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English, Linda Christine. "The Calgary Exhibition and Stampedes, culture, context and controversy, 1884-1923". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ47940.pdf.
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Gray, Michael. "New Australian plants and animals. An exhibition - and - Physiology, phenomenology and photography: Picturing the indeterminate within an Australian art practice. An exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1923.
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This practice-led research project investigates indeterminate aspects of perception related to human vision and postcolonial conditioning. Through an inventive range of lens-based artworks, the research draws parallels between preconscious visual phenomena and the subjective experience of non-indigenous Australians of multiple generations.
The resulting body of creative work, New Australian Plants and Animals, can be seen to approach preconscious visual phenomena derived from the physiology of the human eye through the use of primitive photographic lens technology. This process is applied to the subject matter: introduced plants and partially naturalised migrants. This synthesis of subject and materials creates new insights into preconscious vision whilst questioning aspects of colonisation-in-reverse (Tacey, 1995) where the colonised land immeasurably exerts itself on the coloniser’s psyche. The partially naturalised migrant is metaphorically compared to introduced plants in Australia that are found inexplicably to evolve into new species.
The research highlights photography’s historic role in falsely maintaining the view that the human eye views the world with a flat, sharp field of focus by revealing how images potentially appear at the back of the human eye before being processed by the mind. The photographic component of the research work can be seen to depart from the contemporary practice of representing cultured landscapes with highly refined technical processes. Instead, the photographs move towards picturing an indeterminate space where the physical world meets the embodied subject through the use of primitive photographic materials. Additionally, by inverting the power of the lens and photographing the coloniser instead of the colonised, this project enabled fresh insights into the postcolonial subject.
In line with Paul Carter’s concept of material thinking (2004), this research relies on the ‘intelligence’ of materials to automatically reduce visual phenomena to a preconscious ocular quality whilst metaphorically operating as nineteenth-century colonial survey equipment. A broad range of artists has informed the research, ranging from late nineteenth-century European naturalist painters to contemporary Australian installation artists. The main theorists informing this project are Walter Benjamin, Maurice Merleau-Ponty and Edmund Husserl.
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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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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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Welbourne, J. "Design theory and exhibition practice in Britain, 1924-1938 : The articulation and representation of modernist design theory between the Empire Exhibitions". Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375731.
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Hedqvist, Eric. "Varats och utvecklingens kedja : en naturhistorisk museiutställning i Göteborg 1923-1968". Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-18922.
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This dissertation is a museological study of the coming into being of a natural history museum, its building and its adherent zoological exhibition during the years around the First World War. The main problem of the dissertation is the opposition between the curator´s program 1903 for the exhibit and its realization twenty years later. The theoretical perspective is that in its synchronic aspect science, in accordance with the views of swedish sociologist, Thomas Brante, is divided into three levels interdependent upon one another in varying degrees – theoretical, sociological and psychological level. In the present study, the main issue is the weighing of the relative significance of each of these levels. The exhibit was structured as along a scale, or chain, from lesser to greater animals. In this and in other respects it belonged to the legacy of Swedish naturalist Carolus Linnæus. Interest in maintaining this tradition was powerful in the Swedish society during the years before the First World War. Not until around 1950 was the modern theory of evolution explicitly announced to the visitor of the exhibit, still however without the representation of the forces behind it By an investigation of the milieu to which the museum belonged is shed light upon the scientific and other ideals which are represented in its exhibit. The result of an assess of the significance of the theoretical, the sociological ant the psychological level is that contemporay theory does not stand out as a driving force behind the creation of the exhibit in 1923. Nor does the curator of the exhibition emerge as an innovator. Most dominant is however the sociological level.avhandlingen framlägges för disputation i ämnet museologi
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Petersen, Charlise. "Visual trauma: Representations of African bodies in the 1983 Contre Apartheid Exhibition". University of the Western Cape, 2018. http://hdl.handle.net/11394/6254.
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Magister Artium - MA (English)After the 1976 student uprising, South Africa entered a period of increased violent state repression. The struggle against apartheid also became increasingly globalised, as can be seen in the UN resolution and the rise of various international anti-apartheid organisations. My thesis looks at the various ways in which art was used as a response to the crisis of late apartheid in the 1980s, focusing on a landmark international exhibition, the Art Contre Apartheid exhibition which opened in Paris on 1983. It examines the context and history of the Art Contre Apartheid collection, and follows its path to its current location at the Mayibuye Archive at the University of the Western Cape, where it mostly languishes in packing crates. My research locates its analysis of the works in broader debates around art and politics during the struggle years in South Africa, but also to highlights the continuities and contrasts between international responses to apartheid, and local struggle art produced in the period surrounding the launch of the exhibition. Some of most compelling works of art in the collection depict the human form, and register acts of torture. The analysis focuses specifically on depictions of a fragmentation and dismemberment of the human body. Drawing on Elaine Scarry's argument about the limitations of language as an adequate response to trauma, my research develops an analysis of these works that demonstrates how the body becomes a privileged site in which violent political contestations are made visible. The thesis also deals extensively with the 'absence of form', which highlights the various instances in the ACA collection where abstract art was used as a signifier of pain, and thus the unspeakable effects of apartheid.
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Andreotti, Libero. "Art and politics in Fascist Italy : the Exhibition of the Fascist Revolution (1932)". Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14179.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Title as it appeared in M.I.T. Graduate List, Sept. 1989: Art and politics in Italy; the Exhibition of the Fascist Revolution.
Includes bibliographical references.
by Libero Andreotti.
Ph.D.
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Moss, Zahra Marie. "The Golden Treasures of Monte Alban: Mexican Representation and Exhibition Controversy, 1933-1936". Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242379.
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In 1932, Alfonso Caso, a rising professor of anthropology and employee of the Mexican National Museum of Anthropology and History made a huge archeological discovery; a centuries old tomb in the ancient citadel of Monte Alban located in the southern Mexican state of Oaxaca. In the months that followed the discovery the find was excavated, cleaned, cataloged and put on display. Altogether the cache consisted of hundreds of objects made of gold, precious stone, sea shells and human remains. Dubbed the Monte Alban Treasure by its discoverer, the find soon became a worldwide sensation. Public interest in a travelling exhibition exacerbated demands for the treasures public display in the United States. This dissertation traces the discovery, exhibition and consequences of the display of Monte Alban Treasures in the United States following the end of the armed phase of the Mexican Revolution. I argue that as the Revolution was in full swing, the existing new leadeship used archeology and art to dictate the cultural monikers that represented the country after the civil war. Defining the national character, establishing a cohesive cultural history and developing a visual narrative that coalesced with the governments aspirations informed the basis of the social changes fomented between 1921-1936. I argue that a series of popular art and archeological shows in Mexico and the United States in the late 1920's primed audiences for a revolutionary re-interpretation of Mexico's past that integrated indigenous populations into the history of the nation. This narrative minimized the impact and influence of European colonial powers and instead focused upon emphasizing the origins of Mexico's independent cultural identity. The display of Monte Alban Treasures in Mexico and the United States between 1922 and 1934 was part of this emergent revolutionary rhetoric. This research project explores the popular audience responses to the exhibit, but also charges alleging that the artifacts selected for display were fabricated. This twist demonstrates some of the major problems associated with using art and archeological evidence to represent broader political agendas. In this case, the Mexican government appropriated the Monte Alban Treasures, assigned them a narrative of indigenous appreciation and inclusivity and used their subsequent display to promote this abroad. This project will show how science and art were not contradicting fields of study, but fused to forge the public Revolutionary identity of Mexicans in the mid twentieth century.
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West, Kim. "The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977". Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.
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This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.Space, Power, Ideology
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Burstow, Robert. "Modern public sculpture in 'New Britain', 1945-1953". Thesis, University of Leeds, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369070.
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Ryu, Jiyi. "Visualising and experiencing the British Imperial World : the British Empire Exhibition at Wembley (1924/25)". Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21902/.
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This thesis examines the British Empire Exhibition (1924/25), the first example of intra-empire exhibitions during the interwar period. The Exhibition encapsulated postwar anxieties as well as imperial pride and inspired numerous, under-researched interwar propaganda activities, involving the visual arts. Following a substantial historiographical and methodological introduction, Chapter 1 examines the interrelationship between imperial knowledge and imagined (imperial) community. By rereading supplementary publications, I construe how a bird’s eye view and imperial abstract minds, incorporated in the public materials, developed an informed audience of imperial-minded individuals and groups, especially children. In this chapter, I also suggest a new approach to connecting an urban core and its suburbs through imperial urban networks, moving beyond existing scholarship on dominant economic, political, cultural and ceremonial locations in the heart of the city. The ideas of suburban imperialism and circulation expanded the physical experience of the miniaturised empire at the Exhibition to a large number of homes, extending imperial citizenship from the public to the domestic. Chapters 2 and 3 focus on the Palace of Arts section of the Exhibition, and provide a close analysis of the public art displays at Wembley, which challenge the conventional division between modernist and non-modernist, and the tension between art and craft/design within an imperial framework. Chapter 3, in particular, underlines the importance of the Queen’s Dolls’ House, designed by Edwin Lutyens, unveiled to the public in the Palace of Arts at Wembley, and now held in the Royal Collection. The House epitomises the characteristics of Britain as a nation and an empire through its English exterior and British objects within.
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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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PRENCIPE, MONICA. "Building exchanges (1895-1953). International Exhibitions and Swedish resonances in Italian Modern Architecture". Doctoral thesis, Università Politecnica delle Marche, 2018. http://hdl.handle.net/11566/253126.
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Questo lavoro fa parte di una più ampia ricerca sul rapporto tra l’Italia e i Paesi Nordici, guidata dal prof. Antonello Alici presso l'Università Politecnica delle Marche. Il lavoro è stato organizzato cronologicamente, attorno all'analisi di articoli italiani sul tema paesi nordici e di materiali d'archivio originali, tracciandone i rapporti reciproci con il pubblico italiano, e concentrandosi su viaggi ed esposizioni architettoniche e artistiche.
