Dissertations / Theses on the topic 'Prints 20th century Exhibitions'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 34 dissertations / theses for your research on the topic 'Prints 20th century Exhibitions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Oguibe, Oluchukwu Olu. "The paintings and prints of Uzo Egonu, 20th century Nigerian artist." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29692/.
Full textManasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.
Full text이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
Full textpublished_or_final_version
Fine Arts
Master
Master of Philosophy
Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905." Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.
Full textCzujack, Corinna. "An economic analysis of price behaviour in the market for paintings and prints." Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212155.
Full textCollins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.
Full textBrown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
Full textEellend, Johan. "Cultivating the Rural Citizen : Modernity, Agrarianism and Citizenship in Late Tsarist Estonia." Doctoral thesis, Stockholm : Huddinge : Department of History, Stockholm university ; Södertörns högskola [distributör], 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7026.
Full textUtz, Laura Lee. "Museum Educator as Advocate for the Visitor: Organizing the Texas Fashion Collection's 25th Anniversary Exhibition Suiting the Modern Woman." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277589/.
Full textBoyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
Full textLindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
Full textVigli, Maria. "La participation des artistes grecs aux expositions universelles et internationales en Europe (1901-1939)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040094.
Full textOur study focuses on the presence of Greek artists(painters, sculptors, engravers) in the universal and international exhibitions, that took place in various European cities during the first forty years of the 20th century.Our research, which was principally carried out in the official catalogues of the presentations in question, attempted the approach and in-depth comprehension of the artistic activity of the Greeks, placed in an international cultural context(universal and international exhibitions in Europe) and in a specific chronological frame(1901-1939). For this to be achieved, we took into consideration the diverse social, political and cultural parameters that ruled two different realities; on the one hand, Greece, a “young” country in all it’s manifestations and on the other hand, Europe of the Great War, industrial progress and the “avant-garde”
Lebednykaitė, Miglė. "Šventadienės prijuostės Lietuvos kultūroje. XIX a. – XX a. pirmoji pusė." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130627_103017-08749.
Full textThis doctoral dissertation analyses a part of the traditional folk costume – festive apron – which is presented not only as a garment, but also as a relatively independent and multidimensional cultural object, and a symbol of ethnic traditions and expressions of national identity. The research covers the period from the 19th century through the early 20th century. It is the first research systematically revealing the process of the apron losing its originally intended use and being given a new meaning in the first half of the 20th century, concurrently becoming a symbol and representative of national identity not only in Lithuania but also in foreign countries. The thesis analyses collections of festive aprons (including votive aprons) of the 19th century and the first half of the 20th century available in Lithuanian and foreign museums that have not been previously analysed on a systematic basis. Lithuanian festive aprons identified in foreign museums during the research are valuable supplementation not only to the holdings of these museums, but also to the fund of folk textiles of this type available in Lithuania. This provides an opportunity to assess the forms of artistic expression, the peculiarities of weaving techniques of, and the fabrics used for, festive aprons which, in their entirety, can be used as an important source for reconstructing traditional folk clothing and for studies of the national costume. The research actualises the aspects of socio-cultural... [to full text]
Seniuta, Isabella. "Histoire du Eye Club : les valeurs de la photographie : Paris-New York (1960-1989)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H004.
