Dissertations / Theses on the topic 'Regional art museums'

This doctorate examines the redevelopment of ethnographic collections between 1997 and 2010. The collection and interpretation of ethnographic objects has been the subject of much debate between, anthropologists, museum studies scholars and curators who have sought, on the one hand, to reveal and, on the other, to resist colonial representations in contemporary museums. These debates, as well as the longstanding concern about the purpose of the museum itself, informs this research, which focuses upon the period of the New Labour administration (1997- 2010) and the impact of its cultural diversity agendas upon regional museums. It investigates how regional museums have responded to the shifting demands of cultural policies and, in particular, how specific ethnographic collections have been redisplayed and reinterpreted, and the use of art commissions and artists to do so.

Over the years, prices for contemporary works of art have continued to rise to the point that many small, mid-sized and regional American art museums have difficulties collecting in this arena. Few authors have examined this phenomenon, or the different tactics in place to combat it. This study aims to fill this gap by undertaking a detailed analysis of successful museum acquisition processes at several museums. To ground the discussion I closely examine the hierarchical systems of the art world and its subset, the art market, and investigate the ways in which particular actors, including collectors, dealers and museum curators, negotiate this realm. Despite the economic hardships that they face, many museums embark on creative strategies to compete in this global market. In order to identify and evaluate these strategies I take an ethnographic approach to the research. Participant observations were undertaken at three American art fairs to fully understand the role of key participants in the market. Furthermore, semi-structured interviews with gallery dealers, museum curators and museum directors revealed both the challenges and solutions involved in the acquisition process, and led to the examination of six key strategies currently in place at museums around the United States. An analysis of these strategies demonstrates the creativity and entrepreneurial nature necessary for continued collecting of contemporary art in a market that has outpaced acquisition budgets.

This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.

This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Full Text

Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.

This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research had as object the National Art Salon Goiás - Flamboyant Award held in Goiânia between 2001 and 2006; analyze the relevant facts gathered from documentary sources and depositions. The Salon was designed, built and managed throughout its realization by a group of professionals who combined the project scope in the commercial sphere and professionals in the arts, in the defense of cultural character, and coined a form and regimentation never before seen in this State and aimed to select and reward through public tender (via notice) Brazilian artists with recent production in contemporary art. In the period of the Salon, the city was featured in the Brazilian scene of the visual arts and, therefore, attracted the attention of renowned artists, curators and art critics. It was left to the researcher in his text to highlight some aspects from the data collected in the survey, particularly with regard to the analysis of competition-salon format, the impact on the local landscape and the historical and cultural legacy for the city and the state. Interviews were conducted with some of the main characters involved in the project and analyzed documents and printed primary sources of research. During the master of the period, some versions of the text results of the survey were presented in the form of communications, lectures and discussions on the topic in the history of events, arts and within the Research Group Interartes- Interartistics Processes and Systems and Performance Studies (CNPq), which the researcher was part of effective and active form since joining the PPGH UFG.
Esta pesquisa teve como objeto o Salão Nacional de Arte de Goiás – Prêmio Flamboyant que aconteceu em Goiânia entre 2001 e 2006; com o objetivo de analisar os fatos relevantes levantados a partir de fontes documentais e depoimentais. O Salão foi concebido, erigido e gerido, ao longo de sua realização, por um grupo de profissionais que mesclavam o escopo do projeto na esfera mercantil e profissionais do campo das artes, na defesa do caráter cultural, e cunhou uma forma e arregimentação nunca dantes vista neste estado e tinha como finalidade selecionar e premiar, por meio de concurso público (via edital), artistas brasileiros com produção recente em arte contemporânea. No período de realização do Salão, a cidade recebeu destaque no cenário brasileiro das artes visuais e, com isso, atraiu a atenção de reputados artistas, curadores e críticos de arte. Coube ao pesquisador em seu texto destacar alguns aspectos dentre os dados levantados em pesquisa, principalmente no tocante à análise do formato de concurso-salão, o impacto no cenário local e o legado histórico e cultural para a cidade e o estado. Foram realizadas entrevistas com alguns dos principais personagens envolvidos no projeto e analisados documentos e materiais impressos, fontes primárias de pesquisa. Durante o período do mestrado, algumas versões do texto resultado da pesquisa foram apresentadas na forma de comunicações, palestras e discussões sobre o tema em eventos de história, de artes e dentro do Grupo de Pesquisa Interartes- Processos e Sistemas Interartísticos e Estudos de Performance (CNPq), do qual o pesquisador fez parte de forma efetiva e atuante desde seu ingresso no PPGH-UFG.

