Tesis sobre el tema "Collection art"
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Haight, Sarah M. "American Art Lending, 1895-1975". Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/344.
Texto completoBrogan, Devin. "Art in Wichita instruction, collection and innovation /". Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t024.pdf.
Texto completoSummerfield, Angela. "Interventions : twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth-century British art in Britain". Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17420/.
Texto completoSalmons, John Andrew. "Adopting an Orphaned Collection". Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64789.
Texto completoMaster of Architecture
Walker, Jessica E. "Unexpected Reflection Collection". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253634229.
Texto completoQuito, Anne. "Art at work potential contributions of an art collection to non-profit organizations /". Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/456296265/viewonline.
Texto completoBaker, Laura. "The New Orleans Museum of Art: Managing the Collection". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/173.
Texto completoWilson, Janelle. "Accessioning and Managing the Petersburg Area Art League Collection". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2296.
Texto completoLucas, Jean-Jacques. "Les territoires imaginés de la collection, récits individuels et collectifs : les collections et les collectionneurs d'oeuvres d'art, d'archéologie, d'arts décoratifs et appliqués dans le Centre-Ouest Atlantique entre 1870 et 1983". Poitiers, 2010. http://www.theses.fr/2010POIT5007.
Texto completoArt collecting since the mid-nineteenth century, understandable throughout this period through regional exhibitions, donations and legacies to local museums, recorded landmark values. These situations involve the embedding of several imaginary, temporal and spatial fields. The object aspiring a duration which the body will not reach, will be presented to lasting admiration in a collection. It is a monument marking the ownership of its collector, by a ligamentary function, with its real or reconstructed genealogical territory. The transfer to the public collection guarantees everlasting self surpassing and the perpetuation of a founding and edifying social. The nature of the collections of works of art, also from archaeology, decorative arts, or ethnography questions about the reference systems of the world from Poitou. Their time and geographical space come from mythogène territories for visitors to see in the space of the museum. These constructions define imagined or experienced contours in time and space. The study of these collections, their movement and sphere of influence refers to the identity values of their authors and to those ensuring the coherence of a group. The geographical area of study corresponds to three existing departments : Vienne, Deux-Sevres, and Vendee, for the most part historically associated with the Bas Poitou. The chronological frame is set between the entrance of the Charbonnel legacy to the Poitiers museum in 1870 and the arrival of a new institutional actor commissioned to collect the art of its time, le Fonds Régional d’Art Contemporain
Donkor, Kimathi. "Africana unmasked : fugitive signs of Africa in Tate's British Collection". Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12019/.
Texto completoNoual, Pierre. "L'être et l'avoir de la collection : essai sur l'avenir juridique des corpus artistiques". Thesis, Toulouse 1, 2016. http://www.theses.fr/2016TOU10043.
Texto completoThe collection remains a powerful engine of curiosity in perpetual effervescence. It concerns the artistic sphere and takes part of the inexpressible one. She escapes from logic and rationality. She’s beyond us and raises only about the sensitive one. Therefore, speaking of the relationship between art and society, the collection occupies a singular place. However, if the legal studies devoted to artworks are numerous, it would be different for collections, while at the same time they have been run up against for several decades by many economic and artistic upheavals, little studied by the law. Such a report led to bring back the collections in the field of a legal analysis. It’s not only academic and involves real practical consequences. How is the collection apprehended by the law? Which is its legal future? These are the questions that will help to go back to the sources of these corpus to better consider their destiny. With this intention, it’s advisable to appreciate the consistency of the through the prism of the property and its protection schemes. Then it’ll be possible to consider the management and the legal transmission of such artistic heritage which roots in the context of a cultural activity of public and private art collectors. In a multidisciplinary approach, the study presents so both comprehensive and coherent apprehension of the collection by the law. This is to contribute to an increased understanding of the instruments allowing the operation of this set in its relationship with law, its market and its various protagonists. By highlighting the contradiction between legislator’s desire to encourage the development of collections and the restrictions it imposes, the study involved in its extent, the legal knowledge of this subject, its valorization, and its conservation on the territory in order to deploy a new "collection’s culture". Thus one can verify once again that the law is a tool of intelligence of social reality for the collection and a material directly usable by the art collector to go beyond the law
Couette, Déborah. "L'Aracine, de l'association au musée : histoire d'une collection d'art brut (1982-2010)". Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H043.