Full textThis thesis questions the invention of a phrase : The Eye Club. Invented by the American historian Eugenia Parry, it has been designating a grouping active in the 1960s-1980s composed of : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff and Robert Mapplethorpe. These twelve characters lived between France and the United States and are connected and related by several cultural and temporal factors. This grouping is not, strictly speaking, a circle of sociability, it is rather a constellation or a nebula made of scattered cultural positions and diverse artistic projects. The main question that guided this survey is the following: in what way does the Eye Club and its individual actors contributed to the re-evaluation of the commercial, aesthetic and institutional value of photography between the early 1960s and the late 1990s among Paris and New York ? The chronology begins with André Jammes' involvement in the world of photography and ends in 1989, the year of Mapplethorpe's death. An inquiry of archives and key players has brought to light some well-known names, and others that remained in the shadow of history. This study aims at unveiling an interdependent network of actors, whose common interests in photography have made it possible to establish, in one generation, the photography market as we know it today. The first volume of the thesis offers, from a transatlantic perspective; an investigation and analysis of this based on photographs and correspondences. The second volume brings together twenty-four interviews conducted over my five years of doctoral research. First with the main protagonists of The Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare and Alain Paviot), then with the families of The Eye Club and finally with various personalities from the world of photography (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hamburg, Susan Kismaric, Hans Peter Kraus Jr, Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma and Daniel Wolf). Together, the two volumes sketch a history of encounters between photography enthusiasts that has, up to now, been mainly articulated in oral form between France and the United States in the 1960s and 1980s
Régnier, Marie-Clémence. "Vies encloses, demeures écloses. Le grand écrivain français en sa maison-musée (1879-1937)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040140.
Full textThe reflection undertaken in the thesis offers an archaeology of the collective representations relating to the writer’s domestic space and work, by means of a socio-criticism of the texts in which they materialise. From the notion of “house-museum”, the writer’s house-museum is considered a real place, as well as a mental and material structure where « images of the writer » are invented, organised and displayed. Albeit varied, even heterogonous, these images define a coherent imagination and imagery of the writer’s figure. In the thesis, the discursive dimension of the writing place′s “paratopia” is put into perspective with scenographic and postural approaches that are centred on the figure of the writer. To that end, the study predicates that the arrangement of objects in house-museums is based on these ‘‘sceno-mythographies,’’ which are then transposed into the museum space thanks to various display devices. Right from the start, the thesis shows that the writer’s stagings perpetually constitute an essential lever of the writers’ collective memorial appropriations and their works because they crystallise successful mythical representations, which are actualized in the spirit of the age. More broadly, they take part in writing the literary history that is institutionalised in the 19th century: they put the emphasis on certain writers, on a mythology of the literary creation, and on works that came to life in “high literary places.” Finally, the thesis tackles the issues of poetics and reception that link the writers’ houses to their literary work
Fetnan, Rime. "La fabrique des imaginaires de l’altérité dans les biennales internationales d’art contemporain depuis 1989." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30013.
Full textThis research aims to examine how contemporary international art biennials, considered as cultural events and as first step in the historicization process of works and artists, contribute to the making of « otherness » as an imagined community. The chronologic frame of our research is anchored in 1989, which correspond to the « global turn », a shift of paradigm that would have led to the rethinking of domination relationship and the logic center/periphery, especially in the field of contemporary art. The internationalization of contemporary art and the renewal of the frameworks of thought that are often connected with the global turn have led to a process of labeling the difference, as evidenced by artistic and aesthetic categories such as « non-western art » or « global art » that carry renewed representations that this research intends to analyze. Our approach, which is based on a corpus of six exhibitions that have marked the field of international cultural events, is deliberately multidisciplinary and aims to consider the heterogeneity of the material that composes these exhibitions. First, we highlight the expographic discourses from the analysis of three components : the writings, from which we propose a specific typology that considers both the intentions that preside over their production and the uses that are made of them ; artistic practices, which in the context of biennials are at the service of the expographic discourse ; and the gestures of exhibitions which are characteristics of the specific media device of the biennials. Secondly, interviews and the collect of archival documents have led us to circumscribe the context of enunciation and the intentionality of the events. As a media device in its own right, the exhibition catalog also gave rise to a metholody adapted to all the elements (discursive and non-discursive) that characterize it. More particularly, the writings of knowledge have been the subject of semiolinguistic analysis to highlight the processes of concretization of concepts, and thus have led us to grasp the artistic values that are attached to the imagined otherness. The preferred approach to analyze this corpus thus makes it possible to articulate the specificities of each exhibition (i.e their individuation through the articulation of their concept and their device), and their inscription in a network (as a result of a process of rewriting) at the same time
Nadal, Mut Apol·lònia. "Mallorquins, menorquins i eivissencs a les Exposicions internacionals, nacionals i locals (1827-1929)." Doctoral thesis, Universitat de les Illes Balears, 2015. http://hdl.handle.net/10803/369308.