In particolare, la ricerca si concentra sugli eventi legati alla nazione –la Svezia– che per prima ha avuto l'introduzione più rilevante nel panorama italiano, a partire dalla prima Biennale veneziana nel 1895.
Il primo capitolo indaga la genesi di questo rapporto prima dell'inizio della prima guerra mondiale, grazie al contributo di persone come Vittorio Pica e Ferdinand Boberg.
Il secondo capitolo affronta le conseguenze della prima guerra mondiale, con l'emigrazione del futurista Arturo Ciacelli (1883-1966), l'incisore Guido Balsamo Stella (1882-1941) ed i viaggi dell'architetto Giuseppe Broglio (1874-1956).
Il terzo capitolo si concentra sui due decenni fascisti, concentrandosi sul ruolo di istituzioni come la Triennale di Milano e l'Istituto Svedese di Studi Classici a Roma.
Infine, l'ultimo capitolo esamina il periodo del dopoguerra, quando l'ammirazione italiana per il design e l'architettura svedese ha trovato risonanze interessanti sia nei piani INA Casa che in alcuni progetti espositivi, nel lavoro di architetti quali Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti e Franco Albini (1905-1977).
La ricerca ha evidenziato come le nuove Istituzioni, sulla scia di quelle fondate nei decenni precedenti, come l'Istituto Svedese (SI) e l'Istituto Italiano di Cultura di Stoccolma (IIC) –oggi ancora attive– abbiano avuto un ruolo fondamentale nel propaganda internazionale.
Infine, la ricerca vuole mettere in luce come questa complessa combinazione di esperienze personali, riviste (di arte e architettura) e istituzioni costituisca il vero sfondo per storici come Bruno Zevi (che fu il primo a inserire tre maestri nordici nel suo pamphlet Verso un'architettura organica) e Leonardo Benevolo, che nel 1960 riconobbe il ruolo di aree ‘periferiche’ come la Svezia e la Finlandia, nella sua Storia dell'architettura moderna.This work is part of a wider research on the relationship between Italy and the Nordic countries, headed by prof. Antonello Alici at the Università Politecnica delle Marche. The work is organized chronologically around the analysis of both Italian articles on Nordic countries and original archival materials, tracing back the mutual relationships with the Italian audience, focusing on artistic and architectural travels and exhibitions. In particular, the research focuses on the events related to the nation –Sweden– which first had the most relevant introduction into Italian Architecture since the first Venetian Biennale in 1895. The first chapter investigates the genesis of this relationship before the beginning of the First World War, thanks to the contribution of figures as Vittorio Pica and Ferdinand Boberg. The second chapter deals with the consequences occurred after the First World War, with the emigration of the futurist Arturo Ciacelli (1883-1966), the engraver Guido Balsamo Stella (1882-1941) and the travels of the architect Giuseppe Broglio (1874-1956). The third chapter concentrates on the two Fascist decades, focusing on the role of Institutions like the Triennale in Milan and the Swedish Institute of Classical Studies in Rome. Finally, the last chapter examines the Post-war period, when Italian admiration for Swedish design and architecture found interesting resonances both in the INA Casa plans as well as in some exhibition projects, in the work of Italian architects like Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti and Franco Albini (1905-1977). The research highlights how the new Institutions, on the heels of the ones founded in the previous decades, like the Swedish Institute (SI) and the Italian Institute of Culture in Stockholm (IIC) –both still active nowadays– had a fundamental role in the International propaganda. Finally, the thesis discusses how this complex combination of personal experiences, art and architectural magazines and official institutions formed the real background for an historian like Bruno Zevi, who was the first to insert three Nordic masters in his seminal pamphlet Verso un’architettura organica, and Leonardo Benevolo, who in 1960 recognized the role of ‘peripheral’ areas like Sweden and Finland, in his History of Modern Architecture.
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Manuel, Kay R. "Exhibiting the Student Experience| Coralie Guarino Davis's Newcomb College, 1943-1947". Thesis, University of Louisiana at Lafayette, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163358.
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This thesis examines and exposes the active student life of 1947 Newcomb College graduate Coralie Guarino Davis. Through the analysis of her diaries, I examine both the academic and social structure of Newcomb as a coordinate college and its effect on students in the 1940s as well as social and cultural events such as World War II and Carnival. Davis graduated with a Bachelor of Fine Arts degree that enabled her to work professionally in the art field and briefly as a Carnival designer. During her college education, Davis also experienced World War II. Davis and other students aided in the war effort through fundraising, experienced war rations, and anticipated the Allies victory. She also participated in Carnival as a queen of her krewe, the Elenians, in 1947. The exhibit is derived from her diary writings and presents an example of the typical Newcomb student experience during the 1940s in regards to education, the war, and New Orleans social events. Both my research and exhibit work to bridge the gap on Newcomb College history during World War II and enhance the scholarship on women in higher education and in New Orleans during the decade.
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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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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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Williams, Danielle E. Winn J. Emmett. "Local motion picture exhibition in Auburn, for 1894-1928 a cultural history from a communication perspective /". Auburn, Ala., 2004. http://repo.lib.auburn.edu/EtdRoot/2004/SUMMER/Communication_and_Journalism/Thesis/willide_31_Williams.pdf.
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Hill, Jennifer. "Ceramics in Britain and France 1921-1931 : economics, marketing and the power of exhibitions". Thesis, University of Brighton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436798.
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Muñoz, Torreblanca Marina. "La recepción de "lo primitivo" en las exposiciones celebradas en España hasta 1929". Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7450.
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En España, al igual que en el resto de países europeos a finales del siglo XIX y principios del XX, se hace exhibición de "lo primitivo": personas (indígenas procedentes de los nuevos territorios colonizados) y objetos (piezas de arte y artefactos de la cultura material de los indígenas procedentes de las colonias). Algunas de estas muestras coinciden con las primeras exposiciones organizadas en España: Exposición General de las Islas Filipinas en Madrid (1887), Exposición Universal de Barcelona (1888) y Exposición Internacional de Barcelona (1929). El presente trabajo analiza la presencia o ausencia de "lo primitivo" (personas y objetos) en los principales acontecimientos expositivos españoles, su relación con acontecimientos homónimos en otros países europeos y su posible recepción en colecciones museísticas (museos de antropología, etnología y misionales).In Spain, as in the rest of European countries at the end of the nineteenth century and beginning of the twentieth, aboriginal from the new colonized territories and "primitive" objects (art and artefacts from the material culture of the colonies) were also exhibited. Some of these events coincide with the first organized Exhibitions in Spain: General Exhibition of the Philippines Islands in Madrid (1887), Barcelona World Exhibition (1888) and Barcelona International Exhibition (1929). This work analyzes the presence or absence of "the primitive" (people and objects) in the major Spanish exhibitions, the relationship with similar events in other European countries and the possible reception in museum collections (museums of anthropology, ethnology and missionary).
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Cagol, Stefano. "Towards a genealogy of the thematic contemporary art exhibition : Italian exhibition culture from the Mostra della Rivoluzione Fascista (1932) to the Palazzo Grassi's Ciclo della Vitalità (1959-1961)". Thesis, Royal College of Art, 2013. http://researchonline.rca.ac.uk/1642/.
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The goal of this thesis is to look at the emergence of the thematic contemporary art exhibition in Italy through an analysis of the influence of Fascism and the commercial sector in the three exhibitions composing the Cycle of Vitality, organised between 1959 and 1961 at the Centro Internazionale delle Arti e del Costume (CIAC), opened at the Palazzo Grassi in Venice in 1951. The cycle falls within the fields of both curatorial studies and the history of modern and contemporary exhibitions, two disciplines that have been developed since the 1990s. This inquiry contributes to them by clarifying further their specific fields of investigation, or in presenting alternative genealogies by casting light on overlooked antecedents; and by addressing the curator as a distinct cultural producer, the institution as a medium for social change and the history of exhibitions. The exhibitions analysed belong to the genealogy that resulted from the shift in the display language of international inter-war avant-garde experiments in exhibition design as manipulated by Fascism and commerce in the 1930s. Modernist architects were engaged in turning the exhibition into a medium for social change, and a mass-medium to bring a sense of the future into the present: It was from this premise that the model of the thematic exhibition emerged. Its further development in post-war Italy paralleled the questioning of the fine art museum’s entanglement with the discipline of art history, enacted by those architects trained in the 1930s. The Cycle of Vitality paired the two models in the thematic contemporary art exhibitions – Vitalità nell’arte (1959); Dalla natura all’arte (1960) and Arte e contemplazione (1961) – organised by curators avant-la-lettre Paolo Marinotti and Willem Sandberg. Crucial to the analysis of the Cycle of Vitality is the questioning of the relationship between contemporary curators, museums and the discipline of art history, as a consequence of Italian exhibition culture between 1932 and 1961. Within this historical framework, these exhibitions were influenced by the original profile of the CIAC, a cultural centre sponsored by the SNIA Viscosa, a company manufacturing man-made fibres. The CIAC allowed for the development of exhibitions that were intended to reshape the social body rather than to present the results of art historical research as was traditionally the role of museum or fine art exhibitions. In the 1950s, modernist Italian architects played a strategic role in rethinking the museum, a tendency further fostered by curators avant-la-lettre who, as cultural producers, turned the institution into their medium rather than considering it a function of the discipline of art history.
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Hess, Alison. "From hidden technology to exhibition showpiece : the journey of 2LO, the BBC's first radio transmitter, 1922-2012". Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/f96a8acf-223a-6469-e27b-ae3af8cea2e5/8/.
