Thèses sur le sujet « Culture in art – Exhibitions »
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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.
Texte intégralArts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
Harkett, Daniel. « Exhibition culture in Restoration Paris ». View online version ; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.
Texte intégralVita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
Sutherland, Ann. « Art exhibitions in the national interest : Australian cultural diplomacy, 1918 to 1941 ». Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.
Texte intégralFloe, Hilary Tyndall. « The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
Texte intégralBernardi, Donatella. « Arts festival as a global cultural product ». Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/41785.
Texte intégralSin, Song-Chiew James. « Arts, culture and museum development in Singapore ». Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/240.
Texte intégralSin, Song-Chiew James. « Arts, culture and museum development in Singapore / ». View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030901.095617/index.html.
Texte intégralChristiansen, Lauren. « Redefining exhibition in the digital age / ». This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.
Texte intégralRodriguez, Kathryn Lorraine. « Henry Meloy the portraits : a narrative of the exhibition / ». The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05202008-125608/.
Texte intégralSin, Song-Chiew James, University of Western Sydney et of Performance Fine Arts and Design Faculty. « Arts, culture and museum development in Singapore ». THESIS_FPFAD_XXX_SinSongChiew_ J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/240.
Texte intégralMaster of Arts (Hons)
Conradie-Faul, Jacqueline. « 'n Museologiese ondersoek na die mens se benutting van die mollusk (skulp en skulpdier) in geselekteerde kunsvorme, vir die doel van die ontwerp van 'n uitstalling ». Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52361.
Texte intégralENGLISH ABSTRACT: The aim of this study is to investigate man's use of the mollusk within selected art forms, and to use the research results to design a contemporary museum exhibition, relevant within a South African context. Two sections are presented. In section A the selected art forms, fine arts, architecture, furniture design, masks and music and other sound instruments are thoroughly investigated to determine in what way the mollusk/shell is used in or on these art forms. A large number of figures are included to illustrate the available examples, and to aid the reader in the visualization of these applications. In section B a design solution is presented, based on the research results of section A. The compilation of an exhibition team and the whole design process, from the choice of an exhibition theme to the evaluation of the exhibition, is investigated. The exhibition designer plays the important role of interpreting the research results and to compile a design solution. A wide variety of exhibition techniques are recommended for the design solution, including theatre productions, special lighting and sound effects, demonstrations and tours. A number of figures are included, where photos taken during the museum visitations and design sketches provide further insight into the design solution. From the research results it was noted that an educational subject such as the mollusk/shell, can be made timely and attractive for the museum visitor by the use of creative, contemporary and relative exhibition techniques.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om die mens se benutting van die mollusk in geselekteerde kunsvorme te ondersoek en om die navorsingsresultate te gebruik om 'n eietydse en kreatiewe museumuitstalling, relevant binne die Suid-Afrikaanse konteks, te ontwerp. Twee afdelings word aangebied. In afdeling A word die geselekteerde kunsvorme, beeldende kunste, argitektuur, meubeIkuns, maskers en musiek- en ander kIankinstrumente deeglik ondersoek om vas te stel op watter wyse die mollusk/skulp daarin of daarop gebruik word. 'n Groot aantal figure word ingesluit om die beskikbare voorbeelde te illustreer en op so 'n wyse visuaIisasie vir die leser te vergemaklik. In afdeling B word 'n ontwerpoplossing aangebied, gebaseer op die navorsingsresultate van afdeling A Die samestelling van 'n uitstalspan en die hele ontwerpproses, vanaf die keuse van 'n uitstalterna tot die evaluering van die uitstalling, word ondersoek. Die uitstaIontwerper vertolk die belangrike rol om die navorsingsresultate te interpreteer en 'n ontwerpoplossing daaruit saam te stel. 'n Groot verskeidenheid uitstaltegnieke word vir die ontwerpoplossing aanbeveel, wat onder meer teateraanbiedings, spesiale beligting- en klankeffekte, demonstrasies en toere insluit. 'n Verskeidenheid figure word ingesluit waar foto's, geneem tydens die ter plaatse ondersoeke, en ontwerpsketse 'n aanduiding van die ontwerpoplossing gee. Uit die navorsingsresultate kon daar vasgestel word dat 'n opvoedkundige onderwerp soos die mollusk/skulp, deur die gebruik van kreatiewe, eietydse en relevante uitstaltegnieke, vir die museumbesoeker aktueel en aantreklik gemaak kan word.
