Dissertations / Theses on the topic 'War in art – exhibitions'
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Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.
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Thesis (Ph. D.)--University of California, San Diego, 2010.Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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Sousa, Luis. "Between monument and memorial : the design of the Korean War veterans memorial." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23012.
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Petcavage, Stephanie. "Fascist Art and the Nazi Regime: The Use of Art to Enflame War." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.
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Robertson, Kirsty M. "We stand on guard for thee : protecting myths of nation in "Canvas of War" /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ63358.pdf.
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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.
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Forstrom, Melissa. "Interpretation and visitors in two Islamic art exhibitions." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.
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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideologies like Orientalism and Islamophobia. Contemporaneously, there has been a steadily growing body of research on interpretative theory in new museology. However, no significant attempt has been made to amalgamate and apply the recent academic research in interpretative theory, including design interpretation, museum graphics and written interpretation to the analysis of Islamic art exhibitions. This thesis examines the interpretation, the process(es) of interpretation production and visitors responses in two Islamic art exhibitions in the United States: the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia (New Galleries) at the Metropolitan Museum of Art in New York City and Pearls on a String: Artists, Poets, and Patrons at the Great Islamic Courts (Pearls) at the Walters Art Museum in Baltimore, Maryland. This thesis utilizes a triangulated methodological approach where the theoretical research in interpretative theory is applied to a case study of New Galleries interpretation. A critical reflection method is adopted to examine the author’s professional involvement in the Pearls exhibition. Summative visitor evaluations of both exhibitions were undertaken in order to better understand the meanings visitors’ make. Ultimately this thesis argues that a unified, process-based approach (Whitehead,2012) to interpretation with both design and written interpretation is important because of the association or slippage between Islamic art exhibitions and the broader social and political contexts.
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Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.
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Thesis (M.A. Ed.)--Georgia State University, 2009.Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).
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Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.
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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
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Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West.
In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.published_or_final_version
Fine Arts
Master
Master of Philosophy
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Zhang, Linzhi. "Contemporary art and the exhibitionary system : China as a case study." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289428.
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The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to explain how the exhibitionary system shapes artistic production. The answer was sought by observing exhibition making in the Chinese exhibitionary system, from which quantitative data about 1,525 exhibitions, held in 43 exhibition spaces between 2010 and 2016, were also collected. I argue that the exhibition context shapes the physical basis of individual artworks and the construction of an artist's oeuvre. Through the contextualised creation of artworks for public viewing, artists aim to raise their visibility, which is crucial for artists' career prospects and symbolic consecration. An artist's visibility is, however, constrained by where she exhibits and with whom she co-exhibits. My method for measuring visibility reveals its binary nature, divided along a singular dimension and a collective dimension. Yet no binary division between the non- profit and for-profit is found within the exhibitionary system with regards to the selection of artists. Rather, both sectors contribute to a dual selection of marketable artists. A model of professional autonomy, which reconciles "art and the market" on the level of practices and awareness, prevails in the exhibitionary system. The sociology of exhibitions has solved persistent theoretical problems in the sociology of art. My empirical findings give rise to new research questions. Finally, I have offered a dialogue between studies of non-western and western cases within the same framework.
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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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Palmer, Daniel. "Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.
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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable category of 'Conceptual art,' but played an active role in the construction of that category. Through individual case studies, this thesis analyses the processes through which the history of this relatively recent art 'movement' has been elaborated. It seeks to understand how works of art can be accommodated to a museum-based art history and how they can be called upon to support particular curatorial narratives. At the same time, it considers to what extent they may be able to resist the conditions of display imposed upon them and may, instead, continue to signify independently of curatorial intention. In so doing, this thesis re-emphasizes the notion of critical practice, as well as the performative and discursive dimensions of Conceptual art that have often been passed over in historical exhibitions. It rejects the "oppositional" model of radical artists pitted against conservative institutions and argues for an understanding of Conceptual art based upon the recognition that claims for its independence from the institutional art world were made within the available rhetorics of a discourse that sustains the self-identities of both artists and institutions. Ultimately, this thesis reflects the understanding that to continue to regard artist and institution, artwork and exhibition, in their isolated functions is to fail to attend to the ways in which art, as a social practice, may support broader ideological structures.
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Borchardt-Hume, Achim. "The history of the Esposizione Quadriennale d'Arte Nazionale 1927-1943 : sixteen years of aesthetic pluralism under Facist patronage." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248636.