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On the 14th of November 1922, those with radios in the south of England tuned into the first broadcast of the newly formed British Broadcasting Company (BBC). Hidden away from public view in Marconi House, on The Strand in London, was the technology that converted the sound waves of the studio into radio waves, amplifying them so that they could reach across the ether into thousands of homes across the country. This technology was the 2LO transmitter, and this thesis traces its journey from this remote place to the national platform of the Science Museum nearly ninety years later. Engaging with a range of theories relating to object theory and material culture, this thesis initially considers 2LO as a representative of the BBC: rarely seen apart from by a privileged few yet facilitating a connection which eventually stretched across the UK. It then follows 2LO's removal from London to Brookman's Park in Hertfordshire and its transformation into a display piece that played a key role in the corporate image making of the BBC. It also explores the personal affection that this object inspired in many of those who worked with it, often saving it from near disaster until it came safely to the Science Museum in 2002. This thesis then goes on to look more closely at the physical object, tracing the marks of time on the materials that make up 2LO. Through this exercise, 2LO is literally rather than socially deconstructed, with issues of authenticity and the aesthetics of age being discussed. Through the use of ethnography and interview this thesis goes on to look at the role of 2LO within the Science Museum, and the conscious way in which cultural institutions shape narratives for the public. Across a range of institutional spaces 2LO's image has been shaped into that of an ‘icon of broadcasting history', and at present is destined for a multi-million pound gallery based on the history of communications. In closely following the life of a unique object, this thesis seeks to unpick our complex relationship with the ‘things' in our world, and the multiple narratives that can be weaved around even one piece of material heritage.
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Byers, Mary Hannah. "The rise of socialist realism in the exhibitions of the State Tret'iakov Gallery 1924-1934". Thesis, University of Glasgow, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410634.
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Using the State Tret'iakov Gallery as a model, this thesis examines the way in which museum exhibitions and displays between 1924 and 1934 reflected the new Marxist history of Russian Art and the Marxist conception of art installation, developed in the late twenties by the Gallery. These exhibitions, with their Marxist content and design were critical in helping to formulate the Soviet style. In addition, this thesis argues that the theory and practice of Socialist Realism were gradually assumed by the government only after the movement's tenets had been developed by others. Of particular importance were contemporary exhibitions addressing Socialist themes staged by the Gallery. The Gallery also promoted the work of amateur artists whose style and subject matter was thought to more accurately reflect the will of the people than that of professionally trained artists. These studies are based on material in the Gallery archives and include original and unpublished photographs of contemporary exhibitions hitherto unknown. Conclusions are discussed with regard to new and recent interpretations
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Rezende, Livia Lazzaro. "The raw and the manufactured : Brazilian modernity and national identity as projected in international exhibitions (1862-1922)". Thesis, Royal College of Art, 2010. http://researchonline.rca.ac.uk/1143/.
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This thesis discusses nineteenth- and early twentieth-century representations of Brazil, with em-phasis on Brazilian national identity and the country’s engagement with modernity. It addresses these broad themes by focusing on the national participation in key international exhibitions, from Brazil’s first official appearance at the International Exhibition of 1862 in London to the Brazilian Centennial Exposition held in Rio de Janeiro in 1922. Using a multidisciplinary theoretical and methodological framework, this thesis examines ‘national objects’ – exhibits, exhibition displays, publications and pavilions – shown at home and abroad. It questions what sort of national identity these objects materialised and how they propelled Brazilian experience of modernity. Despite being a multicultural and diverse country, from 1862 to 1922 Brazil was frequently repre-sented by its exhibition commissioners as a homogeneous and cohesive nation. In less than a hun-dred years, Brazil turned from being a liberal but slavery-bound Empire to become an oligarchic Republic. Alongside manumission, urban expansion, and industrialisation, the nation underwent unprecedented political, economic, and cultural changes. These changes, however, were displayed differently at home and abroad. This thesis, thus, is concerned with the cleavages in the national representation from the Empire to the Republic and questions what sort of nation was being repre-sented abroad, and why. This thesis reveals that the Brazilian exhibitionary efforts during this period largely excluded representations of its population, especially of those who did not conform to the modern and civi-lised images attributed to the nation by the state. It also sustains that, despite their commercial and economic imperatives, exhibitions were used by the Brazilian state, during Empire and Republic, for the affirmation and conservation of political power. This thesis is tested in five chapters. The first discusses previous attempts at studying exhibitions in Brazil and abroad, and defines the con-cepts considered in this thesis. The second chapter addresses issues of agency and representation by examining the imperial representation sent to the Centennial International Exhibition in Phila-delphia in 1876. The third chapter focuses on two exhibitions, one Imperial and one Republican, to enquire about ruptures and continuities in the Brazilian representation abroad. This chapter centres on the displays of Brazilian raw materials mounted at the Exposition Universelle of 1867 in Paris, and at the Louisiana Purchase International Exposition in St Louis in 1904. The fourth chapter examines objects that communicated Brazilian ‘civilisation and progress’ at the World's Columbian Exposition in Chicago in 1893. These objects were used by the newly instated republi-can government to manipulate national historical symbols that legitimised their ascension to power and promoted them as the future. The final chapter investigates the Rio exhibition in 1922 as a place where modernisation and modernity were made visible for a Brazilian audience.
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Limbos-Bomberg, Nathalie. "The ideal and the pragmatic, the National Gallery of Canada's Biennial Exhibitions of Canadian Art, 1953-1968". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57706.pdf.
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Casey, Briege. "Making an exhibition of ourselves : using narrative and arts-based inquiry with student nurses". Thesis, University of Bristol, 2010. http://hdl.handle.net/1983/e0235c18-2782-4ebf-b762-450551267125.
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Oliveira, Raíssa Pereira Cintra de. "Parque Anhembi: a produção de um centro de exposições em São Paulo (1963-1972)". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-19122016-162051/.
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Esta tese pretende investigar a produção da arquitetura no período entre as décadas de 1960-70. Adota como premissa inserir-se nas questões de cunho metodológico da história da arquitetura, partindo do entendimento de que a arquitetura é fruto da dialética entre a autonomia do projeto e o estado das forças produtivas em determinado momento histórico. As reflexões aqui propostas tentam articular múltiplas relações dentro do processo da produção da arquitetura - o que significa incluir desde a concepção, o desenho, o canteiro e até mesmo seu uso - corroborando para um entendimento mais amplo, aquém da própria disciplina da arquitetura. O Parque Anhembi, um centro de exposições ligado ao turismo de negócios em São Paulo, permite analisar três níveis de produção: a industrialização da estrutura metálica, a pré-fabricação do concreto e a adoção de novas tecnologias do concreto armado executado no canteiro, temas que podem caracterizar a \"pluralidade\" da produção do período pós-Brasilia, ou mesmo, explicitar a preocupação construtiva que intermediava muitas pranchetas naquele momento. A possibilidade que se abre na investigação do objeto tido como uma nova centralidade urbana e a analise de como seria possível abarcar o tema das práticas projetuais naquele momento em que se fortalecia uma relação importante entre urbanismo, arquitetura, engenharia e construção no meio da busca de uma nova produção. Busca que continha um discurso político e ideológico sobre o seu tempo suscitados principalmente pelas questões urbanas evidenciadas com máxima urgência.This thesis intends to investigate the production of architecture in the Between the decades of 1960-70. It is a premise that it should be included in the Methodological approach in the history of architecture, starting from the understanding that architecture is Of the dialectic between the autonomy of the project and the state of the productive forces in Certain historical moment. The reflections proposed here attempt to articulate multiple Relationships within the architecture production process - which means including from the Design, design, and even use - corroborating Understanding, rather than the discipline of architecture itself. Anhembi Park, an exhibition center linked to tourism Business in São Paulo, allows us to analyze three levels of production: the industrialization of Structure, the pre-fabrication of concrete and the adoption of new Reinforced concrete executed in the bed, themes that can characterize the \"plurality\" Of the post-Brasilia period, or even to explain the constructive concern Which interwoven many boards at that moment. The possibility that opens in the Investigation of the object considered as a new urban centrality and the analysis of how It would be possible to embrace the theme of the design practices at that moment in which Strengthened an important relationship between urbanism, architecture, engineering and construction. In the middle of the search for a new production. It sought to contain a political discourse and Ideological issues about their time that have been raised mainly by urban Evidenced with maximum urgency.
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Brooks, Michael. "Civilizing the metropole the role of colonial exhibitions in universal and colonial expositions in creating greater France, 1889-1922". Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/665.
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During the era of New Imperialism, the French state had the daunting task of convincing the French public of the need to support and to sustain an overseas empire. Stemming from its defeat in the Franco-Prussian War and hoping to regain its erstwhile global position, the French state set out to demonstrate the importance of maintaining an empire. Since the vast majority of the French people were apathetic towards colonial ventures, the French state used the 1889 Parisian Universal Exposition and the 1906 and 1922 Colonial Expositions in Marseille not only to educate the French about the economic benefits of the empire, but to entertain them simultaneously so that they unwittingly began to accept the notion of an interconnected Greater France. Each of these expositions contained a group of colonial exhibits in which indigenous colonial subjects, whom the expositions' organizers handpicked to come to France, displayed their daily routines and interacted with the visiting public. Visitors witnessed the lifestyles of indigenous cultures and took away from the exhibits a greater understanding of those who lived in the colonies. However, the vast majority of the French public who visited the expositions did not experience a shift in their mindset favoring the continuance of a colonial empire until after World War One. Until they could personally see an impact of the colonies onto their daily lives, the French public remained indifferent toward the French state's colonial ventures.B.A.
Bachelors
Arts and Humanities
History
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Santos, Wagner Serafini dos. "EXPOSIÇÃO FOTOGRÁFICA SOBRE A REVOLTA MILITAR DE 1926 EM SANTA MARIA, RS, BRASIL". Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/11060.