Adams, Jane Aldrich Dowling. « A Study of Art Unions in the United States of America in the Nineteenth Century ». VCU Scholars Compass, 1990. http://scholarscompass.vcu.edu/etd/828.
Texte intégralHyun, Jae Min. « A search for a new paradigm in Korean contemporary art : a proposal for an exhibition 'Beyond surface culture : the new grammar of Korean contemporary art' ». Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539878.
Texte intégralCarreteiro, Andreia Sofia Valido. « Centro de Arte e Cultura da Fundação Eugénio de Almeida : serviços educativos - relatório de estágio ». Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/25709.
Texte intégralO'Brien, Margaret. « The rise of art cinema in postwar film culture : the exhibition, distribution, and reception of foreign language films in Britain 1945–1968 ». Thesis, Birkbeck (University of London), 2018. http://bbktheses.da.ulcc.ac.uk/346/.
Texte intégralCagol, 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/.
Texte intégralEvrard, Guillaume Marc Francois. « Directing the eye : stories of modernity and tradition at the 1878 Paris Universal Exhibition ». Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9886.
Texte intégralPiette, Jacques-Erick. « Le neuvième art, légitimations et dominations ». Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA081/document.
Texte intégralIn France, museums and libraries exhibit comics, galleries devoted to them sell their original drawings and renowed art auction houses do too, but does it mean thereby that comics are truly legitimated as art within these fields ? Who initiated the process and today who keeps participating in it, and in doing so, according to which strategies ? This thesis seeks to answer these questions by gathering together the concepts of fields and legitimacy developed by Pierre Bourdieu but also by borrowing theories and methodologies from art socioloists such as Howard Becker, Serge Chaumier, Jean-Louis Fabiani, Nathalie Heinich, Bernard Lahire, Eric Maigret, Raymonde Moulin, or Alain Quemin. By questioning the three poles formed by the artists, the institutions and the art market, we have established a corpus of events, of strip cartoonists highlighted by these events and of the producers of these same events. By studying their declarations and by meeting them to interview them, we have analysed their motivations. We have finally come to establish the relativity of the legitimation of comics both for their quality and the number of the individuals concerned. Despite the fact that a generational phenomenon has been given prominence in the evolution of the status and the recognition of comics, we can conclude that the acquisition of a semi-legitimacy (to employ Jean-Louis Fabiani’s own word) by the ninth art is more of a fact than a dynamic process in development
Lima, Fábio Rogério Batista [UNESP]. « O graffiti como patrimônio cultural material ». Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153543.
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Na atualidade vivencia-se o que Bauman (2001) conceituou de modernidade líquida, identificada como aquela em que as relações humanas e sociais são caracterizadas por não terem configuração de solidez ou como aquela em que não se conserva forma por muito tempo; prima-se pela mudança; vive-se das inconstâncias. A natureza desta liquidez é reconhecida por conta da leveza, da mutabilidade e da mobilidade das relações. A importância da preservação da memória artística para as futuras gerações também tem mudado. Com o grande avanço nas tecnologias de reprodução e exposição às massas, obras de arte se disseminam com a facilidade de circulação das imagens. Essas manifestações estão nos muros da cidade, locais esses que têm suas superfícies alteradas e apagadas diariamente. Diante disso, questiona-se como se dá o tratamento documental do graffiti como manifestação de arte efêmera? Em decorrência, como pressuposto da tese, aponta-se que o tratamento documental do graffiti, convertido em recurso digital, apresentará elementos para sua consolidação como patrimônio cultural material. Delimitou-se como objetivo propor como se dá o tratamento documental do graffiti, convertido em recurso imagético, considerando a ubiquidade, os aspectos da informação líquida e da ecologia da informação e as novas formas de disponibilizar o acesso. O estudo apresenta abordagem qualitativa, de natureza descritivoexploratória tendo como universo de pesquisa projetos de exposições digitais de arte urbana. omo resultado, verificou-se que o uso estratégico das tecnologias de informação e comunicação e a aplicação efetiva dos padrões de representação de obras de artes são fatores determinantes para garantia do armazenamento, recuperação e acesso ubíquo ao patrimônio cultural material. A proposta de representação documental de graffiti apresenta o padrão de estrutura de dados R ore - Resources Association Visual versão 4 0, por sua melhor adequação à descrição da manifestação de arte do tipo graffiti, por possibilitar a correlação entre obra, imagem e coleções Nesse sentido, foi possível elaborar uma proposta de aplicação contendo três novos elementos descritivos: "citação cultural", "citação espaço temporal" e "citação ideológica" como forma de trazer o contexto em que o graffiti foi criado e apresentar elementos que viabilize a efetivação do graffiti como patrimônio cultural material.