Full textThe study analyses the participation of the Balearic Islands in a series of exhibitions held between 1827 and 1929, a period in which such exhibitions aroused great interest at an international, national and local level. The Balearics shared this interest, as was evident in their participation both locally and abroad. This endeavour was spurred by institutions and individuals as well as the economic, social and cultural climate and led to the many contributions from manufacturers and artists. The series of 47 exhibitions studied show low participation at first, followed by a middle phase of strong participation and a third phase with low participation in the international exhibitions but high in those held in Mallorca. As for the international ones, interest reached its highest point between the London Exhibition in 1862 and that in Chicago in 1893 and its lowest after the Paris Exhibition in 1900. International recognition of Balearic products was first mainly in the agricultural sphere. However, after the Vienna Exhibition in 1873 it extended to industrial goods, firstly food products such as preserves, wine, liqueurs and later, others such as footwear and textiles. In contrast, Mallorcan embroidery had been winning awards since the London Exhibition in 1851. Closer study of those who were exhibiting gives a good indication of the development of both the agricultural and industrial sectors. Those focused on were presenting some of the most important products in the Balearic economy, on the one hand olive oil and almonds and on the other, preserves and footwear. An overall view of the exhibitors enables us to identify different social groups. There were initially some members of the nobility but above all the entrepreneurial bourgeoisie, who played an outstanding role not only in the economy but also in politics and culture. There were also smaller manufacturers from the different municipalities and, especially at the beginning of the 20th century, a large group of new landowners exhibiting farm products.
Mathews, Heather Elizabeth. "Making histories: the exhibition of postwar art and the interpretation of the past in divided Germany, 1950-1959." Thesis, 2006. http://hdl.handle.net/2152/3457.
Full textKinsman, Jane. "The prints of David Hockney : their cultural, autobiographical and artistic contexts." Phd thesis, 2011. http://hdl.handle.net/1885/155819.
Full textManqele, Sanele Nonkululeko Babongile. "Retrospecting the collection: recontextualising fragments of history and memory through the Alf Kumalo Museum Archive." Thesis, 2017. https://hdl.handle.net/10539/24524.
Full textIn 2012, the Johannesburg-based artists’ collective, Center for Historical Reenactments (CHR), presented Fr(agile), a social sculpture and public intervention, following a threeday residency at the Alf Kumalo Museum in Diepkloof, Soweto. The Fr(agile) Residency intended to reimagine the archive by searching it for points of interest related to visual artmaking. This research dissertation aims to revisit Fr(agile) in order to explore new ways of engaging the photographic archive, and artist-led processes and methodologies within this archive. The archive was never completely sorted although Kumalo had, had intentions of properly cataloguing his archive and had begun the process of digitising his photographs at his museum. With the archive closed for legal reasons, this research will draw on memory and account, and this dissertation will be presented orally. I feel it is necessary to remember what the archive was like during the residency, but to also propose ways to activate the archive through contemporary visual arts practice. The research further proposes ways in which archives can occupy a space within contemporary visual arts, how they can potentially function when looked at as contemporary objects, and begin to question the ephemeral relationship between the photographic medium, archive and memory.
XL2018
Sithole, Nomcebo Cindy. "Exhibitions of resistance posters: contested values between art and the archive." Thesis, 2017. https://hdl.handle.net/10539/24483.
Full textThis research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how these exhibitions have used display strategies to construct values reflected in the resistance poster. The three selected exhibitions are as follows: firstly, Thami Mnyele and Medu Art Ensemble Retrospective (2008), Second is the exhibition Images of Defiance: South African poster of the 1980’s (2004). And the third exhibition Interruptions: Posters from the Community Arts Project Archive (2014).