The aim of this thesis is to describe thoroughly the way Czech museums of art are using the principles of marketing communications nowadays. Theoretical part of the thesis presents brief history of modern museums worldwide as well as in the Czech Republic (with special stress on the network of regional galleries being founded in the second half of the 20th century. It also presents bases of museum marketing and the elements of integrated marketing concept applied on galleries. Terms of branding and fundraising are mentioned as well. The research part of the thesis contains the results of questionnaire survey among 10 representatives of Czech regional galleries. Each of the included museums of art is introduced with emphasis on their ways of using marketing communications principles. Their visual identities are also described and media monitoring analysis is added to all of them. We can say that the principles of marketing communications are anchored among Czech galleries; however they struggle with the lack of finance needed to concentrate more on such activities.

1- En primer lugar se ha elaborado sucintamente la perspectiva histórica del museo de arte moderno, es decir desde que nace la ayuda institucional al artista con la celebración de los Salones y la creación del primer museo de artistas vivos del mundo en el palacio Luxemburgo de París. 2- Posteriormente, nos centramos en el nacimiento del Museum of Modern Art de Nueva York, Moma, creado en 1929 con apenas 13 obras, el cual se convirtió en referencia obligada desde el punto de vista museológico para la creación de los futuros museos de arte moderno en el mundo durante casi seis décadas. Termina el trabajo con el modelo creado en los años setenta, la factoría beaubourg, el museo de la época postindustrial, y el museo postmoderno de los ochenta y sus repercusiones en la nueva museología. Si el Moma de Nueva York, creó una colección enciclopédica del arte del siglo XX, el Musée National d'art Moderne, consiguió implicar a la ciudadanía en el arte moderno. Tan importantes eran las colecciones que se mostraban en su interior como el flujo de visitantes y curiosos que se agolpan en el exterior. Finaliza con una aproximación a los Fonds Regionaux d'art Contemporain y el nacimiento de los Centros de Cultura Contemporánea.
1- In the first place, a historic perspective of the modern art museum has been concisely elaborated, that is to say, since institutional grants to artists are created with the celebration of the Halls and the creation of the first museum of living world artists at the Luxembourg Palace of Paris.2- Subsequently, we focus on the birth of the Museum of Modern Art in New York, MOMA, created in 1929 with only thirteen pieces of art. This museum became an obliged reference from a museological point of view for the creation of the future modern art museums all over the world for almost six decades. The work concludes with the model created in the 1960s, the factory "Beaubourg", the postindustrial period museum, and the postmodern museum of the 1880s and its repercussions in the new museology. If the MOMA in New York created an encyclopedic collection of the art of the 20th Century, the "Musée National d'art Moderne", achieved to involve the citizens with the modern art. The collections showed inside were as important as the flow of visitors and curious that crowded outside. It ends with approximation to the "Fonds Regionaux d'art Contemporain" and the birth of the Centres of Contemporary Culture.

Orientação: Mostafa Zekri
Esta dissertação de mestrado aborda o projeto para um Museu Regional de Arte e Arqueologia Islâmica em Olhão, uma arquitetura contemporânea interpretada a arquitetura islâmica; na criação de um edifício cubista, cujo conceito é um edifício voltado para o interior, com amplos espaços decorados com elementos arquitetónicos cujos desenhos têm origem numa geometria de originalidade única e genuína. O edifício possui uma ligação com os edifícios da zona histórica da cidade de Olhão, onde estão acentuadas as açoteias e os mirantes numa arquitetura cubista delineada, cujas origens tudo aponta para o País vizinho do Norte de África, Marrocos, local apetecível onde os nossos emigrantes Olhanenses, trazendo no seu regresso a cultura de um povo que os acolheu e que neste caso se expressa na arquitetura local, onde se podem observar ruas e ruelas estreitas, tal como uma Medina, tão característica na arquitetura Islâmica. Este projeto no exterior também foi pensado num arranjo, com amplos passeios pedonais, parqueamento para viaturas destinados aos visitantes e arborização com árvores de folha caduca de modo a criar zonas de sombra no Verão e espaços abertos com muito sol no Inverno. O suporte da formalização da proposta foi induzido pela beleza das formas geométricas presentes nos elementos arquitetónicos islâmicos e nas formas dos edifícios cubistas que caracterizam a arquitetura Olhanense. A ideia fundadora passa pelo “modus operandi” das formas geométricas, centralizadas nos edifícios com suas açoteias, os seus mirantes e contra mirantes, que eram utilizados para secagem de frutos e principalmente como observatório do estado mar. O projeto propõe melhorar a qualidade do espaço envolvente, proporcionando à cidade uma mais-valia, do ponto de vista cultural, turístico e urbano.
This master's thesis deals with the project for a Regional Museum of Islamic Art and Archeology in Olhão, a contemporary architecture interpreted Islamic architecture; In the creation of a cubist building, whose concept is a building facing the interior, with ample spaces decorated with architectural elements whose designs originate in a geometry of unique and genuine originality. The building has a connection with the buildings of the historic area of the city of Olhão, where the roofs and gazebos are accentuated in a delineated cubist architecture, whose origins all point to the neighboring country of North Africa, Morocco, an attractive place where our emigrants Olhanenses, bringing back the culture of a people who welcomed them and which in this case is expressed in local architecture, where you can see narrow streets and narrow streets, such as a Medina, so characteristic in Islamic architecture. This outdoor project has also been thought of in an arrangement with extensive pedestrian walks, parking for vehicles intended for visitors and forestation with deciduous trees in order to create shady areas in summer and open spaces with lots of sunshine in the winter. The support of the formalization of the proposal was induced by the beauty of the geometric forms present in the Islamic architectural elements and in the forms of the cubist buildings that characterize the Olhanense architecture. The founding idea goes through the "modus operandi" of the geometric forms, centralized in the buildings with their roofs, their lookouts and against lookouts, which were used to dry fruits and especially as observatory of the sea state. The project proposes to improve the quality of the surrounding space, giving the city an added value, from the cultural, tourist and urban point of view.

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

Orientação: Judite Santos Primo
A tese buscou identificar o capital social de determinados grupos da elite agrária paulista do século XIX e a sua relação com a ideia de ciência, museus e arte, articulados com o contexto político e econômico do período. Partindo do conceito de modernização conservadora de Florestan Fernandes, a proximidade tecida entre este grupo e o Movimento de Arte Moderna de 1922, na década de 1940, associados ao capital industrial emergente e ao capital cultura e econômico internacional, influenciaram o processo de constituição de museus de arte em São Paulo, comprometidos com a formação e a promoção do diálogo museológico e artístico entre o cenário externo e o cenário nacional. Em contexto de Guerra Fria, a pesquisa buscou discutir o envolvimento desses museus com o quadro político, econômico e cultural internacional, bem como compreender se a Campanha Nacional dos Museus Regionais significou a tentativa de reverberar tais aspectos internacionais, acrescido por um suposto projeto urbano-industrial paulista para outras regiões do país, a partir da política de implantação de museus regionais de arte moderna. Os estudos foram concentrados nos três museus regionais estimulados pela Campanha na região Nordeste do Brasil, inaugurados nas cidades de Olinda, Feira de Santana e Campina Grande na década de 1960, durante o regime militar brasileiro. Considerando a centralidade de Yolanda Penteado, vinculada a esses múltiplos processos, por meio da pesquisa de campo, aliada à revisão bibliográfica e a fontes documentais, a tese buscou compreender as dinâmicas dialógicas estabelecidas entre os grupos locais que acolheram o projeto de implantação dos museus regionais e o grupo paulista no momento de fundação de tais museus, bem como compreender as dinâmicas que foram determinantes para a manutenção desses museus regionais após a extinção da Campanha Nacional de Museus Regionais em 1968.
The thesis sought to identify the social capital of certain groups of the 19th century paulista agrarian elite and their relationship with the idea of science, museums and art, articulated with the political and economic context of the period. Starting from the concept of conservative modernization of Florestan Fernandes, the proximity woven between this group and the 1922 Movement of Modern Art, in the 1940s, associated with emerging industrial capital and international cultural and economic capital, influenced the process of constitution of museums. São Paulo, committed to the formation and promotion of the museological and artistic dialogue between the external and the national scene. In the context of the Cold War, the research sought to discuss the involvement of these museums with the international political, economic and cultural framework, as well as to understand if the National Campaign of Regional Museums meant the attempt to reverberate such international aspects, added by a supposed urban-industrial project. São Paulo to other regions of the country, based on the policy of implanting regional museums of modern art. The studies were concentrated in the three regional museums stimulated by the Campaign in the northeast region of Brazil, inaugurated in the cities of Olinda, Feira de Santana and Campina Grande in the 1960s, during the Brazilian military regime. Considering the centrality of Yolanda Penteado, linked to these multiple processes, through field research, allied to bibliographic review and documentary sources, the thesis sought to understand the dialogical dynamics established between the local groups that welcomed the project for the implementation of regional and local museums. The São Paulo group at the time of the foundation of such museums, as well as to understand the dynamics that were determinant for the maintenance of these regional museums after the extinction of the National Campaign of Regional Museums in 1968.

