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1
Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.
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Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.
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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.
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Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.
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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum, namely a sacred space in which power has been obscured through the ‘art for art’s sake’ model. Instead, the thesis finds at SANG invisible symbolic capital resided alongside the more muscular capital of the colony, which derived its strength from an overt relationship with commerce, politics and race. The thesis further finds that SANG developed a close relationship with its white audience through its construction as a ‘homely space’. As a consequence, I argue SANG developed museological conventions that better fit the analogy of the political house than the temple. Taking new museum ethics into consideration, the thesis examines how SANG’s distinctive heritage impacted on its ability to be inclusive. My fieldwork on recent representational practice at SANG reveals strategies congruent with the post-museum, including performative political exhibitions, diversification of the collection and active dialogue with the communities it seeks to serve. At the same time embedded modes of white cultural representation were identified that restricted its capacity to ‘move-on’. The thesis contributes to the field of museum studies by drawing attention to the significance of the individual histories of art institutions in determining their ability to make change. The thesis also contributes to the field of visual sociology by presenting images and ‘map-making’ as an integral feature of the research design.
4
Barben, Marc Walter. "What does it mean to be a 'national' gallery when the notions of 'nation' transform radically?: An analysis of the Iziko South African National Gallery's practices and policies in historical contexts." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13650.
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Includes bibliographical references.While much has been written on the European display of non - western art and artefact collected from their colonies in Africa, less has been documented about the European settler arts institutions, like the South African National Gallery (SANG), whose distant location away from the imperial centre initially presented particular challenges. In South Africa, since colonialism, these challenges have been expanded by settler nationalisms, a racially oppressive regime, a liberation movement, and a relatively peaceful transition to a democracy. In its form and its function, the SANG has reflected the redefined nationalisms that accompanied these historical moments. In light of the global history of national galleries and more recent theoretical discussions about cultural institutions, this study probes the complex layering of histories evidenced in collection and exhibition practices at the SANG in its historical contexts. Historically South African galleries have reflected colonial and later apartheid ideologies. With the transition to a democratic society in 1994, the ‘new’ South Africa ushered in a radically redefined national identity. If national collections reflect the nations to which they belong, this study questions the SANG’s ability in reflecting successive redefinitions of South African nationhood, and its adaptability in meeting shifting social and political requirements. By examining shifts in collections and display practices and policies, in the SANG’s historical contexts, this paper ultimately asks the question: What does it mean to be a ‘national’ gallery when the notions of ‘nation’ transform radically?
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Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.
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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.
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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.
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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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Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.
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Includes bibliographical references (pages 125-138).This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the museum came under pressure to accommodate the Afrikaner community after 1948. This did not mean that the liberal ethos at the museum disappeared, however. The South African National Gallery was strongly influenced by public pressure in this period. Public outrage over controversial art sales in 1947 led to the appointment of a commission of enquiry into the workings of the museum. At the same time, the head of the Board of Trustees, Cecil Sibbett, engaged the public on matters of Modern art. The museum's conservative and controversial Director, Edward Roworth was replaced in 1949 by John Paris who ushered in a new phase of development and management, encouraged the reconceptualization of South African art and reorganized the permanent collection. This initiative took place despite decreased autonomy for the Director and increased government imposition of Afrikaner Nationalist ideology. Nevertheless, the South African National Gallery avoided becoming a political instrument of the Apartheid regime.
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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
11
Yoshie, Yoshiara. "Art museums in a diverse society : a visitor study at the South African National Gallery." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498502.
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Spence, Cathryn Helen Gordon. "A passionate vision and its legacy : the national gallery of British art at South Kensington." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521759.
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Trodd, Colin. "Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.
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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.
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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
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Robinson, Cicely. "Edward Hawke Locker and the foundation of the National Gallery of Naval Art (c.1795-1845)." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6272/.
