Complex in Washington, DC." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9656.
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"Construction is the art of making a meaningful whole out of many parts. Buildings are witnesses to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the art of construction. At the point in time when concrete materials are assembled and erected, the architecture we have been looking for becomes part of the real world." -Peter Zumthor
The human experience of construction is the subject of this thesis. Through study of the materials, methods and tools of constructing, this work aims to reveal the nature of building through form, materials and detail.Master of Architecture
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Romano, Cara L. "Gallery 66 selling the Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.
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Baker, Erin L. "Arts interventions in dementia care." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12839/.
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Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Psychologically-informed arts and health interventions may be particularly valuable ways of improving the lives of people with a dementia and their carers. This study investigated arts-based interventions at two, London and Nottingham, art galleries where 12 people with mild to moderate dementia and their 12 carers were engaged in art-viewing and art-making. Post-intervention interviews with participants (n=12) and facilitators (n = 4), field notes and extensive written communication between the facilitators and research team was analysed using a grounded theory approach to establish how the intervention affected those involved. Three categories, a valued place, intellectual stimulation and social interaction, combined to create positive emotional and relational effects for both those with dementia and carers. In addition, there was evidence of a changed perception of dementia by facilitators. The resulting theory has potential implications for the use of arts within health and social care by applied psychologists, health, social care and museum professionals, as well as community services.
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Machado, Ana Méri Zavadil. "REATANDO OS NÓS: ARTE & FATO GALERIA, MUSEU DE ARTE CONTEMPORÂNEA DO RIO GRANDE DO SUL- MAC/RS E TORREÃO ESPAÇOS DE LEGITIMAÇÃO EM PORTO ALEGRE (1985-1997)." Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/5200.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis research aims investigate three spaces of exhibitions, where each one guards its specificity: The Art & Fact Gallery, a commercial space; the Contemporary Art Museum of Rio Grande do Sul MACS/RS, a institutional space and the Torreão, a collective initiative of artists, in a meaningful time covering the years of 1985 and 1997, in Porto Alegre City. What interested us searching, mainly, was the feature common on all three, that is, the extent to which each contributed as a space of legitimation of artists who were beginning their careers in the mid 80's and 90's. From the historiography did the analysis of the performances of such spaces in relation to production, distribution and consumption of art in that period, despite the relationships between spaces, the artists and arts system in force, noting the changes that promoted into the field of art in Porto Alegre. The survey, regarding the methodology, procedures relating to research combines theoretical and field. The first will have its foundation in important authors who wrote about the period as Iclaia Cattani, Blanca Brites, Marilene Burtet Pieta, Anna Maria Albani de Carvalho and Maria Amelia Bulhões, like Gomes and Paulo Tadeu Chiarelli, and other influential theorists different areas such as Anne Cauquelin, Nathalie Heinich, Pierre Bourdieu, Sonia Saltztein, Ricardo Basbaum and Ligia Canongia. To reach our goals the field research was fundamental because the interviews with officials, directors and managers, was instructive, because understanding its dynamic presentation of art, we understand them as spaces of legitimation.
A presente pesquisa tem por objetivo investigar três espaços de exposições, em que cada um guarda a sua especificidade: a Galeria Arte & Fato, espaço de cunho comercial; o Museu de Arte Contemporânea do Rio Grande do Sul MAC/RS, espaço institucional; o Torreão, iniciativa coletiva de artistas, em um recorte temporal que abrange os anos entre 1985 e 1997, na cidade de Porto Alegre. O que interessou pesquisar, principalmente, foi a característica comum aos três, ou seja, em que medida cada um deles contribuiu como espaço de legitimação de artistas que estavam iniciando as suas trajetórias em meados dos anos 80 e na década de 90. A partir da historiografia, realizou-se a análise das atuações dos referidos espaços no que tange à produção, à divulgação e ao consumo de obras de arte no citado período, estabelecendo relações entre os espaços, artistas e sistema de artes vigente, constatando as mudanças que promoveram para o campo da arte em Porto Alegre. A pesquisa, no que diz respeito à metodologia empregada, conjuga procedimentos referentes à pesquisa teórica e à de campo. A primeira tem o seu embasamento em autores importantes que escreveram sobre o período, como Icleia Cattani, Blanca Brites, Marilene Burtet Pieta, Ana Maria Albani de Carvalho e Maria Amélia Bulhões, assim como Paulo Gomes e Tadeu Chiarelli, além de outros teóricos influentes de áreas diferenciadas, dentre eles, Anne Cauquelin, Nathalie Heinich, Pierre Bourdieu, Sonia Saltztein, Ricardo Basbaum e Ligia Canongia. Para atingir os objetivos, a pesquisa de campo revelou-se fundamental, pois as entrevistas com os responsáveis, os diretores e os gestores mostraram-se elucidativas; assim, entendendo as dinâmicas de apresentação da arte, compreende-se tais locais como espaços de legitimação.