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This master degree s conclusion study is part of History Heritage and Cultural Heritage
Research Line of Professional Masters Course in Cultural Heritage of Universidade Federal
de Santa Maria. The purpose of this study was carrying out a photographic exhibition about
the military revolt that took place in Santa Maria city (RS) in November 1926, from research
conducted in Correio da Serra, Gaspar Martins, Diário do Interior and O Castilhista
newspapers, in photographs and several documents of that time in order to spread this local
history chapter. It was surveyed the collections of the Arquivo Histórico Municipal de Santa
Maria, the library of the Colégio Marista Santa Maria (Biblioteca Irmão Daniel), Casa de
Memória Edmundo Cardoso, Centro Histórico Coronel Pillar, Memorial Mallet and the
Museu Educativo Gama d Eça. The revolt began with the uprising of two Brazilian Army
barracks, the 5º Regimento de Artilharia Montada (current 3º Grupo de Artilharia de
Campanha Autopropulsado Regimento Mallet) and the 7º Regimento de Infantaria (current
7º Batalhão de Infantaria Blindado Regimento Gomes Carneiro), which attacked the 1º
Regimento de Cavalaria of the Brigada Militar (current 1º Regimento de Polícia Montada
Regimento Coronel Pillar) forces, resulting in a bombardment over downtown area. The battle
ended with the withdrawal of the rebellious military, who left Santa Maria due to the Brigada
Militar resistance. We worked to show the military revolt events from the Santa Maria´s press
viewpoint of that time, alongside the focus of books describing the fact. The exhibition was
created to be displayed on a mobile way in Santa Maria town. According to the placed
methodology, the research is applied, exploratory, bibliographic and documentary. The
dissertation reports as newspapers, pictures and other surveyed documents relate to Santa-
Mariense cultural heritage, reproduces the information collected in these sources and
contextualizes the military revolt of 1926 history, showing that this was part of the tenentista
movement of the 1920s.Este trabalho de conclusão de mestrado faz parte da Linha de Pesquisa Patrimônio História e Patrimônio Cultural do Mestrado Profissional em Patrimônio Cultural da Universidade Federal de Santa Maria. O objetivo deste trabalho foi realizar uma exposição fotográfica sobre a revolta militar ocorrida na cidade de Santa Maria (RS) em novembro de 1926, a partir de pesquisa realizada nos jornais Correio da Serra, Gaspar Martins, Diário do Interior e O Castilhista, em fotografias e documentos diversos daquela época, a fim de divulgar ao público esse capítulo da história local. Foram pesquisados os acervos do Arquivo Histórico Municipal de Santa Maria, da biblioteca do Colégio Marista Santa Maria (Biblioteca Irmão Daniel), da Casa de Memória Edmundo Cardoso, do Centro Histórico Coronel Pillar, do Memorial Mallet e do Museu Educativo Gama d Eça. A revolta começou com a sublevação de dois quartéis do Exército Brasileiro, o 5º Regimento de Artilharia Montada (atual 3º Grupo de Artilharia de Campanha Autopropulsado Regimento Mallet) e o 7º Regimento de Infantaria (atual 7º Batalhão de Infantaria Blindado Regimento Gomes Carneiro), os quais atacaram as forças do 1º Regimento de Cavalaria da Brigada Militar (atual 1º Regimento de Polícia Montada Regimento Coronel Pillar), resultando num bombardeio sobre a região central da cidade. A batalha terminou com a retirada dos militares rebelados, que saíram de Santa Maria devido à resistência da Brigada Militar. Trabalhamos para mostrar os acontecimentos da revolta militar a partir do enfoque da imprensa de Santa Maria daquela época, paralelamente ao enfoque dos livros que descrevem o fato. A exposição foi criada para ser exibida de forma itinerante na própria cidade de Santa Maria. De acordo com a metodologia empregada, a pesquisa é aplicada, exploratória, bibliográfica e documental. A dissertação informa como os jornais, as fotografias e outros documentos pesquisados relacionam-se com o patrimônio cultural santamariense, reproduz as informações coletadas nessas fontes e contextualiza a história da revolta militar de 1926, mostrando que esta fez parte do movimento tenentista da década de 1920.
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Cibin, Alberto. "I futuristi alle Esposizioni Biennali Internazionali d'Arte di Venezia (1926-1942)". Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426760.
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This research explores the history of the Futurist Group (led by Filippo Tommaso Marinetti) and its involvement in the International Biennale Art Exhibition of Venice between 1926 and 1942. The Futurists involvement during this period was continuous and exhibitors always formed a collective, at times with over thirty artists. The exhibitions in Venice during the 30s took on a major role in the reform of contemporary art events in line with the Fascist regime. This new process aimed, through subsequent selection processes, to open doors at a local level, then on to Rome’s National Quadrennial Exhibition and finally onto the international stage of the Biennale Art Exhibition of Venice where they should have represented the best of Italian art, to be viewed by and compared with foreign nations. The Venetian exhibitions give a privileged viewpoint of not only the various phases of Futurist art and its relationship with art critics of the time, but also the often conflicting and complex relationships between Marinetti’s followers and heads of the Biennale under the forced harmony of the Fascist regime.La ricerca indaga la storia del gruppo futurista, guidato da Filippo Tommaso Marinetti, alle Esposizioni Biennali Internazionali d’Arte di Venezia tra il 1926 e il 1942. Le partecipazioni dei futuristi in questo arco temporale fu costante e avvenne sempre in forma collettiva, tanto da contare in alcune edizioni anche più di trenta espositori. Le mostre veneziane nel corso degli anni Trenta assunsero un ruolo primario nella riforma del sistema espositivo fascista in relazione all’arte contemporanea. Tale sistema prevedeva, attraverso successivi gradi di selezione, l’accesso degli artisti dapprima a manifestazioni sindacali, provinciali e interprovinciali, poi alle Quadriennali nazionali di Roma e, infine, alle Biennali internazionali di Venezia, che avrebbero dovuto rappresentare al meglio l’arte italiana in vista del confronto con nazioni straniere. Le esposizioni veneziane sono state quindi un osservatorio privilegiato per indagare non solo le varie fasi dell’arte futurista e le reazioni della critica coeva, ma anche il complesso e talvolta conflittuale rapporto tra i seguaci di Marinetti e i vertici della Biennale, sotto l’egida forzatamente armonizzante dello Stato fascista.
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Cauvin, Thomas. "National museums and the mobilization of history: commemorative exhibitions of Anglo-Irish conflicts in Ireland and Northern Ireland (1921-2006)". Doctoral thesis, T. Cauvin, National museums and the mobilization of history: commemorative exhibitions of Anglo-Irish conflicts in Ireland and Northern Ireland (1921-2006). Florence, European University Institute, 2012, 2012. http://elea.unisa.it:8080/xmlui/handle/10556/5203.
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Through the study of commemorative exhibitions arranged at the National Museum of Ireland (Ireland) and at the Ulster Museum (Northern Ireland), this thesis compares the changing representations of three historical conflicts (the 1690 Battle of the Boyne, the 1798 Rebellion, and the 1916 Easter Rising). Beginning with Partition and ending with new permanent military exhibitions in the twenty-first century, the research explores the ways in which the changing representations of these conflicts staged by the two museums have correlated with broader processes of mobilization of history designed to fit the needs of the present. In doing so, the complex relationships between museums and national identity are explored in the two parts of the island. The dissertation reveals how, at first, the two national museums participated in the construction of opposed official narratives, based on Nationalist and Unionist interpretations of the past in Ireland and Northern Ireland. It demonstrates how these initial interpretations of the three conflicts were gradually reassessed in response to changes in Anglo-Irish relations, especially in connection with the Northern Irish conflict and the politics of reconciliation. But the dissertation also explores how the new remit attributed to the two national museums has been shaped by the demands of cultural tourism, marketing strategy, and the new links with audiences, in a way that has served to detach the representations of the three conflicts from the political relations between the island of Ireland and Britain in the narrow sense. The dissertation explores the role of state actors, but is equally concerned with role played by …
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Martins, Mariana Esteves. "A formação do Museu Republicano Convenção de Itu (1921-1946)". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-21082012-093930/.
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Esta dissertação, desenvolvida no Programa de Pós-Graduação em História Social da Universidade de São Paulo (USP), vincula-se também ao Programa de Pesquisas em História da Cultura Material do Museu Paulista/USP, na linha de pesquisa História dos Museus e das Exposições. Seu objeto de estudo é a formação do Museu Republicano Convenção de Itu, extensão do Museu Paulista no interior do Estado (o primeiro museu histórico brasileiro dedicado à República), emblemático por ter-se constituído como projeto de alguns dos chamados republicanos históricos, que estiveram à frente do governo brasileiro na Primeira República. Seu recorte cronológico abrange desde o momento que antecede a inauguração do Museu, realizada em 1923, até o final da gestão de Affonso Taunay, seu primeiro Diretor, em 1946. Os museus de história têm suscitado reflexões de diferentes autores, em diferentes perspectivas. A contribuição que pretendemos dar para esta discussão desenvolve-se não na perspectiva da História Política, mas sim da Cultura Material e da Museologia, isto é, a partir do exame de seu acervo e sua exposição.This dissertation was written as part of the Social History Post-Graduate Program at Universidade de São Paulo (USP), as well as of the Material Culture History Research Program of the Museu Paulista/USP, in the research line: History of Museums and Exhibitions. Its object refers to the establishment of the Museu Republicano Convenção de Itu, which is a branch of the Museu Paulista in the interior of São Paulo State (the first museum in the country dedicated to the Republic), and an emblematic project developed by some of the \"historical republicans\", the ones who were at the head of the Brazilian government in the First Republic. Its chronological scope ranges from the moment before the museum opening in 1923 until the end of the management of Affonso de Taunay, its first Director, in 1946. History museums have been the object of reflections by many authors from different perspectives. The contribution that we hope we may offer to such topic is developed not from the perspective of Political History, but is based on Material Culture and Museology, i.e., on the investigation of the museum´s collection and exhibition.
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Zamani, Pegah. "Views across boundaries and groupings across categories the morphology of display in the galleries of the High Museum of Art 1983-2003 /". Diss., Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/31823.
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Gasparotto, Ilaria. "Costruire l'alterità. Le collezioni etnografiche dei missionari cattolici italiani (1850 - 1925): genealogie ed allestimenti museali". Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3425243.
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This thesis retraces the missionary ethno-exhibitionary phenomenon in Italy between 1850 and 1925. The missionary practice is a particular aspect of the largest phenomenon of spectacularization of otherness which took place in Europe since the early decades of the nineteenth century. My investigation starts from the so-called «Lotteria a favore dei missionari cattolici figli del Regno di Sardegna», which occurred in Turin in 1858, and ends with the examination of the «Esposizione Missionaria Vaticana», organized by the Holy See for the Jubilee Year 1925. The Lottery in Turin, which had been organized by Giuseppe Ortalda (the diocesan director of the Opera of Propagation of the Faith) is probably the first missionary experience of ethno-exhibition in Italy.