碩士
國立臺中教育大學
美術學系碩士班
106
The TOGO Rural Village Art Museum is located in Tugou, Houbi District of Tainan city. It had its inauguration on December 16th, 2012. The ideology of TOGO Rural Village Art Museum is that the village and museum are merged into one, the houses are the exhibition halls/venues, the paddy (field) is the canvas, the famers are the artists and the agricultural products are the artworks,. Their intention rests on the demonstration of aesthetics of rural life, and the entire village serves as the exhibition area/venue to display the scenery, artifacts, and the human connection of Tugou. However, judging from the exhibitions and activities of TOGO Rural Village Art Museum of the past years, the operational strategy of the museum is largely different from its (original) concept of establishment, which makes the meaning and the positioning of TOGO Rural Village Art Museum for the local culture ambiguous . In this paper, the activities of community empowerment and the TOGO Rural Village Art Museum’s background of the establishment are collected before the exhibitions and activities in the past years analyzed. The focus is put on the local cultural identity of TOGO Rural Village Art Museum and the positioning of the local cultural production and the identity of the museum itself. The findings are (listed) as follows: 1. As a tool to build local identity, TOGO Rural Village Art Museum enters the community through art in attempt of becoming the new local feature. However, the connection between the museum and the local culture is too weak to serve as the cultural representation. 2. Regarded as the local brand of Tugou, TOGO Rural Village Art Museum combines art exhibitions and first-hand activities as the marketing strategy and the secondary local industry in order to revitalize the region. 3. TOGO Rural Village Art Museum does not reflect the idea of "Rural life is aesthetics", instead, it is used as a tool to promote social reform and art practice.

The aim of this thesis is to map the role of a regional museum in art education. Based on my own experience as a museum education officer I have tried to describe the context of the development of an educational policy of a small museum. By comparing three examples of different educational programmes with clearly stated goals I arranged some participatory active research in which I took part and which I observed. Through analyzing these individual cases and comparing their partial aspects it came to light how beneficial it is for the museum's education officer to participate in developing and arranging the exhibition. Furthermore, these cases prove the point that museum-school communication is of vital importance and the programmes that had been discussed with teachers beforehand reach further and are more meaningful than programmes without consultation. Art education in a regional museum is irreplacable. Not only does it allow contact with the artefacts peculiar to the place where the student/client of the museum lives, but it also brings the possibility to practice other than just rational ways of thinking and perception. It has the capacity to reach out of its own bracket and become an interdisciplinary subject.

The City of Springfield, Massachusetts is one of the largest cities in western Massachusetts, and was established on the Connecticut River for trading and as a fur-collecting post. In 18th and early 19th century, it experienced an industrial boom and became a regional financial center. Springfield became a major railroad center and grew to become the regional center for banking, finance, and courts. However, in mid-19th century Springfield suffered due to the flooding of the Connecticut River and the disinvestment in industry. These resulted in an urban sprawl as people started moving away from heart of the city. Now, once again, the city is trying to revitalize its downtown and neighboring areas to attract people by improving different types of social and cultural amenities. In this thesis, the author studies the relation of the city with its natural asset ‘The Connecticut Riverfront’ which can be a great place to attract people towards the heart of the city. The author has also researched the various reasons causing this natural asset to be underutilized for several years. In addition, the author also explores the possibilities of connecting the Springfield downtown to the riverfront, providing safe and undisturbed access mainly to pedestrians, physically challenged people, and bike riders. Research shows that the existing transportation paths are the major barriers discouraging people from reaching the riverfront. In order to overcome this problem, a design solution is proposed including a safe, pedestrian-friendly link from the downtown area to the riverfront mitigating all the transportation paths such as highway, high speed traffic roads, and railway tracks. The proposed link will give encouragement to local artist and will also aim to boost local businesses by providing sites for museums, exhibitions, art galleries, food courts, and retail shops. This structure will not only improve the accessibility but it will also provide public open spaces where people can gather for various activities and can also enjoy the scenic view of the riverfront. In Addition, local people can also enjoy the water viewing restaurant and bar overlooking Connecticut River. Lastly, this connecting link lays the foundation for further development of the riverfront area due to increased accessibility to this asset.