Texto completoL’Aracine is a non-profit association founded in 1982 by Madeleine Lommel with Michel Nedjar and Claire Teller, to collect, preserve and exhibit a public collection of art brut in France. Conceived in tribute to the research of artist Jean Dubuffet, the collection – which was given to the Modern Art Museum of Villeneuve-d’Ascq in 1999 ― is a rare attempt to establish art brut’s legitimization and legacy. This PhD – story of an association, a collection process and a collection – reconsiders the origin and development of the L’Aracine project and casts a light on the amateurs whose role was to establish this 20th century patrimony
McDermott, Hiroko T. "A history of the Imperial Art Collection in modern Japan". Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399439.
Texto completoToropov, Stephen William. "Interpretation As Art: A Collection and Examination of Ekphrastic Poetry". Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429877149.
Texto completoSarti, Susanna. "Giampietro Campana (1808-1880) : the man and his collection". Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390392.
Texto completoBrod, Heather Christine. "Colorist art, contemporary Russian art, and Neue Slowenische Kunst in the collection of Neil K. Rector". Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210265694.
Texto completoSEYMOUR, BRIAN. "ART COLLECTING AND SHAPING PUBLICS AROUND THE TURN OF THE TWENTIETH CENTURY: A PHILADELPHIA STORY". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/476618.
Texto completoPh.D.
This dissertation traces the rhetoric of two Philadelphians, attorney John G. Johnson and Dr. Albert C. Barnes, as they collected art with a specific public in mind, namely working Philadelphians around the turn of the twentieth century. The individual bequests and resulting legacy institutions of Johnson and Barnes serve as rich case studies to assess the efforts of collectors to control the reception of their respective collections by the public. These particular histories, exceptional in their own ways, are juxtaposed to offer an objective view onto previously understudied challenges to the status quo, mounted by a few collectors by way of unique discursive practices and the establishment of distinctive single collection institutions, in the formative period for American art museums around the turn of the twentieth century in Philadelphia. The focus is on the two men’s often shared, but eventually divergent, ideas pertaining to art and the public, which can be tracked to relevant discourses that informed those views. At stake in this investigation is the relative tension between the agency of the collectors and the repurposing of their individual collections by future publics. More plainly, the goal is to study the interrelated narratives of collectors, Johnson and Barnes, as they unfolded over the course of the long twentieth century with an eye to what is gained or lost from the unraveling of the deliberate plans left by the collectors, which in both of these cases, included relocating the art work from the original site, leading to coincident shifts in the manner of display and targeted audience. It is not the point of this study to weigh-in on matters of justice regarding the individual cases, rather the goal is to probe the limits of an art collector’s vision held against the dynamic needs of publics, and evaluate what this might mean for the twenty first century.
Temple University--Theses
Lipschitz, Michael Roy. "The Charles Davidson Bell Heritage Trust collection : a catalogue and critical study". Thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/23586.
Texto completoRen, Josephine. "Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection". Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1353.
Texto completoMassey, Ivor Nikolas. "Awakening The Muse: A Museum for the Fisher Family Art Collection". Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/36034.
Texto completoMaster of Architecture
VanWagoner, Rachel. "DAY JAW BOO, a re-collection". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2714.
Texto completoDavila, Victor. "THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART". Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.
Texto completoM.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
Burrowes, Adjoa J. "The South Side Community Art Center| How Its Art Collection Can Be Used as an Education Resource". Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1602513.
Texto completoThis study examines the South Side Community Art Center in Chicago, its history, educational mission, and the ways in which its collection of primarily African American art can be used as an art education resource. The data collection for this qualitative case study included questionnaires focusing on the collection and the Center’s history and mission, in-depth interviews with three Center administrators and one visual artist, informal personal communication, and observational notes. All data was examined using content analysis. Respondents indications concluded that the mission and goals of the Center grew out of its WPA beginnings and was primarily to support the artists and to educate the community about the value of African American art; that the Center’s education mission revolved around its educational programming; that the art collection had been used in the past to teach about the Black Power Movement and makes references to important events in history; and that the Center’s relationship to the community was multi-faceted and included outreach to local schools in after-school art programs.
The center’s art collection, because of the themes inherent in many of the works, make important connections to key events in American history such as the WPA, WWII, the Great Depression and the Black migration that facilitates meaning making across the life span. The study’s results provided evidence of the South Side Community Art Center’s role as not only a repository for regional and national African American art and artists, but also as an educational hub for visual culture, art study and relevance for contemporary life themes.