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The National Gallery of Naval Art was situated within the Painted Hall at Greenwich Hospital from 1824 until 1936. This collection of British naval paintings, sculptures and nautical curiosities was one of the first ‘national’ collections to be acquired and exhibited for the general public, preceding the foundation of the National Gallery by a matter of months. Installed in the wake of the Revolutionary and Napoleonic Wars, the Naval Gallery, as it was more commonly known, was primarily founded to commemorate ‘the distinguished exploits of the British Navy’. This thesis examines how the Gallery presented a unique type of national naval history to the early nineteenth-century public, contributing to the development of contemporary commemorative culture as a result. In addition, the Naval Gallery also functioned as a forum for the exhibition of British art. This study examines how the Gallery was actively involved in the contemporary art world, liaising with the Royal Academy of Arts and the British Institution, providing patronage for contemporary artists and actively contributing toward the development of a national patriotic aesthetic. In 1936 the Naval Gallery was dismantled and the collection was given, on permanent loan, to the newly founded National Maritime Museum. As a result of this closure the Gallery ceased to be the subject of contemporary commentary and knowledge of its existence gradually declined. This thesis conducts a dedicated institutional study of the Naval Gallery in an attempt to re-establish its status as the first ‘national’ naval art collection, as a major site for the public commemoration of Nelson and as an active participant in the early nineteenth-century British art world.
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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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Morris, Andy. "The geographies of multiculturalism : Britishness, normalisation and the spaces of the Tate Gallery." Thesis, n.p, 2002. http://oro.open.ac.uk/18912.
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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Limbos-Bomberg, Nathalie. "The ideal and the pragmatic, the National Gallery of Canada's Biennial Exhibitions of Canadian Art, 1953-1968." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57706.pdf.
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Abbo, Mayer S. "Transforming and revealing a footprint of place : new National Gallery of Art Project, San Jose, Costa Rica." Thesis, Massachusetts Institute of Technology, 1992. http://hdl.handle.net/1721.1/62908.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.Includes bibliographical references (p. 293-297).
The primary focus of this investigation is the insertion of a new piece in an environment where the natural elements of site and the man-made elements of city can begin to inform the ordering systems used in the design process. The existing footprint of the ruins of La Antigua Penitenciaria, in the center of the Costa Rican capital, San Jose, is transformed in meaning and character to become a cultural center for the city. The problem presented is a contextual one of making a place in the world through a reading, cataloguing and reinterpretation of /lature, city, and culture. The .goal of the process is a building that reveals the meaning of its present time and place, set in a landscape that tells stories of its past.
by Mayer S. Abbo.
M.Arch.
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Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
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This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.
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Hook, Sarah. "Reading the gallery : portraits and texts in the mid- to late nineteenth century." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:87ad5989-055a-4777-9418-5f636afd6f96.
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The Victorians saw more portraits than any generation before them. While the eighteenth century has been named 'the age of portraiture', portraits pervaded nineteenth-century society like never before. With the invention of photography, coupled with technological advancements in low-cost printing methods, the medium in which faces could be recorded was revolutionised, the classes of society that could afford to be immortalised expanded, and the spaces in which portraits were seen proliferated. These spaces included the public gallery, photography studio shop windows, and personal photograph albums. They also included the art periodical, biography, fiction, and poetry as the experience of portraiture became distinctly textual as well as visual. This thesis draws upon art history alongside literary, museum, and material studies to explore the creative exchange that developed between portrait viewership and reading practices in the mid- to late nineteenth century. Taking the establishment of the National Portrait Gallery in 1856 as its starting point, the thesis tracks the changing idea of the portrait gallery through its literary reception. It takes the portrait gallery to mean the physical space in which portraits were exhibited, and the conceptual idea of collecting, arranging, and interacting with portraits that permeated into the literary world. By focussing on the work of Edmund Gosse, Walter Pater, Thomas Hardy, and Vernon Lee, the thesis forms a 'gallery' of nineteenth-century tastemakers, each of whom looked to the democratic art of portraiture to reflect upon their literary art. How did portraits and texts interact in the mid- to late nineteenth century? In what ways did writers adapt the conventions of portraiture and the portrait gallery for the written text? This thesis seeks to answer these questions and provide new narratives about the complex relationship between the visual and the verbal in nineteenth-century culture. It observes the Victorian 'culture of art' with a more focussed eye to illuminate how the conditions of viewing, circulating, and collecting portraits specific to the period allowed the portrait gallery to serve as a particularly compelling arena for the literary imagination. Gosse, Pater, Hardy, and Lee tested the inherent limitations of portraiture as an art of imitation to realise its imaginative capacity for communicating with close and distant, contemporary and historic figures. They recognised that writing offered a valuable way of constructing the affective conversations that could be had with - and the stories that could be told about - portraits and portrait collections. With the proliferation of portraits came the problem and the opportunity of organising them.