Nowadays we live what Bauman (2001) defined as liquid modernity, it is identified as human and social relationships that are caracterized by not having solid aspects in it or that one which doesn´t keep its format for too long; changes are constant and inconsistencies are lived. The nature of this liquidity is know by the lightness, mutability and mobility of relationships. The importance of artistic memories preservation has also changed. With the breakthrough in playback technologies and exposition techniques to majority of people has made works of art disseminate easily just like images. These manifastations are in the city walls, places that have their surfaces changed and erased daily. In view of this, one questions how the documentary treatment of graffiti as a manifestation of ephemeral art takes place? As a consequence of this thesis, it is pointed out that the documentary treatment of graffiti, converted into a digital resource, will present elements for its consolidation as material cultural patrimony. The purpose of this paper was to propose how the graffiti documentary treatment, converted into an imagery resource, considering the ubiquity, the aspects of net information and information ecology, and the new ways of making access available, were proposed. The study presents a qualitative approach, of a descriptive-exploratory nature having as research universe projects of digital exhibitions of urban art. As a result, it has been found that the strategic use of information and communication technologies and the effective application of the standards of representation of works of art are determining factors for guaranteeing storage, retrieval and ubiquitous access to material cultural heritage. The graffiti document representation proposal presents the VRA Core - Resources Association Visual Version 4.0 data structure standard, due to its better adaptation to the description of the graffiti - type art manifestation, as it allows the correlation between work, image and collections. In this sense, it was possible to elaborate an application proposal containing three new descriptive elements: "cultural citation", "citation space" and "ideological citation" as a way to bring the context in which graffiti was created and present elements that make feasible the graffiti as material cultural heritage.
Tengblad, Johanna. « ”Inte som att läsa hemma direkt” : Faktorer som påverkar besökares tillgänglighet till introducerande konstutställningstexter ». Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448310.
Texte intégralLaurent, Nicolas. « La sculpture russe, du naturalisme à l'art nouveau : une approche géopolitique des pratiques artistiques ». Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100104/document.
Texte intégralThe following work is to be considered from a global point of view, as shown in this topic: Russian sculpture from naturalism to Art nouveau: a geopolitical analysis of artistic practices. The basis of this study is that of the Russian sculptors who have somehow traveled or stayed abroad between 1870 and 1914. By putting together the new ‘macro art history’ approaches supported by the statistics of a quantitative method of art history with the emergence of a rather multi-lateral question than a bi-lateral one which has the power to fully acknowledge the global evolution of an art and its participants, this study focuses on the relations maintained by the artists from one country with other countries in general. From a foreign perspective, this study aims at redefining the European geography of art while connecting various artistic centers together. A distinction is therefore made from a global approach between the most important art-related European centers of the time; namely Paris, which progressively replaced Rome over the century as a nationally-scaled point of interest, as well as Munich and Berlin, which challenged their number one standing in central Europe. Unlike its German and Italian competitors, Paris managed to establish its authority by gathering sculptors. Global migration consequently influenced the evolution of art in Russia, especially when sculptors went back after staying abroad. Thereby, contributions from Western sculptures played an essential role in the various artistic evolutions that affected Russia from the 1870’s to the Silver Age
Fando, Morell Anna. « Art, curadoria i polítiques culturals des dels feminismes : una anàlisi de la Mostra FemArt (1992-2018) ». Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/670993.
Texte intégralThe present thesis consists of an analysis of the FemArt Exhibition based on the systematization of its archive. It considers, both, its agents and its artistic or curatorial practices, as well as its political trajectory. This archival material has been collected, reconstructed and placed in a theoretical, historical and experiential context, exploring the intersections between cultural spaces and feminist spaces in the city of Barcelona. It critically comments on the potential and existing tensions between the feminist ideology and the Institution of Art, the connection of the project with various feminist currents and the personal experiences of artists linked to feminist activism. The main exercise that articulates the present research is the comparison of the theoretical framework, composed by cultural studies, art criticism, gender studies and feminist theory, with the FemArt project as a case study. FemArt is an art exhibition made by women, lesbians and trans, launched in 1992 by the association Ca La Dona, a still active art initiative that offers a networking space for female artists and raises an anual exhibition and other parallel activities. This thesis is structured based on fieldwork that collects the testimony of artists, art historians, curators and cultural managers, and from the collection of archival material. The analysis of FemArt brings together the main issues that feminist practices face in the cultural sector: the institutional influence on the cultural framework, the role of activism in the field of arts, the use of art as a strategic transformer of the social sector, the rethinking of work models, the distinction between precarious work, voluntary work and political militancy, the working conditions of women in the cultural system, the inequality of opportunities for women artists, the stereotypes that exist around exhibitions comprised of female artists, and the inclusive capacity of local feminist projects.
La presente tesis consiste en un análisis de la Muestra FemArt que parte de la sistematización de su archivo, considerando tanto sus agentes y sus prácticas artísticas o curatoriales, como su trayectoria política. La investigación consiste al recopilar, reconstruir, situar este material de archivo en un contexto teórico, histórico y vivencial que explora las intersecciones de los espacios culturales y de los espacios feministas de la ciudad de Barcelona y también en comentar críticamente las tensiones entre el ideario feminista y la institución arte, la conexión del proyecto con las diversas corrientes feministas y las experiencias personales de las artistas vinculadas al activismo feminista. La comparación del marco teórico, compuesto por estudios culturales, crítica y teoría artística, estudios de género y teoría feminista, con el caso de estudio del proyecto FemArt es el principal ejercicio que articula la investigación. La Muestra FemArt es una muestra de arte hecho por mujeres, lesbianas y trans, impulsada desde la asociación Ca La Dona en 1992, una iniciativa artística todavía vigente, que plantea una exposición anual, una red de artistas y un conjunto de actividades paralelas. Esta investigación se estructura a partir del trabajo de campo que recoge el testigo de artistas, historiadoras de arte, curadoras y gestoras culturales y a partir de la recopilación del material de archivo. Este análisis de FemArt aglutina las principales problemáticas que atraviesan las prácticas feministas en el sector cultural: la influencia institucional en el marco cultural, el encaje del activismo en el ámbito artístico, el uso del arte como transformador estratégico del sector social, el replanteamiento de modelos de trabajo, la distinción entre trabajo precario, trabajo voluntario y militancia política, las condiciones de trabajo de las mujeres en el ámbito cultural, la desigualdad de oportunidades de las mujeres artistas, los estereotipos que existen alrededor de las muestras integradas por artistas mujeres y la capacidad inclusiva de los proyectos feministas locales.
Ortega, Orozco Adriana. « Les expositions d’art mexicain dans l’espace transnational : circulations, médiations et réceptions (1938 – 1952 – 2000) ». Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA024.
Texte intégralLocated in the intersection of the fields of History of Exhibitions and History of International Cultural Relations, this thesis studies the construction of a particular image of the Mexican nation abroad through the medium of art, and the ways in which this image was perceived by diverse audiences in different countries. The thesis analyzes the circulation, mediation and reception of Mexican art in a transnational context for the first major traveling exhibition of Mexican art in Europe.Between 1952 and 1953, the exhibition Art mexicain du précolombien à nos jours (Mexican art from pre-Columbian times to the present day) was successively presented in Paris, Stockholm, London and Mexico City. This cultural event draws upon a long prehistory that dates back to the 1920s. After several failed attempts, the idea of presenting an exhibition of Mexican art in Europe reemerges in the postwar period driven by the Mexican government and a constellation of European state and non-state actors, leading up to the opening of the exhibition in Paris on May 20, 1952.The thesis studies the stakes that various promoters had in the exhibition as well as the ways in which its curatorial discourse crystallized a nationalist rhetoric that stresses the continuity of the mexican artistic genius through the ages. It further investigates the different receptions and interactions within the Euro-American space by analyzing the various representations of Mexico articulated by the European publics; conversely, it examines the ways in which Mexican society resignifies the European reactions vis-à-vis Mexican art and adapts them to the local context. Moreover, this work scrutinizes the approvals and rejections expressed by the Mexican public with regard to the particular image of lo mexicano promoted by the state. The thesis demonstrates how this exhibition became a model for the display of Mexican art abroad, reappearing several times in various declensions over the following decades as a trademark of Mexican cultural diplomacy
Flynn, Emma. « Building careers, managing capitals ». Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/9393.
Texte intégralSouza, Tálisson Melo de. « 18ª e 19ª bienais de São Paulo : curadoria entre a prática e o debate no Brasil ». Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/84.
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A partir do contexto de emergência e consolidação da atividade do curador de exposições de arte contemporânea na esfera artística internacional, esta análise direciona-se a duas edições da Bienal de São Paulo (as 18ª e 19ª, promovidas em 1985 e 1987, respectivamente) para compreender as condições e desdobramentos dessa profissão no Brasil. As curadorias da crítica de arte Sheila Leirner são estudadas aqui em sua singularidade e em relação com diversas exposições realizadas em instituições congêneres. Colocamos em perspectiva a historiografia já estabelecida acerca dessas duas propostas curatoriais (“O Homem e a Vida” e “Utopia versus Realidade”), e esquadrinhamos o debate crítico suscitado por elas dentro e fora do país. Seleções de obras artísticas e artistas, expografia, discurso teórico e poder de legitimação são articulados com a trajetória crítica da curadora e as transformações nas políticas públicas para a cultura e no status das instituições culturais na década de 1980, em diálogo com a os processos de globalização da arte e redemocratização política no Brasil.
From the context of emergency and consolidation of the curator’s activity of organizing contemporary art exhibitions in the international artistic sphere, this analysis focuses on two editions of the Sao Paulo Art Biennial (the 18th and 19th ones, promoted in 1985 and 1987, respectively) to understand the conditions and consequences of this profession in Brazil. Here we study the curatorial projects of the art critic Sheila Leirner in its uniqueness and in relation to other events held in similar institutions. Questioning the approach already established by the Brazilian historiography about these two curatorial proposals ("Man and Life" and "Utopia vs. Reality"), this research scrutinizes the critical debate raised by them within and outside the country. We also link selections of art works and artists, expography, theoretical discourse and legitimation power to Leirner’s critic production and the transformations in public policy for culture and cultural institutions status during the 1980s, connecting them to the processes of globalization of art and political redemocratization in Brazil.
Wasserman, Minke. « 'Becoming animal' : motifs of hybridity and liminality in fairy tales and selected contemporary artworks ». Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1019759.
Texte intégralLi, Vivian Yan. « Art negotiations : Chinese international art exhibitions in the 1930s ». Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.
Texte intégralDalal-Clayton, Anjalie. « Coming into view : black British artists and exhibition cultures 1976-2010 ». Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4356/.
Texte intégralHumbert, Candice. « L'élaboration d'une culture artistique régionale : Grenoble et ses artistes de 1796 à 1853 : (volume 1 - texte) ». Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAH020/document.
Texte intégralOur study into The emergence of a regional artistic culture […] proposes exploring artistic output in Dauphiné in the first half of the 19th century. Inspired by the increasing trend seen over recent years towards examining regional cultural identity, the purpose of our research is to fill a void but also to meet a wider demand for knowledge about this period, one overlooked at a local level but which was nevertheless very rich in dialogue and experimentation. We seek to explain the correlation between the artistic, institutional and social components of the cultural environment in Dauphiné, to assess their roles and importance. To do so, our field of study has been limited to painting, sculpture and drawing due to their prominent position in the exhibitions. Moreover, we should specify that since 1790 the Dauphiné area has included the departments of Isère, Drôme and Hautes-Alpes. However, the main department analysed in our investigation is Isère and more particularly the town of Grenoble, where much of the region's artistic activity is concentrated.Thus, how was regional artistic life structured through the institutions and what has been the importance of the individual actions with regard to its development? A study of the founding and role of the institutions in Grenoble, where we find the existence of a drawing class, a museum, an exhibition and a ‘Friends of the Arts’ society, firstly shows the different collective and individual efforts being made. An exploration of the local heritage in addition to the interest shown by Grenoble’s inhabitants in art and cultural activities confirm that Grenoble and its residents took an interest in the development and dissemination of the fine arts.Secondly, an examination of the careers of regional artists and the arrival in Dauphiné of painters and illustrators from outside the area or the eventual destination of the works, naturally generate questions concerning training, travel, the circulation of people, of works, and the artistic relationships existing between the various regions. Additionally, these subjects gradually lead us to consider such matters at national and transnational level. At a national level, Paris takes centre stage due to the training it provides for artists from the French regions but also for the cultural emulation effect characterising it. At a transnational level, Italy has attracted many artists from Dauphiné, thanks to its geographical proximity to Dauphiné and its high "top of mind" status in the artistic imagination. It cannot be denied that the interactions between artists and the clash of different cultures contributed to the rise of the artistic scene in Dauphiné. But just as the region's artists were exploring other areas, movement was also occurring in the other direction, with Dauphiné constantly being visited by "outsiders". Their contribution is a fundamental issue which we have examined as they have sometimes been the source of aesthetic changes in Dauphiné's artistic output. Similarly, an examination of the geography of the sites at which Dauphiné's artistic works are stored enables us to appreciate the extent of their "reach" outside Dauphiné and also to identify which themes were particularly sought-after.Finally, our research highlights the growth and diversity of Dauphiné's artistic production to position local artists in a wider sphere of contemporary sensitivity and ability. From the "major" genre to the "minor" genres, it assesses regional creative output, explaining what characterises it and how it follows national fluctuations in output.It was therefore necessary without a doubt to examine the first half of the 19th century to understand how a regional artistic culture emerged in Dauphiné and to better understand the sources of the success of local painters after 1850 and more generally the growth of the fine arts in Dauphiné in the 19th century
Ojuel, Solsona Maria. « Les exposicions municipals de belles arts i indústries artístiques de Barcelona (1888-1906) ». Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/132670.
Texte intégralThis dissertation focuses on the analysis and interpretation of the series of art exhibitions that were promoted by the City Council of Barcelona between 1888 and 1906, in parallel with the creation of the first municipal museum of art. The aim of the research is to discover the extent and significance of these exhibitions and their actual impact on the artistic and cultural life of the city of Barcelona and, by extension, Catalonia. The five municipal exhibitions that are the subject of our research are thoroughly analyzed: the 1891, 1894, 1896 and 1898 art exhibitions, as well as the 1892 artistic industries exhibition. The lists of awards given and acquisitions made in these exhibitions are included in the research. This research is principally based on primary documents and, in particular, a virtually unknown source, the documentation of the Organising Committee of the Exhibitions of Barcelona (MNAC Archives). This analysis is from a sociological approach, in which the artistic exhibitions are interpreted in relation to the cultural environment and historical context. The significant changes in the relationship between art and society are examined. In conclusion, the series of municipal exhibitions studied had a profound impact on the artistic life of Barcelona and in the evolution of the styles in the process leading to the modernisme art movement. Unlike the official exhibitions that were held in Madrid, those in Barcelona were open to foreign artists and also included sections of applied arts. Its inclusive character allowed heterogeneous artistic proposals to be presented, though of varying quality. The exhibitions included established artists as well as the newest trends in art, providing a revisionist viewpoint. At that time, public policies towards art museums in Barcelona were based almost exclusively on the purchase of contemporary works from these exhibitions, funded exclusively by the local government as an alternative to insufficient investment in the arts on a national level. The exhibitions were educational, informative and had popular appeal, receiving record numbers of visitors. In turn, they had great influence in the construction of an aesthetic discourse of modern Catalan art criticism. The limitation of Barcelona’s artistic reputation and economic resources menaced the continuity and sustainability of the exhibitions in the twentieth century.
Giorio, Maria-Beatrice. « Gli scultori italiani e la Francia : influenze e modelli francesi nella prima metà del novecento ». Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100053/document.
Texte intégralThis study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press.Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists.During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices.The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country
Forstrom, Melissa. « Interpretation and visitors in two Islamic art exhibitions ». Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.
Texte intégralHahne, Ylva. « Den blinda röda fläcken : Menstruation i svenska museisamlingar ». Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-453333.
Texte intégralThis study examines the existence of cultural heritage concerning menstruation in Swedish museum collections and in which contexts they have participated in exhibitions or been otherwise exposed to the public. The study also intends to find out whether taboos related to menstruation have affected the collection and exposure of the so-called "menstrual items". The empirical material consists of a survey sent to what can be said to be the general museum system in Sweden consisting of central museum, regional museum, municipal museum, city museum and three other cultural history museums with a response rate of 85.4% as 81 of 96 museums have participated. The study shows that 50.6% of the museums have menstrual items in the collections and that the majority of these museums had approximately 1-5 of such items. The most common item category was menstrual protection. 64.8% of museums with menstrual objects in the collections had exposed these to the public, usually only a few objects and the most common exhibition format was temporary exhibitions. The majority of menstrual items have been acquired in the years 1951-2021. Whether menstrual taboos have affected the existence of cultural heritage concerning menstruation in Swedish museums is difficult to ascertain based on this study. On the other hand, taboos may have affected the type of objects in museums' collections, as most of the material consists of menstrual protection, the task of which is to control the flow of menstruation, which may reflect society's relationship to menstruation, which often consists of feelings of shame about the subject.
Hatcher, Lynn A. « Exhibition in the curriculum preparing students to complete the artistic cycle / ». Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.
Texte intégralTitle from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).
Fuller, Michele. « Reviewing medium : paint as flesh ». Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.
Texte intégralAsquith, Wendy. « Haiti and art : curating the nation for international exhibitions ». Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
Texte intégralKamata, Mayumi. « Chinese art exhibitions in Japan, ca 1900 to 1931 ». Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.
Texte intégral이윤영 et Yoon Yung Lee. « The Joseon Fine Art Exhibition under Japanese colonial rule ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
Texte intégralpublished_or_final_version
Fine Arts
Master
Master of Philosophy
Moréteau, Constance. « L'artiste et la lecture : le livre dans les installations et dispositifs d'exposition de 1960 à nos jours ». Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100147.
Texte intégralThis dissertion investigates the position of book in reading experiences which take place in the museum context when in the mid-nineteen sixties, all art, as redifined by conceptual artists, is to be read. In the 1960s and in the 1970s, then again in 1990s and 2000s, reading space have been increasing. Those could be apparatuses produced for exhibition as well as art environments and installations. In contrast with artists books which deal with democratizing art by circulating outside the control of museums, books in museums leds to questions about an apparent opposition between a reproducible medium and its in situ anchorage. It begs the essential question of whether it might end up in the reification of the book as well as in the prohibition of reading, the Marcel Broodthaers’s Interdiction de lire as stated for Pense-Bête (1964). Unless it provides the opportunity to focuse on the uses of books . The installations we are analyzing contribute to the building up of temporary communities. That is to say that we have also to consider the reader position in social sphere. There are three crucial trends, for it is in exploring them that we can begin to explore as the book as a reference for the environment which is itself to be read at the time of Information Turn which influenced theory on architecture. In the mid-1990s, artists produced what we call in situ books that are produced for reading in the museum. This dissertation dealss also with the wide range of interpretations of the same historic source, The Working Club by Alexandre Rodchenko (1925), by curators and artists from the New York art Scene as well as other American and European Artists
Zhang, Linzhi. « Contemporary art and the exhibitionary system : China as a case study ». Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289428.
Texte intégralCook, Shashi Chailey. « "Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" / ». Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
Texte intégralWoollock, Stephen. « 'Coming to a town near you?' : cultural policy and identity in local art-house exhibition ». Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/25588/.
Texte intégralPalmer, Daniel. « Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000 ». Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.
Texte intégralHsieh, Ching-yueh. « Exhibiting minority culture : an exploration of exhibitions of indigenous culture in museums of Taiwan ». Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/38217.
Texte intégralLittler, Jo. « Capital displays : exhibitions and consumer culture in twentieth-century England ». Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368277.
Texte intégralBorchardt-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.
Texte intégralVautrin, Bruno. « Antonin Proust (1832-1905), député, ministre et défenseur des arts ». Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH013/document.
Texte intégralAntonin Proust (1832-1905), political figure, friend of the artists, historian, critic and salonnier, played an important political and cultural part. The life of this liberal republican is a plea for the protection of arts in the service of the Republic. He connects economic structure with artistic institutions and constantly advocates the useful arts. His aim is economic: to train artists in the service of the industry. He creates art schools and encourages the introduction of design at school. As budget rapporteur, he supports the protection and the development of arts. The unification of the arts which he advocates results in the creation of the ministry of the Arts. Advocate of the heritage, he takes part in the foundations of the Musée de sculpture comparée, of the musée des Arts décoratifs, and founds the École du Louvre to train curators. Buying for the State the works of Millet, Courbet and Manet, he promotes rebellious artists, unruly to the Academy of fine arts, and emerges as a partisan of controversial works. Organizing exhibitions to the glory of Courbet or Manet, he advocates boldness, individuality, freedom and naturalisme. Real artistic, industrial and political propaganda, the World Fair of 1889 which he organizes concretizes his ambitions. He gathers fine arts and useful arts. The Art Nouveau takes root there to blow up in 1900. His successes did not allow Proust to enter the history, but his action bore fruits in the sustainability of the structures he defended the foundation of or in the boom of craft arts and of the art market
Holland, Nicole Murphy. « Worlds on view visual art exhibitions and state identity in the late Cold War / ». Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.
Texte intégralTitle from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
Goldman, Noémie. « Un Monde pour les XX : Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique ». Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.
Texte intégralNous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture.
Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX.
Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /
This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.
This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.
The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.
The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Di, Paola Modesta. « El arte que traduce. 1995-2015. La traducción como mediación cultural en los procesos de transmisión y recepción de las obras de arte ». Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/305998.
Texte intégralThe doctoral thesis titled “El arte que traduce. 1995-2015. La Traducción como mediación cultural en los procesos de transmisión y recepción de las obras de arte” dealt with the critical theories and contemporary artistic practices that use the concept of “visual translation” in the process of transmission and reception of contemporary art. The theories analysed bring Art History, Political Philosophy, Visual Studies, and Translation Studies together to shape a new methodology. The reasons for the growth of translation as an artistic interest depend on many complex contemporary phenomena, such as the globalization and the internationalization of the art market, which has expanded the possibilities of displacement of the artist’s works (Biennales, international shows, etc.). The globalization of art has eliminated the territorial boundaries that previously characterized the cultural and aesthetic maps, and has blurred the margins of artistic creation, especially when it is based on the use of technology and the interconnection between languages and cultures. The general concern regarding the material disappearance of the work in favour of its conceptual elements involves a reflection on international political dynamics and their effects on local and national artistic identity. Indeed, the movement of artists in an interconnected world produces in many cases the modification of the structural essence of artistic work in order to offer an easy interpretation of cultural and linguistic messages. In this context, translation has become a necessity. Nevertheless, translation and visual art interactions are historically intertwined.