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Morrison, Ann Katherine 1929. "Canadian art and cultural appropriation : Emily Carr and the 1927 exhibition of Canadian West Coast Art - Native and Modern." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31244.
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In December 1927, Emily Carr's paintings were shown for the first time in central Canada in an exhibition called Canadian West Coast Art - Native and Modern. This event was held at the National Gallery of Canada in Ottawa, and marked a major turning point in Carr's career, for it brought her acceptance by the intellectual and artistic elite with their powerful networks of influence, as well as national acclaim in the public press. To this point, art historical writings have tended to focus on the artist and her own experiences, and in the process, the importance of this experimental exhibition in which her work was included has been overlooked and marginalized.
This thesis attempts to redress this imbalance by examining the exhibition in detail: first, to analyze the complexities of its ideological premises and the cultural implications of juxtaposing, for the first time in Canada, aboriginal and non-native artistic production within an art gallery setting; second, to consider the roles played by the two curators, Eric Brown, Director of the National Gallery, and C. Marius Barbeau, chief ethnologist at the National Museum; and third, to indicate the ways in which Emily Carr's works and those of the other non-native artists functioned within the exhibition.
During the 1920s, both the National Gallery and the National Museum were caught up in the competitive dynamic of asserting their leadership positions in the cause of Canadian nationalism and the development of a national cultural identity. In this 1927 exhibition, these issues of nationalism, self-definition and the development of a distinctly "Canadian" art permeated its organization and presentation. The appropriated aboriginal cultural material in the museum collections that had languished within storage cases was to be given a contemporary function. It was to be redeemed as "art," specifically as a "primitive" stage in the teleological development of the constructed field of "Canadian" art history. In this elision process, the curators relegated the native culture to a prehistoric and early historic past, suppressing its own parallel historical and cultural development.
The exhibition also presented the native objects as an available source of decorative design motifs to be exploited by non-native artists, designers and industrial firms in their production of Canadian products, underlining the assumption of the right to control and manipulate the culture of the colonized "Other."
Emily Carr"s twenty-six paintings, four hooked rugs and decorated pottery represented the largest contribution from any single artist. In their interpretations of the native culture, Carr and the other non-native artists were also engaged in a "self-other" definition, and had filtered their perceptions through the practices and conventions of western art traditions, especially in the use of modernist techniques. In the context of the exhibition, the artistic production by the fourteen non-native artists, including Carr, was caught up in a reaffirmation of the ideological and cultural positions of the two curators and the institutions they represented. The alternate discourses that could have been provided by the native people remained unheard.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Wallis, James. "Commemoration, memory and the process of display : negotiating the Imperial War Museum's First World War exhibitions, 1964-2014." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/21869.
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This thesis explores the key permanent and temporary First World War exhibitions held at the Imperial War Museum in London over a fifty year period. In so doing, it examines the theoretical, political and intellectual considerations that inform exhibition-making. It thus illuminates the possibilities, challenges and difficulties, of displaying the 'War to End All Wars'. Furthermore, by situating these displays within their respective social, economic and cultural contexts, this produces a critical analysis of past and present practices of display. A study of these public presentations of the First World War enables discussion of the Museum’s primary agendas, and its role as a national public institution. In considering this with the broader effect of generational shifts and the ever-changing impact of the War’s cultural memory on this institution, the thesis investigates how the Imperial War Museum has consistently reinvented itself to produce engaging portrayals of the conflict for changing audiences.
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Howard, Justin K. "The Barbershop: a photographic documentation and exhibition." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/854.
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In this project I explore the environment that surrounds and frames my life experiences. Interests in form, architecture, vernacular typographyand community blend into a photographic documentationcommunicating my perceptual experience of Richmond barbershops through public exhibition.
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Petty, Nancy. "African Art in Western Museums: Issues and Perspectives." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/992.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Art History
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Lindqvist, Ursula Anna Linnea. "The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.
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Avgita, Louisa. "The remaking of the Balkans in contemporary art exhibitions : a critical view." Thesis, City University London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580612.