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Edström, Felicia. "Konstmuseer i den digitala världen : En kvalitativ studie av konstpedagogikens roll i virtuella konstmuseiutställningar." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96783.
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En kvalitativ studie av konstpedagogikens roll i virtuella konstmuseiutställningar. Syftet med denna studie är att kartlägga konstpedagogiska element och hur dessa påverkar förmedlandet, mottagandet och funktionerna i två virtuella utställningar från de Londonbaserade konstmuseerna The National Gallery och The Courtauld Gallery. Metoder och teorier med utgångspunkt i en analysmodell av den konstpedagogiska processen samt konstpedagogiska hållningar, har använts för analys och tolkning. I denna studie dras paralleller mellan studieobjekten och traditionella utställningar, samt ytterligare perspektiv på konstpedagogikens roll och virtuella utställningars funktioner i en konstpedagogisk kontext. Resultatet av denna studie visar på en fri pedagogik där användaren tar stor plats och styr sin virtuella rundtur bestående av ett rikligt men selekterat och kontrollerat innehåll.
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Ward, Debbie, and n/a. "Textile conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.174356.
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Urquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.
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My employment in the Paintings Section of the Conservation Department
of the Australian National Gallery began in June 1983, however my
internship did not begin until March 1984 under the supervision of
Allan Byrne.
At that time, the paintings section was divided, rather arbitrarily,
into: paintings pre-1940, headed by Ilse King and; paintings
post-1940, headed by Allan Byrne.
Because of the departure of the then senior curator of conservation Dr
Nathan Stolow, Allan Byrne became acting senior curator. When Allan
Byrne took up the position of lecturer in paintings conservation at
C.C.A.E., Ilse King then became acting senior curator and my
supervisor; the division within the painting section was then
disbanded.
Jac Macnaughtan departed temporarily from the department to undertake
study and to work at the Tate Gallery and at the Courtauld Institute
in London leaving me with the paintings section.
I was fortunate enough to have at first one assistant Simon Hartas,
then two assistants, Mark Henderson and Les Cormack to help with the
task of backing, framing and restretching paintings.
There was no formal training programme for an intern - work was
undertaken as it came into the department and as it was allotted.
For the sake of simplicity and ease of handling the dissertation is
divided into 3 parts:
Part 1 includes the Functions and Facilities of the conservation
department.
Part 2 includes an outline of painting conservation practice within
the gallery and details of conservation work undertaken.
Part 3 comprises a project on some of the properties of hardboard.
As the gallery has in its collection a considerable number of
paintings on hardboard, to augment my knowledge and perhaps give some
insight into the nature of hardboard, this project was undertaken in
conjunction with the internship.
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Cains, Carol, and n/a. "Internship in textile conservation at the Australian National Gallery, 1981-1984." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20060623.130749.
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King, Martha J. (Martha Juliette) Carleton University Dissertation Canadian Studies. "The National Gallery of Canada at arm's length from the government of Canada; a precarious balancing act." Ottawa, 1996.
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Jung, Chang Sung. "Agencification and quangocratisation of cultural organisations in the U.K. and South Korea : theory and policy." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15930.
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This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explain these phenomena. Case studies are presented of Tate Modern in the UK and the National Museum of Modern and Contemporary Art (MMCA), which are carefully analysed to examine the validity of those nine arguments. Although cultural agencies, which show some unique features, have become increasingly an essential part of the national economy, they have scarcely been researched from the viewpoint of public policy. This thesis endeavours to explore distinctive characteristics of this policy area; and moreover, it examines the diverse variables which have an impact on policy formation and its results through the process of comparison of arguments. The major tasks of this thesis are to investigate the applicability of the nine arguments and to weigh their merits. As a corollary of this comprehensiveness, it examines the whole public sectors of both countries, in order to show the broader picture and to understand the processes of changes and their backgrounds. More profoundly, similarities and differences between both countries are compared from both macro and micro perspectives. At the same time, the results of AQ are analysed through the comparison of outputs or outcomes before and after these changes, with a view to exploring whether their rationales are appropriate. Furthermore, it also examines the institutional constraints which influence not only the change of agencies but also their performances. Besides which, it seeks to find strategies for overcoming these constraints. This thesis adopts systematic and comprehensive approaches regarding basic concepts and data. It draws on theories of comparative research, the scope of the public sector, the classification and analysis of agencies and quangos, and theories underlying the detailed components of each argument and epistemological assumptions. Therefore, it suggests various aspects which enable us to broaden our understanding of the changes within the public sector; and to generate practical understanding to inform real world reform.