XL2018
Jacobson, Ruth Hedda. "“Picture perfect”: hand-coloured photographic portraiture in South Africa in the 20th century; a study of the collection of the Aqua Portrait Studio, Johannesburg." Thesis, 2017. https://hdl.handle.net/10539/24556.
Full textThis research was instigated by a collection of uncollected portraits (completed and incomplete), photographs, letters, papers, documents, passbooks, and other materials, left behind when an airbrush portraiture studio, The Aqua Portrait Studio, closed in about 1998 after fifty years of continuous business. The portraits were created by enlarging small original photos – sometimes from two separate sources – and then colouring them with an airbrush and other materials. Because of the nature of the airbrush technique, it was possible to change the original image completely: to clothe the sitters in completely imaginary attire, for example, and pose them together with someone they had possibly never been photographed with. This process gave rise to a genre in which people could re-imagine themselves, enact other personas. Because the fifty years of existence of this studio almost coincided with the years of apartheid (the studio was open from about 1950 to about 1998), it seemed that the collection of uncollected images and notes left behind could be a source of rich information about the people who were the studio's clients, the process of acquiring airbrushed portraits, and the social and historical context in which those involved lived. I start with three fundamental questions: Since this portraiture form grew so exponentially in popularity, especially during the apartheid years, what specific significance and meaning had it taken on for the communities who were buying the portraits? What need was it meeting? What can we learn about these lives from this collection? The research takes two forms. First, it closely interrogates the material objects in the collection; and second, it tracks the routes of clients and salesmen to what were some of the former homelands of the northern part of South Africa. Both these investigations attempt to understand the possible roles and contribution of these pictures to the construction and reconstruction of self-identity under apartheid.
XL2018
Jacobs, Natasha Sandra Ruth. "Abstraction, ambiguity and memory in selected artworks by Ursula von Rydingsvard and Kemang wa Lehulere." Thesis, 2017. https://hdl.handle.net/10539/24461.
Full textThis research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa.
XL2018
"New wine in old bottles?: modernity in late Qing and early Republican North China nianhua (New Year pictures)." 2012. http://library.cuhk.edu.hk/record=b5549155.
Full textThis research examines nianhua年畫 (New Year pictures), a form of traditional folk art, from the late nineteenth to the early twentieth centuries. This time period witnessed a series of dramatic social and political changes in China: the collapse of Qing Dynasty, invasions of foreign powers, and introduction of Western advanced technologies and ideas, all of which could be found in nianhua prints. The spatial focus is mainly on Yangliuqing楊柳青, a town very close to Tianjin. However, nianhua produced in other places in North China, such as Wuqiang武強 and Yangjiabu楊家埠, and those from Taohuawu桃花塢 in the Yangzi River Delta, will also be mentioned, for some of them are of great use in my writings. Generally, this study has three sections: the production and circulation of nianhua in Yangliuqing, the contents of nianhua with new elements, and how common people reacted to the reformed nianhua. I demonstrate that the import of Western advanced printing technologies and painting styles, pictorials and vernacular newspapers published by social reformers, and the involvement of Republican government were the major reasons for the appearance of new elements in nianhua. Then the new themes in nianhua are discussed in details. First of all, anti-imperialist and other patriotic topics are found to arouse nationalist sentiments among the masses. The emotions in new nianhua started to shift from protecting home and family to defending the nation. At the same time, women were no longer treated as men’s subordinate; instead, they were also encouraged to earn their own bread and even go to the battlefield to save their country. Finally, the imports of Western inventions, such as clocks, bikes, trains, and planes, emerged in nianhua, building a new material culture for the common people. I conclude that reformed nianhua was a result of the interaction between popular culture and elite culture. Most of them were advocated by the Republican officials; but the commercial nature of nianhua determined that it needed to have market amog consumers. The form of traditional nianhua was kept, while social reformers and authorities fill new values and beliefs into it to educate the common people. This “new-wine-in-old-bottles way of propaganda resulted in limited success; but to some extents it paved the way for the emergence of a modern nation.
Detailed summary in vernacular field only.
Wan, Mi.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 150-159).
Abstracts also in Chinese.