Between the two significant experiences there are many expositive episodes, which, despite their different set-ups, generally contributed to the progressive definition of a genre. The «Esposizione d'Arte Sacra e delle Missioni Cattoliche», which took place in Turin in 1898, is particularly significant: the second chapter deals generously with it.
The analysis of the phenomenon highlighted its identity potential. Religious exhibitions were mostly self-representative and had missionary-animation purposes, which have been pursued staging - and building - the otherness which must be evangelized. The thesis, then, highlights significant affinities, in Italy, between catholic and secular ethno-exhibtions. Forging exotic imaginations, they both contributed to the definition of a synthetic national-colonial culture.
Missionary museums, which are a particular category of ecclesiastical museums, are the permanent outcome of this phenomenon. An anthropological analysis thus completes my PhD thesis: with reference to some specific case studies (among which stands out, in this essay, the «Museo etnografico e di Scienze Naturali dei Missionari della Consolata di Torino»), I pointed out the problems related to the collections preserved by contemporary set-ups.
The thesis finally reflects on the possible post-ethnographic use of the pieces.La tesi ricostruisce la pratica etno-espositiva missionaria in Italia tra il 1850 e il 1925, aspetto particolare del più vasto fenomeno di spettacolarizzazione dell'alterità che si è affermato in Europa a partire dal XIX secolo. L'indagine prende le mosse dall’analisi della prima esperienza missionaria di esibizione di oggetti esotici registrata in Italia (la Lotteria a favore dei missionari cattolici figli del Regno di Sardegna, organizzata nel 1858 dal direttore dell'Opera della Propagazione della Fede di Torino Giuseppe Ortalda) e si conclude con l’esame dell’Esposizione Missionaria Vaticana, organizzata dalla Santa Sede per l'anno giubilare 1925. Tra le due significative esperienze si collocano numerosi episodi espositivi, che pur differendo talvolta anche sensibilmente negli allestimenti, contribuirono complessivamente alla progressiva definizione di un genere. Va ricordata in particolare l'imponente Esposizione d'Arte Sacra e delle Missioni Cattoliche di Torino del 1898, affrontata nel secondo capitolo. L'analisi degli eventi espositivi ne ha evidenziato soprattutto il potenziale identitario. Le mostre religiose ebbero intenti perlopiù auto-rappresentativi e di animazione missionaria, perseguiti tuttavia con abbondante ricorso alla messa in scena - e alla costruzione - dell'alterità da evangelizzare. Nella tesi sono messe in luce sensibili affinità in Italia tra le pratiche etno-espositive missionarie e quelle laiche: nel forgiare immaginari esotici le une e le altre contribuirono in definitiva alla definizione sintetica di una unica cultura coloniale nazionale. Esito permanente del fenomeno otto e novecentesco sono i musei missionari, categoria particolare dei Musei ecclesiastici. Un'analisi antropologica completa dunque la tesi: in riferimento ad alcuni casi studio specifici (tra i quali risalta in questa sede, per qualità d'analisi, il Museo etnografico e di Scienze Naturali dei Missionari della Consolata di Torino), vengono evidenziate le problematicità delle collezioni conservate dagli allestimenti contemporanei. La tesi si conclude con una riflessione sul possibile uso post-etnografico dei pezzi.
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Edmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958". CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
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The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history.
Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.
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Thörn, Kerstin. "En bostad för hemmet : idéhistoriska studier i bostadsfrågan 1889-1929". Doctoral thesis, Umeå universitet, Historiska studier, 1997. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-79135.
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The purpose of the present dissertation is to examine the placing of the housing question on the agenda of social policy, the implications of housing for society, and the possibilities for simple shelter to be transformed into real family homes. The debate emphasizing the dwelling as the smallest social component and the home as the most important place for the raising of citizens has been studied. The dissertation consists of four essays, each of which can be seen as a separate study yet at the same time as interrelated due to the overall theme of the dissertation, housing and the home. The period under investigation is 1889-1929 and the place is Stockholm. The first section deals with philanthropic building activities, described through four representative examples: Föreningen för Välgörenhetens Ordnande, Stockholms Arbetarehem, Govenii Minne and Ella Heckscher's home for tubercular female workers. This section opens with two introductory chapters treating the philanthropic attitude toward housing and the relation of the family to the housing question, respectively. The theme of the second section is the significance of aesthetics for the home. This section also opens with two introductory chapters, whereof the first describes the aesthetic ideals of the epoch and the second presents the so-called "aesthetic educators". A number of pamphlets written about the home are discussed, as well as a selection from the home exhibitions of the day. In a closing chapter, the entrance of the architects into the housing-question arena is presented. The third study deals with politics in the broad sense of the term. The interest of social reformers for the housing question is traced by examining organizations like Studenter och Arbetare and Centralförbundet för Socialt Arbete. The second chapter deals with the contributions of academics to the housing question. The social democratic women belonging to the Stockholm's Women's Club are heard from, and the engagement of women in this question is further delineated through studying periodicals like Morgonbris and Tidevarvet. In the closing chapter, the establishment and treatment of the housing question within the municipal council of Stockholm is discussed. The fourth and final section treats the HSB. First, the origins of the HSB in 1923 via the tenant's movement and guild socialism are discussed. Thereafter the organization and membership of the HSB is described. A brief biography of Sven Wallander, the leading figure of the HSB is provided, followed by a chapter on the periodical Vår Bostad. The final two chapters discuss the materialized ideas themselves: the buildings built by the HSB and the homes which were set up in them, stimulated by the actual physical buildings and discussions about the right way of living in them. The story of the home has solid empirical grounding. This study has been conducted from different perspectives in order that a more nuanced knowledge might be acquired. Vision and practice have proven to be so closely interwoven that it is not always possible to distinguish between them.digitalisering@umu
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Percheron, Bénédicte. "Les sciences naturelles à Rouen au XIXe siècle : muséographie, vulgarisation et réseaux scientifiques (1789-1923)". Rouen, 2014. http://www.theses.fr/2014ROUEL018.
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L’étude des sciences naturelles à Rouen au XIXe siècle, dans son acception la plus large, permet de révéler des pratiques sociales, culturelles, économiques, politiques ou encore, des idéologies scientifiques et philosophiques. De l’émergence du premier jardin botanique de Rouen à l’ouverture du Parc zoologique de Clères, en passant par la création des muséums d’histoire naturelle de Rouen et d’Elbeuf, cette thèse offre un panorama de l’histoire de cette discipline à travers le prisme de la muséographie, de la vulgarisation et des réseaux scientifiques. Elle interroge et confronte la cohabitation entre la recherche et la vulgarisation scientifique, toutes deux à l’origine de l’essor de la discipline durant ce siècle. Ces rapports sont examinés par l’entremise de l’étude des trois grandes phases qui ont présidé à son épanouissement. Elle revient d’abord sur les origines et l’enracinement de l’histoire naturelle à Rouen, en s’attardant sur les premières collections privées, puis publiques spécialisées. Le phénomène d’institutionnalisation des sciences naturelles est lui étudié à travers l’histoire du Muséum d’histoire naturelle de Rouen et la création des jardins publics de la ville. Enfin la dernière partie s’attache aux outils de diffusion de cette discipline, en revenant sur l’histoire de son enseignement et des sociétés savantes locales. Elle se propose de s’intéresser aux conséquences de cette diffusion en observant l’utilisation et la diffusion des théories scientifiques durant la Troisième République et les créations muséographiques de ces années. Enfin, l’étude s’achève sur la notion d’exhibition du vivant perçue comme un phénomène de distraction et de vulgarisationThe Study of natural sciences in Rouen in the nineteenth century, in its widest meaning, allows to reveal social, cultural, economic, political practices or, in a more general way, scientific and philosophic ideologies. From the first botanical garden of the Académie des Sciences, Belles-Lettres et Arts de Rouen to the opening of the Parc zoologique de Clères, not forgetting the creation of the natural history museums of Rouen and Elbeuf, this thesis offers a panorama of the history of this discipline trough the prism of the museography, popularization and scientific networks. It questions and confronts the cohabitation between research and scientific popularization, both at the origin of the development of the discipline for this century. Theses relations are examined by the entermise of study of three phases which presided over the full development of natural history in Rouen. It returns at first time on the origins and the implanting of this science in Rouen, by lingering over the first private collections, then public specialized. The phenomenon of institutionalization of the natural sciences is studied through the history of the Natural history museum of Rouen and the creation of the public gardens of the city. Finally the last part becomes attached to dissemination tools of this discipline, by returning on the history of its teaching and local learned societies. It proposes being interested in the consequences of this dissemination by observing the use and the dissemination of the scientific theories during the Third Republic and the museographic creations of these years. Finally, the study concludes with the notion of exhibition of alive perceived as entertainment and popularization
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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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Moore, Gillian Lizbeth. "From head to tale : the circulation, display and representation of big-game material culture, c. 1870-1920". Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32476.
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Artefacts created from big game material proliferated during the period between 1870 and 1920 and, through their physical and metaphorical circulation as trophies, mementos, furnishings, garments, and personal accoutrements, became increasingly visible as they percolated from their predominantly elite genesis, into a multiplicity of public, domestic and civic spaces. This study seeks to discern the effect of their dissemination, showing how it impacted on the museum displays, domestic decor, fashionable dress and commodity culture of the era. It reflects the extensive representation of big game hunting, and its material effusions, in the text and images of the expanding periodical press, recognising the contribution of published sources to public reception of these artefacts and their developing role as commodities. My thesis aims to demonstrate that detailed examination of the varied and abundant artefacts which stemmed from big game hunting can offer valuable insights into the social and cultural history of the era and argues that this material's entanglement in Britain's imperial project is too significant to overlook. It contends that the transitions from nature to culture, which these objects illustrate, map the reach of the burgeoning Empire, and plot the dichotomies of late Victorian, and Edwardian, engagements with the natural world and subaltern nations. Scholarly work by John M. Mackenzie and Harriet Ritvo, in the mid 1980's, firmly established the relevance of the examination of material culture, within the contexts of animal studies and imperial history, as a fruitful field for academic research, arguing convincingly for further examination of its varied manifestations. However, a generation later, no comprehensive exploration of those elements appertaining to big game hunting has been attempted. Encouraged by the post-millennial 'material turn' in social history, identified by scholars including Bill Brown (2001), Erica Rappaport (2006) and Frank Trentmann (2009), my work draws on a wealth of contemporaneous factual sources including museum, exhibition and trade catalogues, fashion plates, unpublished correspondence, biographical material, museum records, archival sources and popular fiction, to explore the circulation and representation of big game material culture, during a long fin de siècle, and reveal its extensive influence. As a whole, this thesis seeks to offer a nuanced, detailed and holistic view of the visibility and affect of the material culture of big game hunting in the period.