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Wahlert, Blake Jorgensen. "The Poetry of Reality: Frederick Wiseman and the Theme of Time." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505236/.
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Employing a textual analysis within an auteur theory framework, this thesis examines Frederick Wiseman's films At Berkeley (2013), National Gallery (2014), and Ex Libris (2017) and the different ways in which they reflect on the theme of time. The National Gallery, University of California at Berkeley, and the New York Public Library all share a fundamental common purpose: the preservation and circulation of "truth" through time. Whether it be artistic, scientific, or historical truth, these institutions act as cultural and historical safe-keepers for future generations. Wiseman explores these themes related to time and truth by juxtaposing oppositional binary motifs such as time/timelessness, progress/repetition, and reality/fiction. These are also Wiseman's most self-reflexive films, acting as a reflection on his past filmmaking career as well as a meditation on the value these films might have for future generations. Finally, Wiseman's reflection on the nature of time through these films are connected to the ideas of French philosopher Henri Bergson.
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Hoffman, Sheila K. "L'histoire de la documentation des oeuvres d' art du 17e au 21e siècle : les impacts des technologies optiques et numériques sur les pratiques documentaires des galeries nationales à Londres, Ottawa et Washington D.C." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H014/document.
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Cette thèse examine les convergences et divergences le long de l'histoire de la documentation muséale dans trois galeries nationales en Angleterre, au Canada et aux États-Unis. Elle met en évidence un modèle commun, émanant plus particulièrement des deux types d'institutions apparues en Angleterre au 17e siècle : les musées publics, fondés sur des principes scientifiques et populistes, et la galerie privée, ancrée dans des traditions élitistes. Les galeries nationales analysées constituent un modèle hybride, en conflit avec ces deux formats antagonistes, mais leurs similitudes les plus frappantes résident dans l'évolution de leurs pratiques respectives de la documentation des œuvres d'art. La lutte continue afin d'intégrer véritablement la technologie dans la documentation d'art trahit l'héritage difficile entre ces deux modèles opposés. Tout au long des trajectoires uniques à chacune des institutions étudiées, peu de preuves montrent que les technologies optiques ou numériques ont eu des répercussions importantes sur les méthodologies ou les philosophies de la documentation des œuvres d'art. Au contraire, on observe que la documentation de forme numérique repose toujours sur une approche minimale de recueil de données, sur un groupe restreint de personnes habilitées à les collecter et sur un accès limité à ces données. Cette recherche renforce l'argumentation pour une redéfinition de la documentation des œuvres d'art pour repenser ses stratégies et ses philosophies directrices, pour poser un nouveau regard sur la recherche dans les collections et pour élargir l'intégration des technologies numériques dans ces processusThis research examines the divergences and convergences across the histories of three national galleries, in England, Canada and the United States, providing evidence of a common model that emanates particularly from two types of institutions that appeared in England during the 17th century: public museums founded on scientific and populist principles, and private art galleries anchored in elitist traditions. The national galleries compared in this study constitute hybrids in conflict with the original antagonistic models. But their most striking similarities reside in the evolution of their respective documentation practices. The continued struggle to truly integrate technologies in the documentation of art betrays the difficult heritage between these two opposing models. Throughout the unique historical trajectories of these institutions, there was little proof that optical or digital technologies had had important repercussions on the methodologies or the philosophies of the documentation of works of art. On the contrary, it was observed that documentation, even in digital form, continued to rely on minimal standards of data gathering, restricted groups of persons trained to collect data, and limited access to any data captured. This research reinforces the need to redefine museum documentation in order to rethink its strategies and guiding philosophies, to enable new research into museum collections, and to enlarge the integration of digital technologies into the process
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HUNG, WEN-LING, and 洪雯淩. "University Art Gallery’s Collaboration Strategies: A Case Study of Nanhai Gallery, National Taipei University of Education." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/42653v.
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碩士國立臺北教育大學
藝術與造形設計學系碩士班
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Nanhai Gallery, National Taipei University of Education’s Art Gallery, had been sponsored by school since it opened in 2003. School stopped funding from 2013 and Nanhai Gallery has to take full responsibility for its own profits and losses to maintain its operation. Nanhai Gallery takes collaboration as a strategy for securing funds by government due to the mutually rewarding nature of collaboration. In order to understand the influence of partnership and collaboration strategy, the in-depth interviews and participant observation are conducted. This thesis focuses on Nanhai Gallery’s community-based partners’ collaboration, which offers the benefits of programming, and the potential for developing new funding sources.
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Huang, Yin-Shan, and 黃尹珊. "An Action Research of Gallery Teaching in National Taiwan Museum of Fine Art." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/66268640797253924505.
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碩士國立臺南藝術大學
博物館學與古物維護研究所
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The author of the study is an art-museum-exhibition teacher interested in teaching art but has limited teaching experience. During the summer/winter art camps for elementary school children themed “Open the National Taiwan Museum of Fine Art! Open up for the Essence of Art Collection” held by NTMoFA, the author adopted the museum movement technique to conduct exhibition-based teaching. The first attempt at using this technique caused problems, including controlling the pace of teaching, unfamiliarity with the museum movement technique, and schoolchildren’s queue order when entering the exhibition, as well as how open they felt about the exhibition. The study included the entire course of action-exploration and reflection to improve exhibition-based teaching; it also presented challenges and difficulties that the author faced as an exhibition teacher in a teaching scenario that could not be fully controlled. The awakening process helped the author realize a variety of things. Art-museum-exhibition-based teaching is a procedure that needs to proceed step by step; self-reflection on the pedagogy, raising questions, and gradual changes from the exhibition teacher will enhance professional development, and improve art museum theories and practices. During the three cycles of this action research, the author continued to use reflection notes, teaching journals, observations, in-class voice recordings and videos, collaborative partner feedback, and behavioral analysis of school children as references to modify art-museum-exhibition-based teaching and action projects. The major findings of the action research are as follows: 1.Teaching practices and experiences of reflection became the driving force for self-motivation. 2.Keeping calm can help overcome the barrier in controlling the pace of teaching. 3.The museum movement technique adopted during exhibition-based teaching can taught facilitate participate learning. 4.Listening and learning are good solutions to changing and overcoming the big challenge coming from exhibition-based teaching. Lastly, the paper provided suggestions to future action researchers, researchers in the field of art-museum-exhibition-based teaching, and art-museum-exhibition teachers. This thesis is a truthful record of exhibition-based teaching experiences and reflections. It can serve as a good reference for art museums and schools when they plan art-museum-exhibition-based educational activities in the future.
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Dziedzianowicz, Joanna Maria 1990. "On the brazilian modern art and artist Lygia Clarrk : accompanying a training at the Zacheta National Art Gallery." Master's thesis, 2015. http://hdl.handle.net/10451/18223.
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Giblin, Deidre. "The effects of the dislocation of a dominant player on competition within a fine art cluster." Thesis, 2012. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/45591.