List of Figures --- p.v
Chapter Chapter 1 --- Introduction --- p.1
Chapter 1.1 --- Statement of Research Problem --- p.1
Chapter 1.2 --- Nianhua: The Background --- p.6
Chapter 1.3 --- Methodology --- p.8
Chapter 1.4 --- Literature Review --- p.13
Chapter 1.5 --- Structure of the Thesis --- p.22
Chapter Chapter 2 --- From Festivity to Propaganda: Nianhua’s Political and Educational Roles --- p.24
Chapter 2.1 --- The Production and Circulation of Nianhua in North China --- p.25
Chapter 2.2 --- The Influence of Printing Technical Improvement and Western Painting Styles on Nianhua --- p.32
Chapter 2.3 --- Nianhua and Social Reform Promoters in the Late Qing --- p.41
Chapter 2.4 --- Nianhua as a Popular Education Tool in the Republican Era --- p.53
Chapter Chapter 3 --- From Protecting My Home to Defending My Nation: Nationalism in Nianhua --- p.68
Chapter 3.1 --- Nation, Nationalism, and National Identity --- p.70
Chapter 3.2 --- When China Confronted the West --- p.73
Chapter 3.3 --- Anti-Imperialism in Nianhua --- p.83
Chapter 3.4 --- Attitudes towards the Qing Government --- p.90
Chapter Chapter 4 --- Gender in Nianhua --- p.95
Chapter 4.1 --- Women’s Appearance and Female Warriors in Nianhua --- p.98
Chapter 4.2 --- Promotion of Women’s Education in Nianhua --- p.106
Chapter Chapter 5 --- Import of Western Objects and Interpretation of the Western World --- p.119
Chapter 5.1 --- The Clock --- p.119
Chapter 5.2 --- The Bicycle --- p.125
Chapter 5.3 --- The Plane --- p.128
Chapter 5.4 --- The Train --- p.130
Chapter Chapter 6 --- Conclusion --- p.138
Bibliography --- p.150
McIntyre, Tanya. "Chinese New Year pictures: the process of modernisation, 1842-1942." 1997. http://repository.unimelb.edu.au/10187/2827.
Full textReeves-DeArmond, Genna F. "Understanding historical events through dress and costume displays in Titanic museum attractions." Thesis, 2012. http://hdl.handle.net/1957/33790.
Full textGraduation date: 2013
Rall, Michelle. "Images of nature in recent South African printmaking and ceramics." Thesis, 2000. http://hdl.handle.net/10413/3883.
Full textThesis (M.A.) - University of Natal, Pietermaritzburg, 2000
Kotze, Steven. "Gender, power and iron metallurgy in archives of African societies from the Phongolo-Mzimkhulu region." Thesis, 2018. https://hdl.handle.net/10539/27048.
Full textThis dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum collections form an important but neglected archive of “hoeculture”, the form of subsistence crop cultivation based on the use of manual implements, within the Phongolo-Mzimkhulu geographic region that roughly approximates to the modern territory of KwaZulu-Natal. In response to observations made by Maggs (1991), namely that a disparity exists in the numbers of fieldhoes collected by museums in comparison with weapons, I conducted research to establish the present numbers of amageja in these museums, relative to spears in the respective collections. The dissertation assesses the historical context that these metallurgical artefacts were produced in prior to the twentieth-century and documents views on iron production, spears and hoes or agriculture recorded in oral testimony from African sources, as well as Zulu-language idioms that make reference to hoes. I furthermore examine the collecting habits and policies of private individuals and museums in this region from the nineteenthcentury onwards, and the manner in which hoes are used in displays, in order to provide recommendations on how this under-utilised category of material culture should be incorporated into future exhibitions.
XL2019
Ananmalay, Kiyara. "Ethnography and the personal: the field practices of writing and photography on the Natal leg of the ninth frobenius expedition." Thesis, 2017. https://hdl.handle.net/10539/23894.