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Barradas, Sílvia. "A produção de mobiliário urbano de fundição em Portugal: 1850 a 1920". Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/316775.
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No século XIX, a união da arte e da indústria deu origem a uma profusão de artefactos urbanos em ferro fundido – mobiliário urbano -, dos quais a Fonte d’Art francesa se constitui como um exemplo preponderante. A difusão em massa destes artefactos urbanos em ferro fundido estava associada a dois factores convergentes: - As Exposições Universais; - O desenvolvimento das cidades baseado nas novas concepções do urbanismo oitocentista, onde as renovações urbanísticas de Paris se tornaram exemplo e modelo de exportação mundial. O primeiro factor traduziu-se numa das consequências da maturidade atingida pela Revolução Industrial e da concepção liberal da economia mundial, tornando-se num dos principais agentes de influência dos espaços públicos em várias cidades europeias e da América Latina oitocentista, estimulando a aceleração do desenvolvimento da indústria da Fonte d’Art em todas as suas vertentes: de Desenho Urbano, Artística e Tecnológica. Do segundo factor sobrevieram políticas de intervenção urbana, por parte das administrações locais e governamentais, cujo conteúdo se concretizou na implantação de redes de infra-estrutura sanitária, de iluminação e de transporte público e na realização de projectos de embelezamento urbano, assim como de áreas verdes e espaços públicos de lazer. Deste modo, o presente trabalho pretende estudar o impacto e a influência que estes dois factores tiveram na Indústria de Fundição de Mobiliário Urbano português e no aparecimento e disseminação do mobiliário urbano em ferro fundido na cidade de Lisboa. Para tal, tornou-se necessário fazer um levantamento de todas as fundições existentes em Portugal, por intermédio dos diversos Inquéritos Industriais publicados ao longo século XIX, de modo a situar o papel da indústria da fundição, no contexto nacional. Do mesmo modo foi feita uma análise às estruturas legais e responsáveis, que na Capital, determinavam o seu aparecimento, nomeadamente no desempenho que a Repartição Técnica da Câmara Municipal de Lisboa teve em relação ao desenvolvimento urbanístico e consequente materialização do mobiliário urbano em ferro fundido na panorâmica global da cidade.In the nineteenth century, the union of art and industry has led to a profusion of cast iron urban artifacts – street furniture - where French Fonte d'Art was a leading example. The mass diffusion of these artifacts was associated with two converging factors: - The Universal Exhibitions; - The development of cities based on the conceptions of the new eighteenth century urbanism, where the urban renewals of the Haussmannian Paris became an example and model of world export. The first factor was a result of the maturity reached by the Industrial Revolution and the liberal concept of the world economy, becoming one of the main agents of influence in the whole public space in several European cities and Latin America in the eighteenth century. This accelerated the development of Fonte d'Art industry in all its aspects: urban design, artistic, and technological. From the second factor came urban intervention policies, by local administrations and government, whose content was reflected in the deployment of health infrastructure networks, lighting, public transportation and urban beautyfication projects, as well as green areas and public spaces for leisure. The present work aims to study the impact and influence that these two factors had in the Portuguese street furniture foundry industry and the emergence and spread of cast iron street furniture in the city of Lisbon. To this end, it became necessary to review all foundries in Portugal, through the various industrial surveys published throughout the nineteenth century, in order to situate the role of the foundry industry, in the national context. Similarly an analysis to legal and responsible to the Capital, determined their appearance, particularly in the performance Technical Department of the Municipality of Lisbon had in relation to urban development and subsequent materialization of cast iron street furniture in overview of the city.
En el siglo XIX, la unión del arte y la industria dio lugar a una profusión de artefactos urbanos en hierro fundido – mobiliario urbano - de que la Fundición de Arte francesa es un ejemplo a seguir. La distribución y propagación masiva de estos artefactos urbanos de fundición fue asociado a dos factores convergentes: - las Exposiciones Universales; - el desarrollo de las ciudades basado en las nuevas concepciones de urbanismo del siglo XIX, donde la renovación urbana de París Haussmanniano se convirtió en un ejemplo y modelo de exportación mundial. El primer factor se ha traducido en una de las consecuencias de la madurez de la Revolución Industrial y de la concepción liberal de la economía mundial, convirtiéndose en uno de los principales agentes de influencia del espacio público en varias ciudades de Europa y América Latina del siglo XIX, estimulando la aceleración del desarrollo de la industria de la Fonte d'Art en todos sus aspectos: Diseño Urbano, Arte y Tecnología. De lo segundo factor ocurrirán las políticas de intervención urbana, por parte de las administraciones locales y del gobierno, cuyo contenido se logró mediante la implantación de las redes de infraestructura sanitaria, la iluminación y el transporte público y la ejecución de los proyectos de embellecimiento urbano, así como de zonas verdes y espacios públicos para el ocio. Así, el presente trabajo tiene como objetivo estudiar el impacto y la influencia que estos dos factores tuvieron en el sector industrial portugués de mobiliario urbano de fundición y su aparición y propagación en la ciudad de Lisboa. Para ello, se hizo necesario estudiar todas las fundiciones en Portugal, a través de las diversas encuestas industriales publicados a lo largo del siglo XIX, con el fin de situar el papel de la industria de la fundición, en el contexto nacional. Con este fin, fue necesario hacer una revisión à las estructuras jurídicas y legales, responsables, en la Capital, por la aparición y divulgación de lo mobiliario urbano en hierro fundido. Hablamos en especial de la relación que la “Repartição Técnica” perteneciente al Ayuntamiento de Lisboa tuvo en el desarrollo urbano y su consiguiente materialización del mobiliario urbano en hierro fundido en la panorámica global de la ciudad.
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Vidal, Peig Teresa. "El fenomen Barcelona & Gaudí : claus per a l'estudi del procés de conformació". Doctoral thesis, Universitat Politècnica de Catalunya, 2017. http://hdl.handle.net/10803/406006.
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This Thesis is a study on the conforming process of the architect Antoni Gaudí and his work image as a reference and city claim of Barcelona, and how he has became the masterpiece on the International Catalan Modernism recognition.
Over the years, the relationship between the image of Gaudi and Barcelona had two opposite sides that include terrible critics and unconditional admiration. From the analysis of different art exhibitions, particularly in Catalonia and Japan about the image of Antoni Gaudí and his work, it aims to evidence which have been the key factors that have developed this cultural phenomenon.
We have analyzed each of the key exhibits in detail and has found evidence that expressed, at any time, a rejection or admiration of the work of Antoni Gaudí.
This process begins with the Universal Paris exhibition in 1878 and still continues. The level of expertise achieved on the reception of the work of the Catalan architect and the understanding of the tourism mass phenomenon today in Barcelona must give us the keys to future actions to highlight the work of existing Gaudí buildings.
The "Nau Gaudí", his first work in Mataro, should be able to get the conclusions of the study applied and like this, it will be able to be included in the Gaudian corpus, following the current model with the necessary amendments if necessary.Aquesta tesi doctoral consisteix en l'estudi sobre el procés de conformació de la imatge de l'arquitecte Antoni Gaudí i de la seva obra com a referent i reclam de la ciutat de Barcelona i peça clau en el reconeixement internacional del modernisme català. El treball s'ha fet a partir de l'anàlisi de la seva fortuna crítica i sobretot a partir de les exposicions relacionades, tractades com a eines estratègiques al llarg del temps i arreu del món i es posa especial atenció en les que tingueren lloc a Barcelona i al Japó. S'ha analitzat cadascuna de els exposicions clau de manera detallada i s'ha detectat les evidències que han expressat, en cada moment, un rebuig o bé una admiració de l'obra d'Antoni Gaudí. Aquest procés, s'inicia amb l'Eexposició de Paris de 1878 i es perllonga encara ara. El grau d'expertesa assolit sobre la recepció de l'obra de l'arquitecte català ajudarà a canalitzar i reflexionar sobre les conseqüències de la conformació de la seva imatge com la massificació del turisme actual de Barcelona. Les conclusions han de servir per identificar les diferents claus que han propiciat aquesta conformació del fenomen Barcelona-Gaudí per saber intervenir en el futur en altres obres de Gaudí i del modernisme en general, com per exemple, la seva primera construcció, a Mataró, la "Nau Gaudí" per tal de situar-la dins del corpus Gaudinià, seguint el model actual amb les esmenes necessàries si s'escau.
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Jarrín, María José. "La formation des collections d'objets amérindiens de l'Équateur : une étude croisée entre les musées français et les musées équatoriens (1875-1929)". Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H076.
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Ce travail de thèse a pour objectif de retracer l’histoire transnationale de l’Équateur et de la France de 1875 à 1929, période d’échanges scientifiques, culturels et politiques qui déterminent la structure des pratiques du collectionnisme « amérindien » et du phénomène muséal dans ces deux nations. L’enquête historiographique dans différents fonds archivistiques et muséaux de l’Équateur et de la France a permis d’éclaircir les étapes constitutives à la formation des collections scolaires, municipales et ethnographiques par des agencies différentes – voyageurs, scientifiques, ou diplomates – qui opèrent au nom de la science, de la patrie et des nouvelles dynamiques capitalistes. Ces réseaux de sociabilité développés entre les savants transnationaux ont permis de distinguer ensuite des acteurs considérés comme secondaires (à savoir le paysagiste Édouard André ou le huaquero éclairé Alcides Destruge), d’identifier des collections « perdues » (d’Auguste Cousin, de Dominique-Vivant Denon, et notamment le Trésor de Cuenca) et de constater l’influence muséale entre l’Équateur et la France lors de la mise en œuvre des musées scolaires, municipaux et ethnographiques. Les objets collectés sont ainsi pensés comme des sources documentaires qui structurent le développement de la science globale et de la construction des États-nations modernes. Ce sont les élites franco-équatoriennes qui – motivées par leurs intérêts économiques, politiques et nationalistes – se chargent de présenter lors des expositions universelles de Paris la culture matérielle de la nation sous le prisme du discours colonial. Les nouveaux musées qui sont créés par la suite vont véhiculer cette image d’un pays exotique (sauvage et incasique) qui est diffusée jusqu’au siècle suivant en tant que représentation objective de la modernité occidentaleThe purpose of this thesis is to retrace the history of the transnational exchange between Ecuador and France from 1875 to 1929. This was a period of scientific, cultural and political exchange that determined the structure of the practices for collecting Indigenous objects, and the beginning of the museum phenomenon in these two nations. The historiographic survey of various archival and museum collections in Ecuador and France has made it possible to shed light on the nascent stages of the formation of school, municipal and ethnographic collections by different agencies (travelers, scientists, or diplomats) that were operating in the name of science, their homeland, and the new capitalist dynamics. These social networks that developed between the scholars of these two nations made it possible to distinguish between actors that were considered secondary (namely the landscape architect Édouard André or the huaquero éclairé Alcides Destruge), to identify “lost” collections (such as the collections of Auguste Cousin, Dominique-Vivant Denon, and the Trésor de Cuenca), and to analyze the influence between Ecuador and France during the stages in which the school, municipal and ethnographic museums were being set up. Thus, the artefacts that were collected are considered as documental sources that contributed to order the development of global science and the construction of modern nation-states. The Franco-Ecuadorian elites that were motivated by their economic, political and nationalist interests were responsible for presenting national material culture through the prism of the colonial discourse at international exhibitions in Paris. The new museums that were subsequently created would convey this image of an exotic country (savage and Incan) that will be presented as an objective representation of Western modernity until the following century
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Lee, Jenny Rose. "Empire, modernity and design : visual culture and Cable & Wireless' corporate identities, 1924-1955". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16467.
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During the twentieth century, Cable & Wireless was the world’s biggest and most important telegraphy company, employing large numbers of people in stations across the world. Its network of submarine cables and wireless routes circumnavigated the globe, connecting Britain with the Empire. This thesis examines the ways in which the British Empire and modernity shaped Cable & Wireless’ corporate identity in order to understand the historical geography of the relationships between Empire, state, and modernity. Additionally, it investigates the role of design in the Company’s engagement with the discourses of modernity and imperialism. Historical Geography has not paid sufficient attention to the role of companies, in particular technology companies, as institutions of imperialism and instruments of modernity. The study of businesses within Historical Geography is in its infancy, and this thesis will provide a major contribution to this developing field. This thesis takes an interdisciplinary approach that sits at the intersection of three main disciplines: Historical Geography, Design History and Business History. This thesis examines how Cable & Wireless’ identity was produced, transmitted and consumed. This thesis is based on detailed research in Cable &Wireless’ corporate archive at Porthcurno, examining a wide range of visual and textual sources. This pays particular attention to how the Company designed its corporate identity through maps, posters, ephemera, corporate magazines and exhibitions. Drawing upon the conceptualizations of the Empire as a network, it argues that Cable & Wireless’ identity was networked like its submarine cables with decision-making power, money and identity traversing this network. This thesis seeks to place both the company and the concept of corporate identity within a broader historical and artistic context, tracing the development of both the company’s institutional narrative and the corporate uses of visual technologies. No study has been conducted into the corporate identity and visual culture of Cable & Wireless. This thesis not only provides a new dimension to knowledge and understanding of the historical operations of Cable & Wireless, but also makes a substantive contribution to the wider fields of Historical Geography, Business History, Design History and the study of visual culture.
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Demarchi, Rita de Cassia. "Ver aquele que vê: um olhar poético sobre os visitantes em museus e exposições de arte". Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/1925.
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Previous issue date: 2015-02-24Theoretical reflections and images/photographies approach in this research the complex domain which involves the visitors and art exhibition museums in Brazil and abroad. Based on research methodologies in Arts (Róldan & Marin-Viadel, 2012), single images or compound as photoshoots are considered a mode of knowledge and foster studies and reflections. Apart from the dialogue among images, the experience lived and the thought of scholars from different areas, the lightness of poetry and metaphors is also included in this work as well as reflections from contemporary art and Art history. Some issues concerning the contemporary scenario which can impede the meeting between the individual and art are discussed, such as excess, spect cle, consumerism, speed, tourism. These issues constitute what was named as penumbra and nourish the attitudes of the fugitive subject visitors. There must be both for the visitor and the researcher an openness for the aesthetical experience, land of the pilgrim, in order to unveil penumbra, ambivalence, maze and twilight. This openness inspires the research as a path of pilgrimage in order to search for the understanding of the complexity of phenomena and the poetic work of capturing the images shots at the exhibitions. This research of phenomenological nature adopts the theoretical framework of authors who reflect upon contemporaneity, such as Calabrese (1988), Bauman (2001); as well as authors who value sensibility and experience, such as Bachelard (1988), Dewey(2010), Merleau-Ponty(1975), Ferreira Santos (2005), Maffesoli (1998).
Reflexões teóricas e imagens/ fotografias abordam nesta pesquisa o complexo território que envolve os visitantes e os museus de exposições de arte, no Brasil e no exterior. Com base nas metodologias de pesquisa em arte (Róldan & Marin-Viadel, 2012), imagens individuais ou compostas como foto-ensaios são consideradas uma forma de conhecimento e impulsionam o estudo e a reflexão. Além do diálogo entre as imagens, a experiência vivida e o pensamento de estudiosos de diferentes áreas, inclui-se a leveza da poesia e das metáforas, além de reflexões derivadas da arte contemporânea e da história da arte. São discutidas algumas questões acerca da paisagem contemporânea que podem dificultar o encontro do sujeito com a arte, tais como o excesso, o espetáculo, o consumo, a velocidade, o turismo, que constituem o que foi nomeado de penumbra e alimentam as atitudes dos visitantes sujeitos fugidios. Tanto para o visitante, quanto para a pesquisadora, a fim de desvelar em meio à penumbra e as ambivalências, ao labirinto e ao crepúsculo, há que se ter a abertura para a experiência estética, terreno do peregrino. Abertura que inspira a pesquisa como uma trajetória de peregrinação em busca de compreensão da complexidade dos fenômenos e o trabalho poético de captura das imagens - flagrantes nas exposições. A pesquisa de cunho fenomenológico adota como referencial teórico autores que abordam reflexões sobre a contemporaneidade tais como: Calabrese (1988), Bauman (2001); e autores que valorizam a sensibilidade e a experiência, entre eles: Bachelard (1988), Dewey(2010), Merleau-Ponty(1975), Ferreira Santos (2005), Maffesoli (1998).
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Ivanov, Gunnela. "Vackrare vardagsvara – design för alla? : Gregor Paulsson och Svenska Slöjdföreningen 1915–1925". Doctoral thesis, Umeå University, Historical Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-275.
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This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).
Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.
Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.
Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.
Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.
Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.
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Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.
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The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
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Kazakova, Ekaterina. "La figure de la victime : un nouvel idéal artistique? : La (re) construction des imaginaires nationaux des états post-soviétiques à la Biennale de Venise (1993-2015)". Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALH018.
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Les Etats post-soviétiques participent à la Biennale d’art contemporain de Venise depuis les années 1990. Ils ont montré, dans les pavillons nationaux, tout au long de leur participation et de manière récurrente, des images de souffrance physique, de catastrophe sociale et de traumatisme politique. Ce thèse vise à analyser les causes possibles d’une telle insistance sur la représentation de la catastrophe en les liant aux enjeux politiques, économiques et artistiques qui déterminent, pour ces Etats, leur participation aux foires artistiques internationales.Ces pays post-soviétiques vérifient, en premier lieu une transformation radicale de la culture politique moderne: en quelques décennies, l'idéal orienté vers un avenir de progrès et de liberté a été remplacé par la célébration douloureuse d’un passé décliné sous une forme victimaire. Une telle transformation s'est accompagnée d'un changement de certains idéaux sociaux caractéristiques de la mythologie communiste : "Au centre de la culture historique moderne n'est plus l'idéal du héros, mais l'idéal de la victime". Le statut privilégié de la victime dans les années 1990 a créé alors de nouvelles formes d'auto-représentation et de politique identitaire : l'Arménie, un pays avec une longue tradition de souffrances depuis le génocide du début de siècle, ou les pays baltes, après l'effondrement de l'Union soviétique, ont construit leur identité sur le rôle de victime, en transformant l'histoire traumatique de la répression stalinienne et de l'occupation soviétique en glorification collective du passé misérable de leur peuple... Des expositions pour la Biennale illustrent visuellement, et avec une ferveur presque religieuse, cette histoire sacrificielle, représentant la résistance à la violence et le catastrophe vécu par le peuple comme origine héroïque de la naissance des nations. La célébration des catastrophes fonde une nouvelle conception de l'identité nationale. L'histoire traumatique, encore activement présente dans la mémoire vivante des contemporains, est transformée en objet esthétique et incluse dans le système international des manifestations artistiquesThe post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations
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Azevedo, Mariana Rissi [UNESP]. "Women from the point of view of the Bukowskian narrator: the representation of the feminine universe in Erections, Ejaculations, Exhibitions and General Tales of Ordinary Madness". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/138450.