César, Flore. "Collectionnisme et curiosité à Montpellier, de la renaissance à l'aube de la révolution". Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30105.
Texto completoFrom the city of Montpellier example, the present study focuses on the cultural phenomenonof collectionism, by approaching in a joint process, collectors and collections within theXVIth century and the XVIIIth century span. The city, recognized as a scientific capitalduring the modern period, offers a privileged example to undertake a crossed approachbetween art history and sociology of savant culture.Faced with a huge diversity of sources, the first proposal of this work is a reflexion on thecollector and the collection's very definition before presenting them in a typological analysis.In a second step, this work aims at understanding dialectics between collectionism andcuriosity, understood as desire of seeing, possessing and knowledge.This process aspires tounveil the various uses of collections and their economy, approaching jointly the differentcharacters of collectors, among curieux, amateurs, connoisseurships and savants. Moreover,attention is payed on giving account on the manner these persons, whichever the nature oftheir collection, make use of their judgement capacity while prioritizing sensitive experience.As a place dedicated to perception, the collection also offers itself a place of memorycelebration. Therefore, the study works toward understanding how collectionism contributesto the fabric of vision
Brown, Jessica Natasha. "Ethics of the dust: on the care of a university art collection". Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13651.
Texto completoThis thesis examines the University of Cape Town (UCT) Permanent Works of Art Collection in order to determine its relevance to, and status within, the university. The text traces the historical and current roles of the university art collection in general, before focusing specifically on the UCT art collection’s history, including the contexts, events and personalities which shaped its development, from its embryonic beginnings in 1911, to the present. In an era which demands clear correlations between the allocation of resources and relevance to institutional goals, the contemporary university collection is under pressure to demonstrate its potential as a useful educational and interpretive tool within the university (the so-called ‘triple mission’ of collections: teaching, research and public display), or risk being consigned to obsolescence, even destruction. Based on a survey of the UCT art collection’s holdings, interviews, and a combination of bibliographic and archival research, undertaken between 2011and 2014, the thesis establishes that, whereas most university collections were traditionally constituted for the purpose of teaching and research, or for the preservation and exhibition of historical artefacts pertaining to a university and/or a specific discipline, this collection does not precisely fulfill either function.
Brun, Baptiste. "De l’homme du commun à l’art brut : « mise au pire » du primitivisme dans l’œuvre de Jean Dubuffet : Jean Dubuffet et le paradigme primitiviste dans l'immédiat après-guerre (1944-1951)". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100084.
Texto completoImmediately following the conclusion of the Second World War, Jean Dubuffet categorically refused the qualification of his work as part of Primitivism. But Paradoxically, the means by which this painter expressed himself were none other than those identified in so-called primitive art, and he often claimed himself as an animist what in a way betrayed an active conception of matter. Furthermore, Dubuffet drew from ethnographic research processes to finetune his method which would be baptized as Art Brut in the summer of 1945. In order to move beyond this paradox, and by using Dubuffet's paintings, writings and other work, this paper will demonstrate how Art Brut shifted the original perception of primitive art, and in thus doing so, became its unconditional critic. Art Brut, which was considered to be a means of critique as a derivative of George Bataille's « informe », emerged as a concept leading to think art differently. Esthetics could finally be pushed aside to make way for an anthropological interrogation of what the painter named the « artistic operation »
Coeyman, Daniel. "Likeness: Empathy in Art". Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/749.
Texto completoB.F.A
Bachelors
Arts and Sciences
Art
Didier, Jon. "Art, avoidism, and automation". Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1400.
Texto completoBachelors
Arts and Humanities
Fine Art
Berry, Jessica y n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
Texto completoBerry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
Texto completoThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
Harris, Adam Duncan. "Extra credits : the history and collection of Pacific Title and Art Studio /". ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2000. http://www.lib.umn.edu/articles/proquest.phtml.
Texto completoFarmer, Brooke Michael. "Wake Forest University Art Collection: Current State and Recommendations for Future Use". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/19.
Texto completoCardassilaris, Nicole Ruth. "Bringing cultures together Elma Pratt, her international school of art, and her collection of international folk art at the Miami University Art Museum /". Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.