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Medeossi, Giulia <1993>. "Le gallerie d'arte private di Trieste dal 1946 al 1956." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14106.
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La tesi indaga l'attività espositiva delle gallerie d'arte private di Trieste negli anni successivi al secondo conflitto mondiale. Dal 1946 si registra una fioritura di nuove gallerie d'arte. La Galleria dello Scorpione, prima fra tutte, è accompagnata da la Galleria della Strega, la Galleria San Giusto, la Galleria Casanuova, e la riapertura di quelle già attive prima della guerra come la Galleria Trieste, la Galleria Michelazzi e la Galleria al Corso, per citarne alcune. Trieste vive in quegli anni una singolare situazione geopolitica che inevitabilmente si riflette nell'ambito culturale e lo modella. Attraverso lo spoglio delle riviste e dei quotidiani dell'epoca, dei cataloghi e degli inviti alle esposizioni, la tesi cerca di ricostruire l'atmosfera artistica di Trieste di quel decennio.
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Holm, Flach Eva-Lotta. "Konstens olika horisonter : Ett möte med bildkonst från Senegal, Mali och Moçambique." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-28755.
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I följande essä, Konstens olika horisonter – ett möte med bildkonst från Senegal, Mali och Mocambique, diskuterar jag rollen som gallerist och curator i mötet med det som är okänt och främmande i konsten. I essän refereras till möten med konst och konstnärer från Senegal, Mali och Mocambique. Texten utgår dels från mina upplevelser på konstbiennalen i Dakar, dels från arbetet med två olika utställningar på Galleri Flach i Stockholm. Med utgångspunkt i min roll som kurator reflekterar jag över situationer när konstens sammanhang framstår som främmande och okända. Hur bemöter jag situationen? Vad ser jag i den och vad bidrar den med i mitt kuratoriska arbete i gallerirummet? Med stöd bland annat i hermeneutiken och filosofer som Hans-Georg Gadamer och Marcia Sa Cavalcante Schuback, beskrivs en bildningsprocess i vilken jag reflekterar över det geografiska och kulturella avståndet. I texten diskuteras också ett så kallat hermeneutiska mellanrum som uppstår i skarven mellan det välkända och det främmande. Diskussionen införlivar även tankar om hur normer i den västerländska konsthistorien påverkar mitt möte med konsten och vad jag uppfattar som konstnärlig kvalitet. I essän konstateras att mina möten och konfrontationer med det som är okänt i konsten, är betydelsefullt. Det påbörjar en process mot ny kunskap i vilken jag tydligare får syn på mig själv och mina medvetna och omedvetna föreställningar. I texten beskrivs hur jag i gallerirummet prövar mina reflektioner i praktiken i en dialog med mig själv och de konstnärer med vilka jag samarbetar. Jag betonar dialogens och den inre reflektionens betydelse för utställningens tillblivelse. Utställningen blir ett mellanrum, ett begränsat sammanhang, där dialogen och reflektionen tar form.The following essay, Different horizons - Encounters in visual arts from Senegal, Mali and Mozambique, discusses how to encounter what is unknown and unfamiliar within art in my role as a gallerist and curator. The essay refers to encounters with art and artists from Senegal, Mali and Mozambique. The text is partly based on my experiences at the biennial in Dakar, partly from working experiences with two exhibitions at Galleri Flach in Stockholm. On the basis of my role as curator, I am reflecting on the situation when art appears unfamiliar. How do I act? What do I learn in these situations and what do they bring to my curatorial work in the gallery space? With support from hermeneutics and philosophers such as Hans-Georg Gadamer and Marcia Sa Cavalcante Schuback, I describe a learning process that takes the geographical and cultural distance into consideration. The text reflects also on the so-called hermeneutical gap (a room in between) that occurs in the joint between the familiar and the unfamiliar. The discussion incorporates thoughts on how standards in the Western art history affect my encounters with the art object and what I perceive as artistic quality. I note in the essay how these meetings and confrontations with the unknown in the art are important. It sets in motion a process towards greater knowledge in which I see myself more clearly, not the least my conscious and unconscious beliefs. The text describes how I use the gallery space to put my reflections into practice, in a dialogue between myself and the artists with whom I work. I emphasize the dialogue and the importance of an internal reflection in creating an exhibition. The exhibition offers a room within a room, a limited context, where dialogues and reflections take shape.
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Eekelaar, Catherine. "Art gallery-based interventions in dementia care." Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10460/.
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Section A reviews whether arts-based activities for people with a dementia (PWD) have significant cognitive, social, and psychological benefits for this population. There is a variety of theoretical perspectives on dementia that encompass the biological, psychological, and social effects of the disease on the wellbeing of PWD. Visual arts may be an appropriate way of addressing some of the challenges that PWD face by providing a means of ameliorating some of their cognitive, social, and psychological difficulties. Literature from the field of arts-based activities with PWD suggests that there is no apparent theoretical conceptualisation in the area, as most studies have attempted to evaluate various art programmes with no clear rationale for expected findings; rather, they have taken a more exploratory stance. However, they indicate that arts-based activities can have social and psychological benefits by increasing confidence, enthusiasm, enjoyment, social contact, mood, quality of life, and ratings of depression. The review concludes with a rationale for why it is important to expand the current evidence base on arts-based activities for PWD. Section B: Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Arts and health interventions may be particularly valuable ways of improving the lives of PWD and their family carers. This exploratory study involved six people with mild to moderate dementia and six family carers attending an arts-based intervention at a major London art gallery for three sessions over three weeks, in which they engaged in art-viewing and art-making. Using audio recordings to record PWDs’ responses, rather than standardised measures, which are often problematic with this population, the study sought to explore possible changes in cognition of PWD during the intervention, namely episodic memory and verbal fluency. Using a mixed methods design, data were collected at five points and analysed using content and thematic analyses. The findings suggested that episodic memory and verbal fluency appeared to improve during the art gallery-based intervention. This was substantiated by family carers who also reported that PWD showed increased mood, confidence and social interaction, and that they valued the shared experience and learning opportunity. Whether these changes can be attributed to the intervention is a matter for further research beyond this exploratory study. Future research is proposed to further understand the implications of these preliminary findings. Section C presents a critical appraisal of the research. Research skills that have been learned and developed over the course of the process are discussed, such as increased awareness of the benefits of working within a wider research community. There is consideration of the need to communicate clearly and sensitively with other professionals from differing backgrounds and organisations, as well as the importance of building on a coherent evidence base when designing a research project. Better organisation relating to recruitment and investigation into recording during the art-viewing sessions at the gallery are identified as aspects that would be done differently, as well as consideration of using a case study approach. Clinical consequences of the research are discussed, such as utilising a community psychology approach and involving art and creativity in therapeutic sessions. Finally, further research in the area is considered, such as by expanding the study and using robust neuropsychological measures to detect cognitive change.
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Wolters, Erika. "A mobile art gallery." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223739.
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Most art galleries around the world look the same; a large white room with a few artworks placed far apart. This standard way of designing art spaces together with locating them almost exclusively in the city centers makes them both physically and culturally distant for many people. This project aims to explore other ways of displaying art to make it accessible to more people through small architectural interventions. It is an exploration about the relation between space the body and the object. A prototype for a mobile art gallery has been built as a testing device.
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Cox, Margaret. "Social Media in the Arts: Designing for Meaningful Participation in Museums and Galleries." Research Showcase @ CMU, 2011. http://repository.cmu.edu/theses/12.
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My thesis focuses on Social Media in the Arts. The motivation behind this research spurred from a recent boom in social media marketing and engagement by arts organizations. I began to survey the positive and negative attributes of current social media tools, while discovering a multitude of social media experiments created by museums and galleries. Through several explorative and generative research processes, I looked into the needs of stakeholders including visitors, curators, and artists. This process concluded with a project designed specifically to encourage meaningful visitor participation in the arts—a social media app called “ViewPoint”. It takes advantage of visitor’s natural instinct to point at interesting things. Pointing becomes a means to share artworks with friends and non-acquaintances. It then uses sharing as a catalyst for in person conversations. ViewPoint is deceptively simple, however it leverages characteristics of in-person events and the power of social media to optimize the conditions for quality interaction. In researching the past year, I have been surprised by my findings and inspired by the power of the public voice. I have discovered first hand that each person sees art in his or her own way and that the best solution is one that allows a personal experience as visitors perceive, share and learn about art.
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Lee, P. C. "Inspiring creativity : creating edge effects through partnerships with museums, galleries and arts practitioners." Thesis, University of Wolverhampton, 2007. http://hdl.handle.net/2436/90242.
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DEGRAAF, NATHAN MARK. "MILIEU, MEANING AND ARCHITECTURE: CONTEMPORARY INSTALLATION ART GALLERY DESIGN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.
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Megera, Sebastiano <1997>. "I disegni di Egidio Dall’Oglio presso le Gallerie dell’Accademia di Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21776.
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La presente analisi ha origine nella necessità di far riemergere dall’oblio un gruppo cospicuo di disegni settecenteschi, conservati presso le Gallerie dell’Accademia di Venezia. La pubblicazione del corpus disegnativo, finora rimasto inedito, permette di colmare una lacuna comune a tutti gli studi sulla grafica piazzettesca, in particolare riguardanti Egidio Dall’Oglio. Tale figura che si delinea come l’autore delle prove grafiche dimenticate, è stata indagata prevalentemente sotto il profilo pittorico trascurando progressivamente il valore profondo della sua attività disegnativa. Emerge, dunque, l’esigenza di recuperare e condividere le prove grafiche, quali preziose testimonianze materiali e storiche di relazioni, tra l’artista, il suo maestro e il territorio veneziano, percepite fin dai primi studi ottocenteschi.
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Jaekel, Paola de Oliveira. "Pavilhões e o campo ensaístico da arquitetura: o caso da Galeria Serpentine em Londres." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-27062017-152844/.
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Este trabalho tem como objetivo a análise de uma tipologia - os pavilhões, dentro de um caso singular que são os Pavilhões de Verão da Galeria Serpentine em Londres. Para se entender tanto a tipologia como o próprio programa desenvolvido em Londres, essa pesquisa se valeu de levantamento bibliográfico sobre o tema e sobre os projetos da Serpentine, assim como visita a um dos pavilhões e a obras do arquiteto desse projeto, o chileno Smiljan Radíc. Como ponto de partida foi usado como referência o autor Moisés Puente e o livro \"100 anos de pavilhões de exposição\", e na sequência, publicações sobre história da arquitetura e monografias sobre alguns arquitetos. Sobre a Galeria Serpentine, a pesquisa teve início com a publicação comemorativa aos dez anos do evento: \"Serpentine Gallery Pavilions\", do autor Philip Jodidio, assim como publicações sobre cada pavilhão. Por fim, foram levantadas as publicações monográficas sobre o arquiteto Smiljan Radíc, assim como sobre o pavilhão de 2014. Com isso, foi possível traçar um panorama sobre esses edifícios na história, e também reconhecer algumas das obras emblemáticas para a disciplina da arquitetura, e a partir daí, analisar as propostas que vem sendo desenvolvidas desde o ano 2000 por essa galeria de arte. Dessa forma, o pavilhão visitado em 2014 é apresentado juntamente com a obra do seu autor em uma investigação sobre o campo ensaístico desse arquiteto, campo esse também verificado na análise de alguns dos pavilhões mais significativos da história.This paper aims to provide analysis of a typology - the pavilions, more specifically the case of the Serpentine Gallery Summer Pavilions in London. In favor of comprehending the typology as well as the developed program in London, this research was based on a selected bibliographical survey on the subject-matter and other Serpentine Gallery projects, additionally to a visit to one of the pavilions and other works by the same architect, the Chilean Smiljan Radíc. It has been used, as starting point, the reference of the author Moisés Puente and his book \"100 anos de pavilhões de exposição\", subsequent to publications on architecture history and monographs by other architects. Regarding the Serpentine Gallery, the research began with the 10-year commemorative publication of the event: \"Serpentine Gallery Pavilions\", from author Philip Jodidio, along with other publications about each pavilion. Lastly, monograph publications were gathered on the architect Smiljan Radíc, as well as on the 2014 pavilion. Therefore, it was possible to draw a panorama on these buildings throughout history, likewise some of its emblematic works for the discipline of architecture, and ther after, analyse the propositions that have been made by this gallery since the 2000s. As a result, the pavilion visited in 2014 is presented along with the author\'s work in an examination of the rehearsal field of the architect, the same field is further analysed in some of the most significant pavilions in history.
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McCredie, Athol. "Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University." Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.
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This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.
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Jun, Jinhee. "Perceived constraints to art museums/galleries participation." Texas A&M University, 2003. http://hdl.handle.net/1969.1/1173.
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Research on constraints to leisure and recreation participation has focused on various types of activities in which people would like to participate, are currently participating, or have stopped participating. However, little attention has been made to identify constraints associated with art activities participation.
The objectives of this study were to 1) identify factors which limit people's attendance to art museums/galleries; 2) address the issue of the internal heterogeneity between two constrained leisure behaviors; 3) reveal the role of previous participation, interest in future participation, gender and lifecycle in the perception of constraints to art activities; and 4) show the validity of segmentation criteria which are previous participation, interest in future participation, gender and lifecycle.
Data from the Survey of Public Participation in the Arts (SPPA 1997) was used in this study. Total sample was divided into four categories by previous participation and interest in future participation. Further, the categories 'participants with interest' and 'non-participants with interest' were sub-divided based on gender and lifecycle. The results revealed that time, cost, access and availability were considered as the most significant constraints to art activity participation across all segments. However, the array and intensity of constraints differed depending on the types of constrained leisure. In addition, different types of constraints were experienced with different intensity by segments defined by previous participation, interest in future participation, gender and lifecycle. The analyses demonstrated that previous participation, interest in future participation, gender and lifecycle were important segmentation criteria in constructing homogeneous groups with respect to perceived leisure constraints.
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Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.
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This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.
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Liu-Devereux, Pauline Carol. "Galleries and drift : mapping undermined landscapes." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3283.
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This is a creative/critical project, a collection of narratives inspired by critical discourse that map a local landscape and chart a personal topography. As a result of interdisciplinary study, particularly in the area of cultural geography and map making, I found new ways to explore ideas about Cornwall’s heritage, her undermined landscape and expand upon issues raised in my MA dissertation. Recognising the instability and partiality of maps provided insight and mapping became method as newly revealed pathways and subtly shifting perspectives inspired fresh narratives which challenge stereotypical images of Cornwall and reveal the sometimes dark realities of rurality. The more personal narratives in this collection reveal a different undermined landscape: ideas about romantic constructions and inheritance led to explorations of nostalgia, memory and identity. Life events became life writing and many of these narratives reflect a search for direction and for a missing person: the artist I once was. But there are other disappearances in these narratives and the final chapter gives an account of family events that had to be recorded but which raise ethical questions that life writers cannot ignore. We must take responsibility for the way we write about vulnerable subjects and recognise what this writing tells us about ourselves: that, as Nancy K. Miller has suggested, by exposing our lives to others through life writing, we too become vulnerable subjects. The essay accompanying these narratives reflects upon process and finds ways of giving an account of the writer writing. It uncovers contemporary theories that are embedded in the narratives and I describe it as an orouboros, a creature that continuously eats its own tail. Like the text it subjects to scrutiny, the essay is a life narrative, an autobiographical act that merges creative and critical thinking and this amalgamation has been my aim since my studies began.
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Higgins, Sean Joseph. "Thomas Macklin's Poet's Gallery : consuming the sister arts in late eighteenth century London." Thesis, Courtauld Institute of Art (University of London), 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539282.
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Andreoni, Fulvia <1992>. "Autoritratti del Novecento. La collezione di Raimondo Rezzonico alle Gallerie degli Uffizi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14649.
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Questa tesi nasce dalla mia passione per l’arte contemporanea e da una lunga esperienza personale che ho avuto l’occasione di svolgere presso le Gallerie degli Uffizi. La mia volontà è stata quella di unire i due fattori e cercare un caso studio originale e interessante; l’occasione si è presentata venendo a conoscenza della collezione di Autoritratti di Raimondo Rezzonico, che è entrata a far parte delle collezioni degli Uffizi nel 2005. Questa raccolta conta circa 300 autoritratti, eseguiti per la quasi totalità da grandissimi maestri del Novecento. Dal momento dell’acquisizione, soltanto una cinquantina di queste opere sono state esposte nella mostra realizzata nel 2005 da Antonio Natali, “I modelli di Narciso, Autoritratti dalla collezione Rezzonico”. Le altre opere rimangono inedite e perciò questo elaborato si pone l’obiettivo di dare una nuova lettura approfondita sulla collezione delle opere appartenute a Rezzonico.
Il lavoro si è suddiviso in tre parti: la prima, introduttiva, che tratta della storia del genere dell’autoritratto nel Novecento e della storia della collezione di Autoritratti degli Uffizi. La seconda parte è invece basata su una vera e propria ricerca archivistica e documentaria effettuata all’interno dell’Archivio Arte delle Gallerie degli Uffizi, volta ad approfondire la figura di Raimondo Rezzonico come collezionista, a ripercorrere la storia della collezione tramite un’analisi dettagliata dei canali di acquisizione e della loro cronologia d’ingresso nella raccolta. Infine l’ultima parte propone una catalogazione di cinquanta opere inedite, scelte attraverso una selezione eterogenea basata sulla rilevanza degli autori, sulla loro provenienza e sulle varie tecniche artistiche impiegate.
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Cacciola, Giulia <1995>. "Gallerie, Fondazioni e Case d'asta: un'analisi del mercato dell'arte contemporanea a Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17022.
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Il progetto di tesi intende indagare l'andamento del mercato dell'arte di Venezia e quali siano gli agenti del sistema e del mercato più attivi in città. Partendo da un'analisi del mercato dell'arte contemporanea a livello internazionale, si è compiuta l'analisi dei singoli agenti operanti in laguna, quali: gallerie, fondazioni e case d'asta. Il caso di studio indagato per le gallerie d'arte è quello del Venice Gallery View, un network nato nel 2017, che si basa sulle teorie di collaborazione tra gallerie. Le dieci gallerie partecipanti sono state analizzate e si è cercato di evidenziare quelli che sono i punti di forza derivanti da una collaborazione territoriale. Il secondo caso di studio è quello delle fondazioni veneziane, che sono state trattate partendo da quelle storiche, fino a giungere alle nuove istituzioni giunte a Venezia, che hanno fatto sì che si verificasse una nuova spinta per il mercato dell'arte contemporanea. La fondazione è qui da considerarsi come un evoluzione del collezionismo come investimento in arte. L'ultimo aspetto riguarda invece la mancanza di case d'aste di rilievo in laguna e per completezza d'indagine, è stata svolta un'analisi sull'operato dell'unica casa d'aste presente nella città metropolitana di Venezia.
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Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
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Rovee, Christopher Kent. "Imagining the gallery : the social body of British Romanticism /." Stanford : Stanford university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40161689c.
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Causadias Domingo, Isabel. "Mercat primari de l’art contemporani a Catalunya." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/380896.
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Mercat primari de l'art contemporani a Catalunya és un treball d'investigació sobre les galeries d'art i els intermediaris que centra el seu estudi empíric a Catalunya. En la dissertació s'efectua una revisió històrica del mercat de l'art i l'origen de les estructures comercials que han marcat el naixement de les galeries com a mediadors en el sistema de l'art. Mitjançant l'exploració dels intermediaris a través d'entrevistes s'explica quines són les estratègies de funcionament del mercat, quin és el paper que tenen les galeries, i com s'estableixen les relacions entre artistes, galeries i col•leccionistes. Més específicament, l'estudi centra l'atenció sobre la funció de la confiança en el mercat de l'art com a mecanisme de reducció de riscos i costos de transacció.
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Schönfeld, Susanne, and Andreas Reinstaller. "The effects of gallery and artist reputation on prices in the primary market for art: a note." Inst. für Volkswirtschaftstheorie und -politik, WU Vienna University of Economics and Business, 2005. http://epub.wu.ac.at/342/1/document.pdf.
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This paper advances a decision theoretical foundation for pricing scripts by means of a simple model of product differentiation implementing the undercut-proof equilibrium concept. We argue that while sociological factors play undoubtedly an important role, economic analysis can complement the insights from economic sociology on pricing in the primary art market. Our model analyzes the effects of the gallery's and the artist's reputation on the price the gallery charges. The results suggest that prices positively correlate with an artist's reputation and negatively correlate with a gallery's reputation. The model may therefore explain the results of recent empirical studies that have led to similar results. (author's abstract)Series: Department of Economics Working Paper Series
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Tolley, Rebecca. "Review of Art Museum Image Gallery." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.
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