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000864540.pdf: 1039983 bytes, checksum: 385664595ca05055e160d04f90391778 (MD5)Russell Harrison (1994) reconhece a presença do chauvinismo machista na obra de Charles Bukowski e afirma que a redação de seus romances tem de ser vista no contexto da 'segunda onda do feminismo', época na qual Bukowski se consolidou como escritor, e como consequência recebeu influência. Esse momento da liberação feminina é representado por livros tais como Sexual Politics de Kate Millett (1969) e The Female Eunuch de Germaine Greer (1970). Bukowski, conhecido por apresentar a mulher como objeto do desejo masculino, demonstra uma sensibilidade diante da objetificação do corpo feminino no conto 'The Most Beautiful Woman in Town', no qual o autor retrata a protagonista Cass como vulnerável e carente de assistência. A dissertação situa esse conto no contexto dos 64 contos de Erections, Ejaculations, Exhibitions and Tales of Ordinary Madness (1972), para demonstrar a forma excepcional com que o autor mostra a sua sensibilidade em relação à figura feminina no contexto de uma coletânea caracterizada por sua misoginia
Russell Harrison (1994) recognises the male chauvinism of Charles Bukowski's work and argues that his novels must be seen in the context of the 'second wave of the feminism', a time in which Bukowski established himself as a writer, and which certainly influenced him. This point in the struggle for women's liberation is represented by books such as Sexual Politics, by Kate Millett (1969), and The Female Eunuch, by Germaine Greer (1970). Bukowski, known for his presentation of women as the objects of male desire, demonstrates a sensitivity concerning the objectification of the female body in the story 'The Most Beautiful Woman in Town', in which he depicts the protagonist, Cass, as vulnerable and in need of assistance. The dissertation situates this story in the context of the 64 stories of Erections, Ejaculations, Exhibitions and Tales of Ordinary Madness (1972) in order to demonstrate how exceptional its sensitivity with regard to women is in a collection characterised by its misogynism
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Nadal, Mut Apol·lònia. "Mallorquins, menorquins i eivissencs a les Exposicions internacionals, nacionals i locals (1827-1929)". Doctoral thesis, Universitat de les Illes Balears, 2015. http://hdl.handle.net/10803/369308.
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L'estudi analitza la participació dels empresaris balears i altres agents socials en un conjunt d’exposicions celebrades entre 1827 i 1929, etapa en què les mostres, tant les de caràcter internacional com les d’àmbit estatal i local, despertaren un gran interès.
A les Illes Balears es compartia l’interès en el fenomen expositiu, fet que és palès tant en la celebració de mostres pròpies com en la participació, amb més o menys concurrència, a les de fora. L’activitat s’ha d’atribuir en gran part a la tasca d'institucions i de persones que la impulsaren: la Societat Econòmica Mallorquina d’Amics del País, la Diputació, l’Institut Balear i alguns professors (Pere Josep Tries, Francesc Manuel de los Herreros, Pere Estelrich), els Ajuntaments de Palma, de Sóller i de Manacor que organitzaren diferents mostres, o la Cambra de comerç que organitzà la Regional de 1910, endemés de gent com Joan Baptista Ensenyat, Benet Pons, Ricard Roca, els germans Amer Servera de Manacor, o l'eivissenc Bartomeu de Rosselló. En tot cas va ser fonamental el rerefons econòmic, social i cultural illenc, que permetia donar amb escreix expositors, persones que enviaren el producte de les seves activitats professionals o artístiques.
El conjunt de les 47 exposicions estudiades presenta una etapa inicial, de baixa participació, seguida per una de central, amb forta concurrència de mallorquins, menorquins i eivissencs i una tercera, de signe contradictori, amb baixa participació a les universals i internacionals, i amb interès, però, per les celebrades a Mallorca. Pel que fa a les universals, la fase ascendent és palesa a partir de la de Londres de 1862 fins a la de Xicago de 1893, per entrar en una fase descendent des de la de París del 1900.
Les mostres constaten el reconeixement internacional de determinats productes illencs. Inicialment el reberen sobretot els productes agraris (blats, mongetes, oli d’oliva), però a partir de la Universal de Viena del 1873 es guardonaren també els productes industrials, primer els alimentaris com conserves, vins i licors i, més endavant, d’altres com calçat i teixits. D'altra banda els brodats fets per dones mallorquines reberen guardons ja des de l’Exposició de Londres de 1851.
Les especialitats vénen diferenciades per illes: Eivissa hi enviava sal, productes agrícoles (blat, ametlles, garroves, cotó, etc.), i, sobretot a les locals, també alguns d'industrials com productes químics, minerals, i licors. Formentera hi fou representada escadusserament, en alguna de les celebrades a Mallorca Menorca, a les exposicions confirma la diversificació de la seva economia; tant amb productes agraris (blat, ametlles, garroves, lli i cotó, moniatos i llegums) com industrials (nàutics, tèxtils, alimentaris, calçat, i, ja més avançada l’etapa, moneders i aparells elèctrics i motors).
És a Mallorca on trobam major varietat de productes, tant agrícoles com industrials, distribuïts per comarques.
L’aproximació als expositors de les Illes, dóna indicis de l'evolució tant del sector agrari com del sector industrial. S’han focalitzat els expositors que presentaven uns dels productes més destacats en l'economia illenca, ben presents i premiats, d'una banda els expositors d'oli d’oliva i d'ametlles, i de l'altra, els de conserves i de calçat, branques força desenvolupades tant a Mallorca com Menorca.
Una panoràmica dels expositors en permet l'adscripció als diferents grups socials: inicialment membres de la noblesa, però sobretot d'una burgesia emprenedora i culta que exercia un paper destacat tant en l’aspecte econòmic com en el polític i cultural. S'hi identifica també una petita burgesia industrial de diferents municipis així com, sobretot a les mostres de començaments del segle XX, d'un grup nombrós de nous propietaris que exposaven diferents productes del camp.The study analyses the participation of the Balearic Islands in a series of exhibitions held between 1827 and 1929, a period in which such exhibitions aroused great interest at an international, national and local level. The Balearics shared this interest, as was evident in their participation both locally and abroad. This endeavour was spurred by institutions and individuals as well as the economic, social and cultural climate and led to the many contributions from manufacturers and artists. The series of 47 exhibitions studied show low participation at first, followed by a middle phase of strong participation and a third phase with low participation in the international exhibitions but high in those held in Mallorca. As for the international ones, interest reached its highest point between the London Exhibition in 1862 and that in Chicago in 1893 and its lowest after the Paris Exhibition in 1900. International recognition of Balearic products was first mainly in the agricultural sphere. However, after the Vienna Exhibition in 1873 it extended to industrial goods, firstly food products such as preserves, wine, liqueurs and later, others such as footwear and textiles. In contrast, Mallorcan embroidery had been winning awards since the London Exhibition in 1851. Closer study of those who were exhibiting gives a good indication of the development of both the agricultural and industrial sectors. Those focused on were presenting some of the most important products in the Balearic economy, on the one hand olive oil and almonds and on the other, preserves and footwear. An overall view of the exhibitors enables us to identify different social groups. There were initially some members of the nobility but above all the entrepreneurial bourgeoisie, who played an outstanding role not only in the economy but also in politics and culture. There were also smaller manufacturers from the different municipalities and, especially at the beginning of the 20th century, a large group of new landowners exhibiting farm products.
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Castel, Mathilde. "La muséologie olfactive, une actualisation résonante de la muséalité de Stránský par l'odorat". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA053/document.
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A l’instar d’autres médiums, la muséologie permet de rendre compte d’une manière dont l’homme s’approprie spécifiquement la réalité. Cette dernière consiste à y sélectionner des objets, à les prélever, puis à les agencer dans le cadre d’expérience que constitue le musée afin de créer ce que l’on appelle une réalité muséalisée : addition de savoirs contenus dans les objets, manifestés par l’exposition, puis proposés à l’acquisition par l’intermédiaire de sa visite. Cette relation spécifique de l’homme à la réalité est appelée muséalité et telle que ci-dessus relatée, renvoie aux travaux du muséologue Zbynĕk Zbyslav Stránský pour qui la collection d’objets revêt une place centrale au sein du système muséal. Mais à l’heure du numérique connecté et de la possibilité que nous avons de voir les éléments de la réalité sans se trouver physiquement en leur présence, l’importance accordée à la collection d’objets par Stránský semble rendre sa conception de la muséalité obsolète à penser la muséologie. Prenant par conséquent appui sur les travaux du sociologue et philosophe Hartmut Rosa, et notamment sur leur désignation du rôle joué par la perception olfactive dans la qualité de notre relation au monde, la présente recherche s’attache à démontrer que si inadéquation il y a entre les théories de Stránský et l’actualité de l’appropriation de la réalité par l’homme, elle n’incombe pas tant à la dimension physique des objets de musées, qu’à la mono-sensorialité des moyens dont il nous est permis de les entretenir. Alliant la théorie à la pratique, ce travail argumente le fait qu’actualisé au prisme du concept de résonance proposé par Rosa, les travaux de Stránský jouissent encore d’une légitimité à penser les muséologies d’aujourd’hui et de demainLike other mediums, museology shows a way in which man specifically appropriates reality. It consists in selecting objects from it, taking them out and arranging them in the museum's experimental setting in order to create what is called a musealized reality: addition of knowledge contained in objects, manifested by the exhibition, and offered for acquisition through the visit. This specific relation of man to reality is called museality and as mentioned above, refers to the work of the museologist Zbynĕk Zbyslav Stránský for whom the collection of objects is central to the museum system.But in the age of digital and the possibility that we have to see the elements of reality without being physically with them, the importance given to the collection of objects by Stránský seems to make his conception of museality obsolete to think museology.Taking as a result the work of the sociologist and philosopher Hartmut Rosa, and in particular his designation of the role played by olfactory perception in the quality of our relationship with the world, the present research endeavors to demonstrate that if there is a mismatch between Stránský's theories and the actuality of the appropriation of reality by man, it is not so much because of the physical dimension of museum objects than the mono-sensoriality of the means of which we are allowed to maintain them. Combining theory with practice, this work argues that, updated by the concept of resonance proposed by Rosa, Stránský's works still have a legitimacy to think about museologies of today and tomorrow