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This investigation examines the applicability of cluster theory in predicting what happens in a set of business relationships when a key player moves out for an indeterminate time but indicates it will be back. It involves a longitudinal research design using a mixed method approach to explore the dynamic inter-relationships of the fine art sector in this period of change. The main research site is the Melbourne fine art cluster, but the work also includes three situations that help to reflect the relevant system dynamics. This multidisciplinary study contributes to the field of regional development, industrial organisation and innovation by analysing how, as the structure of a cluster changes, the behaviour of cluster participants and the nature of competition in the cluster is affected. Hence, this exploratory investigation moves beyond commonalities between suppliers, resources and technologies to consider the cluster’s distinctive character and support networks which act as a significant knowledge resource to the regional cluster. Various models of cluster operation are examined in order to identify underlying issues of networks, systems and a cluster’s configuration in terms of power relationships and authority. By documenting the change process, the research contributes significant clarity to the understanding of the structural dynamics that enhance cluster strength. It demonstrates that the growth of inter-relationships and innovative activity in a dislocation period can diminish greatly as the key player returns to its pivotal role. This reinforced the importance of interactivity, both within and outside the cluster as a vital contributor to the fine art industry’s potential and success. The longitudinal design of this study allows for the consideration and examination of patterns of activity and behaviour, over time, with an emphasis on the cluster’s intangible and tangible assets while its retrospective approach provides an opportunity for comparability. Qualitative data was collected using interviews while additional data was gathered using attitudinal scales and examined using category identification. However, because of the sample size this was a minor part of the study. The study clearly demonstrates the significant control that the National Gallery of Victoria (NGV) exerts on the sector through its ability to manage information and resources and how during dislocation this influence was reduced and the cluster took on a different character. This was evident in that small and medium enterprises (SMEs) in the Victorian fine art cluster became more self-sufficient, suggesting that the dominant player suppresses SME innovativeness in the cluster. The structure of the cluster and particularly the behaviour that a dominant player induces may be important in a consideration of the ideal nature of a cluster. The contribution of the longitudinal data shows that change in the absence of a key player can be positive but that policy needs to be revised if it is demonstrated that the cluster is vulnerable to that key player.Doctorate (Philosophy)
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Doyle, Wawrzynczak Anni. "Transcending the National Capital Paradigm: The Evolution of Bitumen River Gallery/Canberra Contemporary Art Space." Phd thesis, 2016. http://hdl.handle.net/1885/118221.
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This dissertation investigates the fertile tensions in Canberra’s dual status as national capital space and local polis, that dramatically affected the development of a unique contemporary arts practice in the late 1970s. The primary thrust of this thesis is the triumph of local arts practice and community over the powerful nation- building cultural imperatives of a national capital. A complex narrative, informed by rich archival material and interviews, exposes local arts practice as a generative force in Canberra’s cultural development. Here, an examination of the citywide development of local arts and culture from the 1920s to 2001, leads to a case study of the launch and development of Bitumen River Gallery/Canberra Contemporary Art Space from 1978 to 2001. Women are shown to have exerted a profound influence in this important space, in contrast to the trend of the male-dominated art scene in the rest of late twentieth-century Australia. In sum, this dissertation traces the trajectory of arts practice in Canberra as a response to critical social and cultural needs within the national capital space, to a humanising local practice that transcended the capital’s national and international cultural imperatives.
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Péron, Marie. "Culture Warriors: Education and Awareness at the Inaugural National Indigenous Art Triennial, organized by National Gallery of Australia, 2007-2009." Thesis, 2010. http://spectrum.library.concordia.ca/7076/1/Peron_MA_F2010.pdf.
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This thesis discusses the inaugural National Indigenous Art Triennial: Culture Warriors organized and hosted by the National Gallery of Australia and provides a critical analysis of the National Indigenous Art Triennial: Educational Resource that accompanied the exhibition.
The aim of this discussion and analysis is to identify elements from the educational program at the National Gallery of Australia (NGA) that effectively increase knowledge and appreciation of Indigenous art at the Gallery. The premise behind my analysis consists of the possibility and feasibility of using similar educational programs in a Canadian context.
Using an exploratory approach, this thesis brings attention to elements that could potentially be of benefit to the National Gallery of Canada (NGC) in the development of future educational programs associated with Indigenous Art exhibitions.
It is well-known that, in the past, the NGC has been criticized for its exhibition, collecting, and dissemination practices with regards to Indigenous art. Having undergone considerable changes since the 1990’s, the NGC is beginning to look like a different institution especially with the establishment of an Indigenous Art Department in August 2007. One particular area criticized in the past about the NGC has been public access to and information about Indigenous art at the Gallery. As stated by Alfred Young Man, Department Head of Indian Fine Arts, at the First Nations University of Canada, in 2008; “There needs to be a better way for people who are looking for Aboriginal art at the National Gallery to find it, and learn about it.”
Today, the NGC’s mandate seeks to “increase the knowledge, awareness and appreciation of Indigenous art in Canada and internationally.” With its Indigenous Art Department currently in a relative stage of infancy, it is a logical time to be looking at the educational tools being developed and implemented at similar institutions, such as the NGA, for ideas as to how the NGC can fulfill its present-day mandate.
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Khalife, Lamis. "Autour des nouvelles valorisations des collections permanentes au musée : le cas de l'exposition Encounters : New Art from Old." Thèse, 2016. http://hdl.handle.net/1866/16147.
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Dans le cadre de la célébration du nouveau millénaire, la National Gallery de Londres a organisé l'exposition Encounters: New Art from Old (14 juin - 17 septembre 2000). La formule consistait à inviter vingt-cinq artistes contemporains à choisir une œuvre de la collection permanente du musée et à s'en inspirer afin d'en créer une nouvelle. Certaines des œuvres produites pour l’occasion ont été exposées près de leurs sources dans les salles historiques de la collection du musée. Ce mémoire examine comment la formule de cette exposition et son accrochage anachronique agissent de façon directe sur la temporalité de la collection historique en invitant à sa réactualisation, et à la mise en valeur de la création. Il situe cette formule dans le cadre d’un regain d’intérêt pour les collections, décortique la sélection des artistes par le musée et la sélection des œuvres de la collection par les artistes. Il propose aussi une classification des modalités par lesquelles ceux-ci ré-interprètent la tradition. Enfin, en s’appuyant sur la théorie de la réception, ce mémoire considère les réponses générées par l’exposition : celles des artistes aux œuvres de leurs prédécesseurs, celles des critiques et celles du public.As part of the celebration of the new millennium, the National Gallery of London organized the exhibition Encounters: New Art from Old (June 14 to September 17, 2000). The concept was to invite twenty-five eminent contemporary artists to choose a painting from the permanent collection of the museum in order to create a new artwork. Some of the works produced for the occasion were displayed near the works that inspired them in the historic galleries of the museum. This dissertation examines how the anachronistic hanging of the works of art helped Encounters in shedding new light on the permanent collection of the museum and in showcasing the contemporary artists' interpretations. The dissertation seeks to situate Encounters in the context of a new interest in museum collections, to reflect on its selection of artists as well as on the selection of works chosen by the artists. It then proceeds to classify the new creations in four modalities of intervention and in conclusion addresses the reception generated by the exhibition: that embodied by the new works created and those of the press and the public.
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Dasch, Rowena Houghton. "“Now exhibiting” : Charles Bird King’s picture gallery, fashioning American taste and nation 1824-1861." 2012. http://hdl.handle.net/2152/19618.
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This dissertation is an exploration of Charles Bird King’s Gallery of Paintings. The Gallery opened in 1824 and, aside from a brief hiatus in the mid-1840s, was open to the public through the end of the antebellum era. King, who trained in London at the Royal Academy and under the supervision of Benjamin West, presented to his visitors a diverse display that encompassed portraits, genre scenes, still lifes, trompe l’oeils and history paintings. Though the majority of the paintings on display were his original works across these various genres, at least one third of the collection was made up of copies after the works of European masters as well as after the American portraitist Gilbert Stuart.
This study is divided into four chapters. In the first, I explore late-colonial and early-republic public displays of the visual arts. My analysis demonstrates that King’s Gallery was in step with a tradition of viewing that stretched back to John Smibert’s Boston studio in the mid-eighteenth century and created a visual continuity into the mid-nineteenth century. In a second chapter, focused on portraiture, I examine what it meant to King and to his visitors to be “American.” The group of men and women King displayed in his Gallery was far more diverse than typical for the time period. King included many prominent politicians, but no American President after John Quincy Adams (whom King had painted before Adams’ election). Instead he featured portraits of many men of commerce as well as prominent women and numerous American Indians. In the third chapter, I look at a group of King’s original compositions, genre paintings. King’s style in this category was clearly indebted to seventeenth-century Dutch tradition as filtered through an eighteenth- and early-nineteenth-century British lens, in particular the works of Sir David Wilkie. My final chapter continues the exploration of Dutch influences over King’s work. These paintings draw together the themes of King’s sense of humor, his attitudes towards patronage and his methods of circumventing inadequate patronage through the establishment of the Gallery. Finally, they prompt us to reconsider the importance of European precedents in our understanding of how artists and viewers worked together to establish an American visual cultural dialogue.text