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In this thesis, I discuss critically contemporary visual art exhibitions that have addressed the Balkans as a structure of representation. These exhibitions, fourteen in number, have been organised by international and local curators in Western and Central European cities and in the Balkan region between 1999 and 2006. I consider these exhibitions as ideological mechanisms which in their effects formulate Balkan "otherness", and sustain neoIiberal policies and market cultural particularities. Curatorial discourses are examined in relation to critiques of stereotypical representations of the Balkans, systematised in the discourse of Balkanism. The critique of Balkanism was elaborated in the 1990s and 2000s by theorists notably Maria Todorova and draw a distinction to Edward Said's notion of Orientalism. I adopt two methodological axes to provide the basis for my analysis of the exhibitions. The first axis addresses the Balkans as a concept which reflects the immaterial character of Western domination in the region; the second defines Balkan particularity in opposition to the universaIism of humanism and Marxism. These provide the critical basis for the analysis of "the Balkans" as a concept that systematises Balkan ambiguity as cultural particularity disregarding the materiality of the capitalist structures in which it has been formulated as yet another cultural product. In the exhibitions, the imaginary, immaterial character of the Balkans is manifested in the particularity of Balkan ambiguity and in concepts such as Balkan in-betweenness, heterotopia, invention, becoming, utopia and glocalism, all used in different ways to undermine the often rigid and authoritative universalist assumptions. In my view, the curatorial representations of the Balkans far from disputing Balkan stereotypes serve to typify Balkan particularity which is constructed as a brand name, and by so-doing naturalise the ideology of the universality of globalised capitalism which I understand as "false consciousness" and "cynical reason". Drawing upon Slavoj Zizek's idea of "parallax view", I contend that the Balkan stereotypical representations can only be contested if we change perspectives, engage with the universality of the "part of no-part" or class struggle and, therefore, question the very logic of capitalism which sustains the concept of the Balkans.
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Ghidini, Marialaura. "Curating Web-based art exhibitions : mapping online and offline formats of display." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6088/.
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This dissertation investigates the theory and praxis of curating web-based exhibitions from the perspective of a practitioner (the author Marialaura Ghidini). Specifically, it investigates how the web as a medium of production, display, distribution and critique has had an impact on the work and research of independent curators and the way in which they configure their exhibition projects. With a focus on the last decade, curatorial work of production and commission is considered in relation to technological developments, previous theoretical work into the mapping of exhibitions online and the analysis of case studies which are paralleled with the author’s own exhibition projects. What has emerged from this combination of theory, practice and comparison of approaches is the rise of a tendency in contemporary curatorial practices online: the creation of exhibitions that migrate across sites—online and offline—and integrate different components—formats of display and distribution—giving life to exhibition models which this study names as those of the 'extended' and 'expanded'. The figure of the curator as mediating ‘node’ is another characteristic emerging in relation to this tendency. Its features are identified through the observation of six case studies, which include Beam Me Up, CuratingYouTube and eBayaday, and interviews with their curators, and three projects that the author organised with the web curatorial platform or-bits-dotcom, 128kbps objects (2012), (On) Accordance (2012) and On the Upgrade WYSIWG (2013), which experiment with modes of integrating web-based exhibition with other exhibition formats, such as the gallery show and print publishing. Through combining contextual review and curatorial practice, this study names the tensions existing between online and offline sites of display and modes of production and commission, offering critical and practical ground work to discuss the tendency of migrating exhibitions and integrating formats within the larger context of curating contemporary art.
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Allison, Martha. "On the Beginning of Contemporary Tibetan Art: The Exhibitions, Dealers, and Artists." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1751.
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Contemporary Tibetan art has been internationally exhibited since the year 2000, and it continues to receive increasing recognition among international galleries and collectors. This thesis focuses on three major contributing factors that have affected the rising success of the contemporary Tibetan artists. The factors include ways in which popular stereotypes have influenced Western museum exhibitions of Tibetan art; dealers have marketed the artworks; and artists have created works that are both conceptually and aesthetically appealing to an international audience. Drawing from exhibition catalogs, interviews and art historical scholarship, this thesis looks at how the history of these factors has affected the beginning of the contemporary Tibetan art movement.
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Sutherland, Ann. "Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.
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Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European empires, the establishment of the League of Nations in 1920 and the rise of American power after 1930. The thesis opens with the nation a member of the British War Office in 1918 and ends with Australia a member of the Pacific War Council which formed in Washington DC in 1942.
While post-WWII initiatives in cultural diplomacy have been studied, their antecedents have been rarely noted in either the literature on Australian diplomacy, or within the history of Australian art and its exhibition. This thesis seeks to address this oversight, necessarily doing so from a broad multidisciplinary perspective. The profiled exhibitions are detailed as to their origins and content within their historical backdrop, the politics and the people involved. The thesis argues that visual arts exhibitions established a distinguishing aspect of national projection in the interwar period, one which remains embedded in policy and the public cultural programs of government and the national, state, and regional art galleries.
I draw three principal findings from the presented research. The exhibitions discussed enrich our knowledge of the various ways the nation managed its strategic interests as an internationally aligned nation after 1918. Secondly, it addresses a gap which will continue while the many public actors captured by cultural diplomacy - the participants, their objectives and location, institutional arrangements, and foreign and strategic policy – are investigated in isolation from each other. Finally, my hope is that this thesis will make an original contribution to an understanding of the role of exhibitions within the modernisation and the cosmopolitanising of the nation, including the important contribution of artists and arts institutions, business, and public administrators to those exhibitions in the inter-war period.
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Thorne, Jessica Louise. "The choreography of display : experiential exhibitions in the context of museum practice and theory." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/22063.
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Bibliography: pages 118-123.In this project I examine curatorial processes and the experience of constructing and viewing museum exhibitions. Specifically I have been interested in the way in which certain exhibits facilitate powerful emotional responses from their viewers. I suggest that the curators of these kinds of exhibitions employ strategies which not only choreograph the displays but the viewers' bodies themselves as they move through them. As a case study of an experiential exhibition I focus on the District Six Museum where I have been part of its curatorial team since 1999. The work of curatorship that I have done at the Museum during the period of my registration for this degree constitutes part of this submission.
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Schneider, Amber N. Hafertepe Kenneth. "More than meets the eye the use of exhibitions as agents of propaganda during the inter-war period /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5309.
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Manasseh, 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.
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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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Smith, George Wilson. "Displaying Edinburgh in 1886 : the International Exhibition of Industry, Science and Art." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11771.
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The International Exhibition of Industry, Science and Art held in Edinburgh in 1886 was the first universal international exhibition to be staged in Scotland. This thesis examines the event as a reflection of the character and social structure of its host city and as an example of the voluntary organisation of an ambitious project. The background to the Exhibition is located in the progress of large-scale exhibitions in Victorian Britain, in competition between cities, and in Edinburgh’s distinction as an administrative and cultural centre and a national capital. The Exhibition’s organisers are situated within the city’s networks of power and influence and its circles of commerce, industry and municipal government. The space created to host the Exhibition is examined as an ideal depiction of Edinburgh as both a modern and a historic city. The origins of the exhibitors populating the Exhibition space are analysed, and their motivations and exhibiting strategies are scrutinised. The composition of the visitors to the Exhibition is considered and the development of the event as a venue for popular entertainment and spectacular display is discussed. In conclusion the chaotic aftermath of the project is examined, together with its influence on subsequent British exhibitions.
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Brown, 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.
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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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Uchill, Rebecca 1978. "Developing experience : Alexander Dorner's Exhibitions, from Weimar Republic Germany to the Cold War United States." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100327.
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Thesis: Ph. D. in History and Theory of Art, Massachusetts Institute of Technology, Department of Architecture, 2015.CD-ROM contains PDF of Addenda section, quarterly report and 5 PDFs of images for thesis.
Cataloged from PDF version of thesis. Pages 237 to 428 of original thesis for Addenda section are removed and copied onto CD-ROM.
Includes bibliographical references (pages 429-446).
Following the work of German-American curator Alexander Dorner (1893-1957) from his early curatorial career in Niedersachsen to professorships in New England, this dissertation explores the intersections of Euro-American modernism and developing ideations of experience within aesthetic philosophy. Dorner's work was formulated in deep engagement with (and often intentional contradiction to) the art theory being incubated in contemporaneous art institutions, pedagogies, and practices. His written texts and museum praxis responded to emerging notions of subjectivity, restoration, and perception in the aesthetic theory of Alois Riegl and Erwin Panofsky, art restoration mandates advocated by German museum leaders such as Max Sauerlandt and Kurt Karl Eberlein, and the artistic productions of El Lissitzky and Herbert Bayer. Against shifting expressions of democracy in Weimar Germany and the mid-century United States, Dorner's polemical focus on museum experience was, in effect, an attempt to train citizens for collective but heterogeneous social life.
by Rebecca K. Uchill.
Ph. D. in History and Theory of Art
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Högström-Schnee, Linn. "Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547.
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The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The Timeline. The exhibition presents Western art from 1500 to 1914 and design and portraiture from 1500 until today in a chronological arrangement. In the first chapter of the analysis, the exhibition is compared to previous arrangements of the permanent art exhibition at Nationalmuseum, as well as to historical museological trends. In the second chapter, Carol Duncan’s perspective of the ritual structure is applied in order to explore how the specific design of the exhibition affects visitors and objects, and how mening and narrative is created. The study does not primarily focus on individual objects, but on the general design and structure of the exhibition space. The study concludes that historical references can be found in the current exhibition – mainly to a sensual, intimate, and aesthetic mode of display from the early twentieth century. Some principles which have been dominating in art museums since the mid-twentieth century are challenged, including the isolation of objects; use of vast, empty spaces; division between different object categories; and sparse, single-row hanging. The varied and dynamic hanging of the current exhibition, in contrast to a repetetive one, creates different patterns of movement and object-visitor interactions. Still, the ritual structure of the exhibition works to direct visitor attention and behaviour, conveying an art-historical narrative. Meanings concerning objects’ historical context are fascilitated through the interplay between visual arrangement and textual information.
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Schoeber, Felix. "Modernity, nationalism and global marginalisation : representing the nation in contemporary Taiwanese art exhibitions." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/8yv7y/modernity-nationalism-and-global-marginalisation-representing-the-nation-in-contemporary-taiwanese-art-exhibitions.
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This thesis describes and analyses the development of the most prestigious large- scale exhibitions of the Taipei Fine Arts Museums from its opening in 1983 until 2009, concentrating on the Trends of Modern Art in the R.O.C. series of the 1980s , the introduction of the Taipei Biennial in 1992, and the Taiwan Pavilion in Venice from 1995 until 2009. Its focus lies on the transformation of the museum space and the status of the work of art. Several threads of questions run through this thesis: an attempt to analyse and illuminate the specific modernity and its inherent contradictions that characterized the museum space; the specific status of the object of art (and the artist) within the museum space; and lastly the image of the nation and its transformations as it is projected through these exhibitions. The first part of this thesis concentrates on how modernism was enacted in the first museum of modern and contemporary art in Taiwan (and one of the first in Asia), how a Chinese modernism was anointed through the exhibitionary system, and how this was challenged and finally abolished in favour of a new exhibitionary system, the Taipei Biennial. This part also analyses the rupture between those two exhibitions, and how the latter inaugurated a new and different status of the work of art, not merely an aesthetic object, but an element of a cultural narrative and discourse. The second part of the thesis shifts its focus on how the work of art was re-framed through the discourse of Taiwanese identity. Using as a starting point the writings of Benedict Anderson, the idea of the nation as a universe or microcosm of knowledge is used to describe a new pattern of representation of the nation that emerged since 1995, with the inauguration of the Taiwan Pavilion at the Venice Biennale. This part of the thesis concentrates on how this new and pluralist pattern of nationalism was created, repeated, and re-confirmed, but also re-written over the years, projecting an archetypical image of an “imagined community” or a microcosm of knowledge of the nation, rooted in the past, projected into the future, and centred around a synthesis of the nature of its territory and the urban experience of the capital. The third part of the thesis describes how the subaltern position of local artists and curators in relation to the museum have re-shaped their analysis of the nation, and how the notion of centrality of the nation was de-constructed once the question of the voice of a nation, but most of all of its curators and artists within a globalised world came to the fore.
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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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Linton, Jerry. "Chance images." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9862.
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Spicer, Frank G. III. ""Just What Was It That Made U.S. Art So Different, So Appealing?": Case Studies of the Critical Reception of American Avant-Garde Painting in London, 1950-1964." Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1231265965.
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Thesis (Ph.D.)--Case Western Reserve University, 2009Includes abstract Department of Art History and Art Title from PDF (viewed on 21 July 2009) Includes bibliographical references [and appendices] Available online via the OhioLINK ETD Center
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Hutchison, Margaret. "Painting war: memory making and australia's official war art scheme, 1916 - 1922." Phd thesis, Canberra, ACT : The Australian National University, 2015. http://hdl.handle.net/1885/124063.
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For almost a century the official collection of Great War art held at the Australian
War Museum (later the Australian War Memorial) has played an important role in
articulating and perpetuating memories of the conflict. Yet, there has been little
analysis of how or by whom this collection was created. This thesis seeks to
address this gap by exploring the processes by which over two thousand official
sketches and paintings were commissioned and acquired from the scheme’s
inception in London in 1916 through to its first exhibition in Melbourne in 1922,
a period that was the most productive era in the history of the programme and
during which the foundations for later commissioning of Australian paintings of
the war were laid.
By approaching this art scheme as a key commemorative practice of the Great
War, 1 argue that amassing a collection of official art was a fluid and dynamic
process that was driven by multiple actors. This thesis examines not only the role
of official war artists but also the part played by the politicians, government
officials and military personnel commissioning them. It examines these ‘agents of
memory7’, focusing on those men who managed the art scheme, primarily, Henry
Smart, Publicity Officer at the Australian High Commission in London, John
Treloar, Officer in Charge of the Australian War Records Section and later
Director of the Australian War Museum, and Charles Bean, Australia’s official war
correspondent and historian. By exploring their selection and rejection of artists
and subjects for official paintings, this thesis contends that these men influenced
the character of the collection, thereby profoundly framing a memory of the
Great War for Australia.
By making comparisons with Canada’s war art programme, which also sought to
differentiate the dominion’s wartime experience from other nations’ within the
British Empire, I explore the points where the Australian scheme was distinctive
and where it mirrored broader trends in the commemoration of the war in art. In
doing so, I examine the priorities of Australian commemoration as Smart, Bean
and Treloar privileged canvases that depicted the Australian troops’ efforts on the battlefield over other wartime activities, presenting a limited and narrow aspect of
the nation’s wartime experience. Further, 1 explore the intervention of these men
in how such images represented this experience, finding that they emphasised the
eyewitness value of the art over its aesthetic merit. Drawing on original textual
material and rich visual sources from the archives, this thesis examines the
process of memory7 making under Australia’s first official war art scheme,
exploring the genesis of an important and enduring commemorative practice.
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Miller, Jennie Edith. "Soviet and Eastern European Reactions to American Exhibitions: Cultural Exchange and the Cold War, 1961-1976." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5339.
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After the signing of the Cultural Exchange Agreement in 1958, exhibitions of culture and technology were exchanged between the Soviet Union and the United States. These exhibitions continued to be exchanged well into the 1980s. This paper focuses on comment books from seven of these cultural exchange exhibitions, five in the Soviet Union and two in Eastern Europe, in the years between 1961 and 1976. The public nature of the comment books and the way they were treated by visitors made them a space for expressions of popular opinions over the issues of public policy and ideology. As such, they provide contemporary historians with a unique glimpse into the mindset of ordinary Soviet and Eastern European citizens during the Cold War. Based on the evidence from the comment books, and using methods elaborated by cultural anthropologists, this study shows that challenged by the display of apparent American superiority, most Soviet visitors preferred to fall back on the official ideology which claimed the moral superiority of their system. In the 1960s and early 1970s, the Soviet citizens experienced an upswing in communist morale, expressed a desire to compete with America and a conviction that their system will ultimately prevail over capitalism. However, to what extent such declarations should be accepted at their face value as sincere expressions of Soviet citizens' deep-seated convictions and to what extent they should be seen as situational responses to the perceived humiliation at the hands of foreigners remains unclear. While most Soviet visitors were defensive, invested in their ideology, and competitive with America, their reactions were not monolithic. Some of them were clearly fascinated by American consumer products and expressed an envious yearning to get possession of them; others stressed their openness to cultural exchange. There were apparently sincere expressions of support to the policy of d&"233;tente, and of outrage over the Vietnam War. The Soviet visitors were aware of the unrest in American society caused by the civil rights movement, but were uninformed of the profound changes effected by this movement. Members of non-Russian minorities were interested in American ethnic diversity and sometimes implied their dislike of Moscow treatment of non-Russian nationalities. Eastern Europeans were less defensive and more open to American society and culture than the Soviets. Still, some of them also expressed pro-communist sentiments and national pride. There was one issue, however, on which the Soviets and Eastern were clearly more in tune with American popular culture than with their own governments: consumerism and the sentiment of entitlement to the high quality goods that Americans had access to while they did not. It was on this issue that the eastern bloc regimes were facing the greatest threat.ID: 031001511; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Vladimir Solonari.; Title from PDF title page (viewed August 8, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 77-79).
M.A.
Masters
History
Arts and Humanities
History
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Grunenberg, Christoph. "The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.
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Chasse, Sarah Noble. ""A Certain Kinship": The First Exhibitions of American Folk Art, New York, 1924-1932." W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539626675.
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Allee, Jessica. "New Deal Art Now: Reframing the Artifacts of Diversity." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1536.
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New Deal Art Now offers a sampling of the breadth of the Works Progress Administration and Federal Art Projects (WPA/FAP), calling attention to the skills, histories, and social identities of an extraordinarily diverse spectrum of professional and amateur artists funded by the United States federal government during the Great Depression. The New Deal, a major economic stimulus initiative that ran from 1935-1943, included the Works Progress Administration Federal One Projects, encompassing fine art, music, theater, writing, and design. These projects provided economic support and cultural enrichment to hundreds of thousands of Americans, in the form of jobs, entertainment, and education in the arts. New Deal Art Now seeks to reframe a period of United States artistic production that is often narrowly cast in exhibitions and their related literature on the subject. The theme of diversity is explored through several critical lenses, such as questioning the relationship between art and artifact, considering that many creative works of the New Deal function as both. The majority of the exhibited artworks are juxtaposed against one another to challenge the designations that contemporary material culture traditionally assigns them. Showcasing 48 objects in total, the exhibits include painting, sculpture, educational models, archival film, and archival audio, which are juxtaposed alongside contemporary paintings, photography, and music, created in conjunction with this exhibition. By situating these works (as well as the very categories of amateur and professional, art and artifact, museum and archive, past and present) in productive relation to one another this exhibition argues for the significance of all of these works and artists to the diverse history of twentieth-century American art.
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Jezowska, Katarzyna. "Imagined Poland : representations of the nation state at the exhibitions of industry, craft and design, 1948-1974." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:dc0bb054-9597-4ad5-a50f-1de899994ea6.
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This thesis examines the use of design in the construction of Poland's national identity at the international exhibitions in the Cold War period. It is the first comprehensive study of Polish design discourse in any language that rests at the crossroads of design studies and cultural history. Based on original archival material, both written and visual, and oral interviews this thesis tracks the process of construction of Imagined Poland alongside the development of the design discipline during the three post-war decades. It charts the trajectory of these two narratives and examines their critical reception. In doing so this research casts new light on the relationship between design and political history in the Cold War Europe. However, it is not a thesis about designed objects or spaces per se, but rather about their discursive qualities and the way that they were put in work to narrate the nation. Versatile and embedded in the cultural, economic and social contexts, design understand here in its broadest sense proved to be well suited to this role: it allowed political authorities, trade representatives and creative intelligentsia to address timely issues on their agendas. This thesis closely examines eight exhibitions organised in the Soviet Union, Italy, Belgium and Poland. The narratives of these events, as the thesis argues, reflected the state's changing self-understanding towards international public opinion. It indicates that although Polish exhibitions were occasionally adjusted to the particular location, their themes were largely shaped in response to the political developments at home and in the Eastern Europe. By using exhibitions as a framework, this thesis offers a new perspective to study Polish international modernism and suggests a limited impact of ideology on the development of professional networks. Subsequently it provides a nuanced reading of Poland's relationship with the Soviet Union, the Eastern Bloc and the rest of Europe beyond reductive paradigm of totalitarianism.
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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.
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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.
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Tabibi, Baharak. "Exhibitions As The Medium Of Architectural Reproduction "." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606077/index.pdf.
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This thesis studies the influential role of architectural exhibitions in shaping and directing architectural discourses. The study accepts architectural exhibitions and associated publications as the critical act of architecture, in which (the work of) architecture is interpreted, reproduced and publicized. The main focus of this thesis is Modern Architecture: International Exhibition, held in 1932 at the Museum of Modern Art (MoMA). This particular exhibition is a significant historical event, which officially announced architecture of the early 20th century as International Style. The thesis underlines the role of the 1932 exhibition and MoMA as an architectural media in reproducing the works of architecture and reformulating the agenda of 20th century modern architecture especially in U.S.A.
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Green, Geffrey Corbett. "Walter Spies, tourist art and Balinese art in inter-war colonial Bali." Thesis, Sheffield Hallam University, 2002. http://shura.shu.ac.uk/9167/.