Texto completoAdvisor: Theresa Leininger-Miller, PhD (Committee Chair); Mikiko Hirayama, PhD (Committee Member); Anne Timpano, MA (Committee Member). Title from electronic thesis title page (viewed May 8, 2008). Includes abstract. Keywords: Elma Pratt; International School of Art; Zakopane, Poland; Miami University Art Museum; folk art; material culture; art education; museum collections; Polish folk art; women in art education; Brooklyn Museum; Franz Cizek. Includes bibliographical references.
CARDASSILARIS, NICOLE RUTH. "Bringing Cultures Together: Elma Pratt, Her International School of Art, and Her Collection of International Folk Art at the Miami University Art Museum". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.
Texto completoLamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
Texto completoSolano, Maria Schelle. "Art, Commerce, and Social Transformation: Public Art And the Marketing of Philadelphia". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/184817.
Texto completoPh.D.
The field site for this US-based ethnography is the city of Philadelphia, Pennsylvania. The overwhelming presence of murals in the urban landscape calls into question how these figurative wall-sized paintings improve the lives and neighborhoods in which these paintings are found. With Philadelphia suffering the consequences of deindustrialization and neoliberal globalization, characterized by high poverty and inequality, and consistently low rankings in quality of life indicators by the national media, what role do murals play in change? Do murals mask urban problems by literally painting over blight, and, therefore distract from vital issues? Alternately, are murals a beacon of hope in an aging post-industrialized city? How do these murals contribute to the city - socially, culturally, and economically? This research study employs the following in its methodology: archival research, participant observation, interviews, visual and audio documentation, web site analysis of the Mural Arts Program's public transcript, and documentation of contemporary media coverage of the MAP and tourism related economic strategies. Over the course of its almost thirty-year history, the MAP has seen its mission shift from dealing with erasing graffiti, to helping transform (i.e. empower and motivate) communities and individuals, as a way to deal with poverty and increasing political and economic inequality. As globalization placed pressures on cities to compete in a global economy, new urban branding practices changed the scale of operations from place-based local communities (that focused on rehabilitating "at-risk" populations) to the city as a whole (city-wide murals and related projects/events), that increased local media coverage and brought the MAP to the attention of national media outlets - the kind of publicity necessary to advertise Philadelphia as an "urban brand," "The City of Murals." The promotion of Philadelphia as "The City of Murals" is premised on art having a "social life" by virtue of human interaction, and therefore, has the capacity to engage, captivate, and transform - its "value" is in being commodified and consumed. At the same time, the consumption of particular art objects and experiences demonstrates "taste" and marks social difference and maintains social hierarchies.
Temple University--Theses
Perez, Elizabeth. "Art as a questioning process". Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/605.
Texto completoB.A.
Bachelors
Arts and Humanities
Philosophy
Lopes, Pedro Zasciurinskis. "Redefining art as an experience". Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1107.
Texto completoBachelors
Arts and Humanities
Philosophy
Tolley, Rebecca. "Review of Great Masters of Mexican Folk Art: From the Collection of Fomento Cultural Baname". Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5711.
Texto completoTurner, Noele. "The National Art School - A Social History from 1833 to 1973 and a Catalogue of the Archival Art Collection". Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366320.
Texto completoThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
Gretarsdottir, Tinna. ""ART IS IN OUR HEART": TRANSNATIONAL COMPLEXITIES OF ART PROJECTS AND NEOLIBERAL GOVERNMENTALITY". Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/67865.
Texto completoPh.D.
In this dissertation I argue that art projects are sites of interconnected social spaces where the work of transnational practices, neoliberal politics and identity construction take place. At the same time, art projects are "nodal points" that provide entry and linkages between communities across the Atlantic. In this study, based on multi-sited ethnographic fieldwork in Canada and Iceland, I explore this argument by examining ethnic networking between Icelandic-Canadians and the Icelandic state, which adopted neoliberal economic policies between 1991 and 2008. The neoliberal restructuring in Iceland was manifested in the implementation of programs of privatization and deregulation. The tidal wave of free trade, market rationality and expansions across national borders required re-imagined, nationalized accounts of Icelandic identity and society and reconfigurations of the margins of the Icelandic state. Through programs and a range of technologies, discourses, and practices, the Icelandic state worked to create enterprising, empowered, and creative subjects appropriate to the neoliberal project. At the same time these processes and practices served as tools for reawakening and revitalizing ethnic networking on a transnational scale. As enactments of programs initiated by the Icelandic state, the art projects studied here are approached in relation to neoliberal governmentality in a transnational context in order to explore how the operations of states and the new global economy are translated into local cultural practices, such as visual displays. This is a study of cultural circuits and transnational networking where art projects are the formative "nodes"-local sites of cultural production, neoliberal politics, multiple threads of truth claims in battles of cultural politics, identity formation, and conflicted notions of the value of art and the idea of creativity.