Full textWithin this research report, I explore how the (re-)integration of writing and photography enhances an understanding of the role of the personal within documentary practices. I focus on a portion of the Frobenius Archive as my case study, specifically the documents produced during the five-week Natal leg of the ninth expedition in early 1929. The German Leo Frobenius (b.1873–d.1938) was a primarily self-taught Africanist ethnographer, who had an interdisciplinary practice that blurred the boundaries between anthropology, archaeology and history. He conducted a total of twelve expeditions within Africa between 1904 and 1935, and his objective on these expeditions was to record ways of life that he felt were vulnerable to changes due to modernity. The documents collected during the Natal leg consist of field notes, photographs, hand-drawn pictures and diary entries. The field notes comprise of a set of eleven rock art site descriptions that have been constructed by the three artists: Maria Weyersberg, Elisabeth Mannsfeld and Agnes Schulz. Weyersberg’s diary entries provide a more impressionistic set of notes, tracking the day-today unfolding of their journey (but with many gaps). The subject matter of the photographs ranges from the rock art sites and the landscapes these sites are a part of, to the people they encountered along the way. I engaging with the concept of writing, particularly through the example of Weyersberg’s personal diaries, and the ways in which these entries relate to the photographs, creating a space in between where the personal relationships would have played themselves out. Within this research report I demonstrate that writing and photography can be brought back together in order to restore something of the original encounter and that this (re-)integration offers an opportunity for a new dialogue and a new understanding to be achieved.
MT2018
Teixeira, Mariana Ferreira Roquette. "Expor a História: O passado no presente. Paris New York (1977) e Monte Verità (1978)." Doctoral thesis, 2018. http://hdl.handle.net/10362/43203.
Full textThis dissertation seeks to analyse the motivations behind the re-emergence of history within the field of curatorial discourse in the late 1970s, through the study of the exhibitions “Paris-New York” (1977) and “Monte Verità” (1978). The former, curated by Pontus Hultén for the opening of the Centre Georges Pompidou explored the cultural exchanges between Paris and New York, while the latter presented a history of utopian ideas, and it was held by Harald Szeemann in the region of Ticino in southern Switzerland where those ideas where explored. Both exhibitions covered almost the same historic period but presented different approaches to the History of 20th-century Culture. This work is divided into three parts. The first one provides a historical overview of the social and cultural transformations that took place in Europe and in the United States between 1957, the year that one defined as the beginning of the long sixties, and the end of the 1970s, when “Paris-New York” and “Monte Verità” opened to the public. Some movements, issues, and events that characterized that period are addressed. This historical overview also serves to contextualize the curators’ stances and actions. The second part focuses on the parallel careers of the two contemporaries Hultén and Szeemann, detecting innovations, continuities and ruptures between the exhibitions under study and previous ideas and displaying strategies. The third, and last part is devoted to the critical analysis of the exhibitions “Paris-New York” and “Monte Verità”, taking into account the museum projects in which they were included – the Musée National d’Art Moderne du Centre Georges Pompidou and the counter-museum “Museum der Obsessionen”, respectively. In this part one reflects on the displaying strategies, the forms of discourse, the interpretive and communicative media, as well as the exhibition reviews and public reactions. Finally, a comparative analysis clarifies the contributions of both exhibitions to a broader perspective on the History of 20th-century Art and Ideas and to the contemporary curatorial practice.
Vuković, Tijana. "Regaining the Past. Yugoslav Legacy in the Period of Transition: the Case of Formal and Alternative Institutions of Art and Culture in Serbia at the End of the 20th and the Beginning of the 21st Century." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/3935.
Full text1 Streszczenie Odzyskiwanie przeszłości. Dziedzictwo jugosłowiańskie w okresie transformacji: oficjalne i alternatywne instytucje kultury i sztuki w Serbii na przełomie XX i XXI wieku Wspólna jugosłowiańska przestrzeń kulturowa (i artystyczna) kształtowała się zanim powstała Jugosławia, w czasie jej istnienia, a także po jej rozpadzie. Czynnikami, które o tym decydowały był podobny język, kultura, powiązania, mentalność, terytorium, stosunki gospodarcze, (zewnętrzne) wpływy i produkcja artystyczna. Po rozpadzie Jugosławii w wyniku katastrofalnych konfliktów wojennych omawiany region został dotknięty ogromnym kryzysem ekonomicznym i kulturalnym. Okrucieństwo wojny w Bośni i Hercegowinie, a także embargo, kryzys ekonomiczny, ostra inflacja i protesty wywołały zbiorową traumę kulturową we wszystkich krajach byłej Jugosławii równocześnie. Konsekwencją kryzysu społecznego był wysoki stopień fragmentacji (narracji) pojawiający się we wszystkich instytucjach. Wyrażał się on w dysfunkcjonalności instytucji, a następnie w ich zamknięciu. W roku 2000, po mrocznej dekadzie lat dziewięćdziesiątych, Serbia rozpoczęła demokratyczne zmiani i odblokowała proces transformacji, który stał się powodem ogromnego rozczarowania społeczeństwa serbskiego. W trakcie tych zmian i przekształceń Jugosławia (rozumiana jako idea i państwo) zaczęła jawić się jako główny sprawca kryzysu. Pamięć indywidualną i przestrzeń prywatną obywateli Serbii wciąż wypełniały wspomnienia poprzedniego systemu, ale możliwość przełożenia tego na pamięć kulturową stała pod znakiem zapytania. Dla tego typu kulturowego przekładu i rewitalizacji wspomnianego wycinka kultury konieczna jest bowiem przestrzeń dialogu, dyskusji, poszukiwania sensu, zainicjowana i umiejscowiona w instytucjach kultury. W rozprawie podjęłam próbę odpowiedzi na pytanie, czy i w jaki sposób Jugosławia, rozumiana jako pojęcie, motyw, temat projektów i wydarzeń, przejawiająca się w określonym systemie aksjologicznym oraz fenomenie wspólnoty kulturowej – funkcjonuje w instytucjach kultury wbrew powyżej zarysowanym okolicznościom. Moim zamierzeniem było zaprezentowanie znaczenia dziedzictwa Jugosławii (przede wszystkim jego 2 symbolicznego wymiaru) w odniesieniu do procesu ustanawiania ciągłości i odnajdywania (tworzenia) sensu przeszłości jako sposobu na przezwyciężenie traumy kulturowej. Główne kategorie i perspektywy badawcze, które stały się metodologiczną podstawą moich badań, tworzą podejście nazywane interdyscyplinarnymi badaniami kulturowymi i obejmują analizę treści, interpretację reprezentacji, odkrywanie symbolicznej lub rzeczywistej obecności/nieobecności. Jako materiał naukowy posłużyły mi publikacje dotyczące wystaw i projektów, a także opracowania takie jak artykuły prasowe, filmy, komentarze do wystaw, komentarze zawarte w programach instytucji, literatura naukowa, osobiste interpretacje aktorów społecznych (artystów, naukowców, kuratorów, aktywistów) wyrażone w nieformalnych i formalnych wywiadach udzielanych podczas spotkań i zarejestrowanych przez media. Rozprawa składa się z czterech rozdziałów: Stań badań, Kontekst historyczny, Oficjalne instytucje, Alternatywne instytucje. Poprzedza je Wprowadzenie i zamykają Wnioski. W końcowej części pracy znajduje się Bibliografia, Spis ilustracji i streszczenie. W rozdziale pierwszym (Stan badań) zaprezentowałam przegląd literatury, prasy oraz projektów związanych z tematem pracy, podkreślając różnorodność w obrębie ich treści, a także w sposobach formułowania głównego problemu. Rozdział drugi (Kontekst historyczny) poświęcony jest historii idei jedności Słowian Południowych na tle historii Jugosławii. W części analitycznej rozprawy do badania roli narracji o Jugosławii i jej dziedzictwa w instytucjach kulturalnych wybrałam trzy instytucje oficjalne i trzy instytucje alternatywne. Wśród instytucji oficjalnych znalazły się: Pawilon Serbski w Wenecji (Paviljon Republike Srbije u Veneciji), Muzeum Sztuki Współczesnej w Belgradzie (Muzej savremene umetnosti u Beogradu) oraz Muzeum Jugosławii (Muzej Jugoslavije). Spośród instytucji nieoficjalnych (alternatywnych) do analizy wybrałam Centrum Dekontaminacji Kulturowej (Centar za kulturnu dekontaminaciju, CZKD), squat Inex oraz alternatywne centrum kultury Kvaka 22. Przyjęłam założenie, że taki wybór z szerokiego wachlarza instytucji przyczyni się do zaprezentowania szerokiego obrazu, a także stanowić będzie podstawę pełniejszej mapy instytucji kultury w Serbii w okresie postjugosłowiańskim. Część analityczna poświęcona oficjalnym instytucjom składa się z trzech podrozdziałów. Pierwszy podrozdział poświęcony jest Pawilonowi Serbskiemu w Wenecji, byłemu Pawilonowi Jugosławii w Wenecji (emanacji Jugosławii na każdym etapie jej politycznego istnienia). 3 Postanowiłam poddać badaniu Pawilon Serbski (były Jugosłowiański) w Wenecji jako jedyną instytucję, w której Jugosławia wciąż istnieje w ramach międzynarodowych manifestacji kultury i sztuki (choćby jako żywa pamięć i kontekst). Drugi podrozdział poświęcony jest Muzeum Sztuki Współczesnej w Belgradzie, otwartemu w 1965 roku, jako czołowej instytucji kulturalnej reprezentującej jugosłowiańską i serbską sztukę XX wieku. Muzeum Sztuki Współczesnej jawi się tu jako symbol procesu tworzenia kultury i sztuki Jugosławii. Trzeci podrozdział poświęcony jest Muzeum Jugosławii, jedynej instytucji na obszarze byłej Jugosławii w całości poświęconej Jugosławii. Instytucja ta wykazała się ogromną zdolnością transformacji, wykazując jednocześnie potencjał nowoczesnej instytucji kultury. Część analityczna poświęcona instytucjom alternatywnym również składa się z trzech podrozdziałów. Poprzedza je krótkie wprowadzenie i ogólna analiza instytucji alternatywnych jako fenomenu kulturowego. Pierwszy podrozdział poświęcony jest Centrum Dekontaminacji Kulturowej (Centar za kulturnu dekontaminaciju / CZKD). W związku z tym, że Centrum wyrosło ze zdecydowanego protestu przeciwko reżimowi Slobodana Miloševicia w 1995 roku i jest jedną z najstarszych nieoficjalnych instytucji w Serbii, zostało poddane analizie jako instytucja alternatywna starszej generacji. W drugim podrozdziale omówiony został squat i centrum kulturalne Inex, założone w budynku wytwórni filmowej Inex. W ostatnim podrozdziale części analitycznej uwagę poświęciłam instytucji alternatywnej Kvaka 22 jako przykładowi działalności najmłodszego pokolenia artystów i działaczy kultury, aktywistów, obywateli. W części Konkluzje opisałam punkty styczne wszystkich analizowanych instytucji z perspektywy dziedzictwa Jugosławii, a także naświetliłam szerszy kontekst funkcjonowania tych instytucji jako ich przestrzeń wspólną. Ponadto opisałam wnioski dotyczące znaczenia współpracy między tymi instytucjami nie tylko w obszarze pamięci kulturowej. Zjawisko pokrewieństwa i wzajemnych powiązań wydaje się mieć kluczowe znaczenie dla wyjścia z kryzysu kulturowego.
Mergl, Jan. "Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-332283.
Full textNorthfield, Sally. "Canvassing the emotions : women, creativity and mental health in context." Thesis, 2014. https://vuir.vu.edu.au/29985/.
Full textPavlíková, Veronika. "Architektonická účast českých umělců na světových výstavách v letech 1900 - 1940." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-343726.
Full text