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This is an art historical study informed by post-colonial perspectives which critically examines the discourse concerning the role and the work of the artist Walter Spies in relation to Bali, Balinese art and the Balinese in the inter-war Dutch Colonial period. Drawing from a wide variety of sources, the thesis examines the development and characteristics of a new artistic form in the area of painting, variously described as 'Balinese Modernism', 'New Balinese painting' or 'Tourist art'. I also investigate the origins and the perpetuation of the popular myth regarding the perceived role of Walter Spies as the instigator of this art. Through examining his cultural position in relation to the Balinese, I examine Spies' role as a colonial figure and as a 'servant' of colonial cultural policy. This post-colonial examination takes into account the broader historical, political, cultural and economic realities of colonial Bali at that time. I deal with theoretical and methodological issues some of which make such a study problematic. In particular, how to deal with the 'subaltern' in historical discourse and the dangers of either essentialising the 'Other' or diminishing hegemonic imperial processes through a cultural relativism which seeks to value the importance of the 'subaltern' voice. In addition to this, the problematic and sometimes misleading use of biography is also investigated. I have synthesised a number of concepts to develop my post-colonial approach, based around the ideas of contact, contact languages and influence. These are used to explain the development of new artistic forms, as well as the discourse and processes which both moulded and reflected them. The study contributes to knowledge through the fresh analysis of the discourse of 'texts' and parts of 'texts' not previously used or explored in a postcolonial theoretical framework. Interviews with Balinese artists and the correspondence of Spies are deconstructed, as well as the films and paintings of Spies which are analysed as colonial discourse rather than as isolated aesthetic products. This project provides a new critique of the creation and perpetuation of colonial discourse through biography and imagery which I propose has much broader implications in the 'post-colonial' world.
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Bernat, Cory Anne. ""Beans are bullets" and "Of course I can!" exhibiting war-era posters from the collection of the National Agriculture Library." College Park, Md. : University of Maryland, 2009. http://hdl.handle.net/1903/9846.
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Thesis (M.A.) -- University of Maryland, College Park, 2009.Thesis research directed by: Dept. of History. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Sears, Todd Richard. "War as Art or Science: A Humanist Vision." Thesis, Monterey, California. Naval Postgraduate School, 1991. http://hdl.handle.net/10945/43543.
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Approved for public release; distribution is unlimitedThis thesis attempts to answer the question, Is War art of science? In doing so it draws heavily upon Thomas Kuhn's humanistic philosophy of science. If War can be separated theoretically into two distinct analytical units, preparation for war, and conduct of war, then the answer to the question becomes more accessible. The war preparation process is notably similar to the Kuhnian dynamic of scientific process, i.e., the evolution of a paradigm through inter-disciplinary criticism and rearticulation. A case study of post-WWII US nuclear strategy is offered to substantiate the claim that war preparation operates in a way that is remarkably similar to Kuhnian science. So, if war preparation is scientific, then the conduct of war, a fundamentally different activity, may be seen as artistic. This case is made by drawing heavily upon the writings of General Carl von Clausewitz, and the 18th century German idealist Immanuel Kant. The end result of the work is to posit the existence of two types of men necessary for the execution of War, those who demonstrate ability in the sublime genius of science, and those who are more suited to develop the heroic genius of battle. The question then arises as pertains to the US military educational system's ability to identify these men and intensify their development within each's specific forte.
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Espezel, Amanda. "Working from the body : subjectivity and the artistic process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.
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This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work.
The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion.vi, 56 leaves : col. ill. ; 29 cm
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Braun, Jamison D. "Explorations on just war." Thesis, Monterey California. Naval Postgraduate School, 2006. http://hdl.handle.net/10945/10109.
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In this thesis, I present examples of non-adherence to Just War Doctrine and challenge whether the theory ought to be adhered to at all. My research is based on nation to nation and nation to international actor wars and addresses all three tenets of the Just War Doctrine: Jus in bello, Jus ad bellum and Jus pos bello. My writings suggest that since Just War Theory has not been adhered to in entirety within the last 100 years, standing by the theory may, in itself, be irrelevant. This theory was created to make addressing, committing and ending war the gravest of all man's acts, so severe in nature that there is no room for error. In fact, during the research of this thesis, a war that was fought justly according to tradition was not found. And, because Just War Doctrine decreed that in order for a war to exist justly, all tenets must be followed, this thesis has provided considerable evidence that for the last 100 years Just War Doctrine has not been adhered to and with the changing dimensions of warfare by terrorists, state and rogue actors, and increased interconnectedness through Globalization, Just War may never be relevant as it was in the early years of establishment.
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Clarkson, Verity. "The organisation and reception of Eastern Bloc exhibitions on the British Cold War 'home front' c.1956-1979." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/99502e86-6691-4cc6-82a2-df6c575d6cc9.
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This thesis investigates government-sponsored exhibitions originating in the USSR and Eastern Europe held in Britain between 1956-1979. These incoming manifestations of cultural diplomacy were a locus for cultural exchange during the ideological conflict of the Cold War, providing temporary public spaces in which cultural artefacts from the eastern bloc – perceived as an unfamiliar, isolated and rival territory – were displayed and responded to. This research scrutinises the organisation and reception of these usually reciprocal displays of art, historical artefacts, and commercial goods on the British Cold War ‘home front’.