Temple University--Theses
Williams, Stephanie Danielle. "ART AT THE AIRPORT AND THE INTERSECTION OF PUBLIC ART AND PUBLIC HISTORY". Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/448628.
Texto completoM.A.
This thesis is a study of the intersection of public art and public history in Philadelphia. This project looks at Philadelphia based case studies to see how the intersection of public art and public history can bring in new audiences, act as a form of advertisement, and shape interactive experiences for visitors. Connecting to a body of literature that deals with the power of place, I ask in this study how public history in unexpected places has the power to bring in new audiences that may not have the chance or even want to visit a traditional history museum or historic site. How do these projects and programs serve a community? The study features the history of Art at the Airport, an international series of art exhibits and programs at major airports. Among these, the Philadelphia International Airport’s Art at the Airport program exhibits traditional and innovative art and regularly features historic content. Any airport today is a place of high stress, but surveys of airport visitors indicate that for some art has the ability to relieve anxieties. So what happens when public art and public history collide in this space? While studying Art at the Airport as an intern, I witnessed people who stopped, learned, and gained knowledge of history in a public setting without a book, a teacher, or tour guide. This study allows me to show the power of public history and public art.
Temple University--Theses
Levy, Tatiana. "Le collectionneur d'art moderne et contemporain et la "publicisation" de sa collection privée : un "concept" dans l'espace de médiation". Avignon, 2009. http://www.theses.fr/2009AVIG1068.
Texto completoThis thesis submits a reflexion on the « publicisation » of the private collection of modern andcontemporary art, by the main of the collector. The first part lists the different ways it work, with the « publicisation » in France from 4 studies of art arens: Donation Jardot in Belfort, Collection Lambert in Avignon, Salomon Foundation to Alex and Galbert Foundation in Paris, and 2 case studies: exhibitions Passions privées, at Museum of Modern Art in Paris and L’intime, at the Antoine de Galbert Foundation in Paris. In the second part, we subject each of the two spheres (private and public) to the analysis that the « publicisation » includes. So is established in a empirical manner process of « publicisation » of the private collection, allowing a definition of itself and revealing succession and the combined of choice and of present actors in this one. In a third part, the study of connections and the networking of the collector in a « collective action » in the contemporary art’s world, shows how he abolishes borders between the public and private spheres. By the « publicisation » of his collection, he circulates from one to another and introduces a intermediary space allowing a different form of mediation of the work of art than that proposed by the museums so-called conventional. Resituate the collector in the network of contemporary art allows us to determine mediator’s position that he occupies in this space of mediation that he created in publicizing its collection. At the end of the analysis, we propose the taking account of the collector amateur of modern and contemporary art and the publicisation of his private collection as a model of cultural mediation, in which is issued, both the work of art and a cultural practice of the latter
Hansson, Amanda. "Jon Rafman at Zabludowicz Collection : A study in Reception aesthetics". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274993.
Texto completoPottmeyer, Ollie W. "Illustrations from the CD collection of Ollie W. Pottmeyer". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1952.
Texto completoTitle from document title page. Document formatted into pages; contains iii, 17, [19] p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).
Floriant, Sonia. "La collection de musée comme objet sémiotique : La Réunion, la collection du Musée Léon Dierx". Besançon, 2002. http://www.theses.fr/2002BESA1036.
Texto completoGreenan, Althea. "Feminist Net-work : digitization and performances of the Women's Art Library slide collection". Thesis, University of Brighton, 2018. https://research.brighton.ac.uk/en/studentTheses/6a0cfad7-569b-4ab6-badf-d22b934128e6.
Texto completoErickson, Bonnie. "ART THERAPY TREATMENT WITH INCARCERATED WOMEN". Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2615.
Texto completoPh.D.
Department of Child, Family and Community Sciences
Education
Education PhD
Betz, Jennifer. "ASSESSMENT PRACTICES INELEMENTARY VISUAL ART CLASSROOMS". Doctoral diss., University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2625.
Texto completoEd.D.
Department of Educational Studies
Education
Curriculum and Instruction EdD
Gonzalez, Gabriel. "Hidden Scars: The Art of PTSD". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5636.
Texto completoM.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer