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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.
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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.
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Hoeffler, Michelle Leah. "The moment of William Ralph Emerson's Art Club in Boston's art culture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67166.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.<br>Includes bibliographical references (p. 183-225).<br>This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture.<br>by Michelle Leah Hoeffler.<br>S.M.
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Kreuger, Barbara. "Aftermath of a summer art institute : a case study." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30827.
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The purpose of this research was to examine the impact of a University summer institute, and to determine whether the participants felt it had changed their ways of teaching art, brought them greater success or encouraged them to share ideas about art education. This research also examined what factors are necessary for creating change for teachers and questioned whether a University institute would be able to provide enough of those factors to induce change.
An investigation of the literature in the area of curriculum change revealed that teachers require a great deal of support and an extensive amount of time for change to occur. A University course such as the Institute cannot provide much support or time.
Through questionnaires, interviews, and additional information provided through a recall session conducted with the participants of the institute, it was possible to determine that for the majority of participants there was a perception that their art classes had undergone change and achieved greater success. For some of the participants the Institute had also caused them to share more information about art education with colleagues.
For some, this change was extensive and for others less so but this study indicates that a University institute can make a significant contribution to effecting change for teachers.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate
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Macaluso, Rose E. "The Smithsonian Institute Smithsonian American Art Museum registration internship." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/aa_rpts/88.
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This detailed report of a registration internship at the Smithsonian American Art Museum includes an organizational profile of the Smithsonian Institute, the Smithsonian Institute Affiliate Program, and the Smithsonian American Art Museum, a description of the activities performed during the internship, an analysis of a volunteer management challenge, a proposed resolution to the volunteer management challenge, and a discussion of the short and long term effects of the internship. The duties and expectations of volunteers, the staff preparation for volunteers, and the empowerment of volunteers are important aspects of the analysis and resolution of the volunteer management challenge.
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McMaster, Ann Michelle M. "The Butler Institute of American Art: Pro Bono Publico." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437661274.
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Gorham, Sarah E. "Culinary study abroad opportunities at the Art Institute of Atlanta." Online version, 2002. http://www.uwstout.edu/lib/thesis/2002/2002gorhams.pdf.
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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Lim, Winston E. "Reassembling the rolling bridge : an art gallery at Fort Point Channel, Boston." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/68315.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.<br>Includes bibliographical references (p. 114-115).<br>Spanning the Fort Point Channel for nearly a century, Boston's Rolling Bridge is a familiar landmark to many railway commuters and residents of the city. Its robust steel assembly, characterized by three anthropomorphic forms, demonstrates the principles of late nineteenth-century bridge design. As a symbol of the industrial age, it is also the last surviving drawbridge of its kind in the city. Unfortunately, this bridge will be demolished as part of the ongoing Central Artery / Third Harbor Tunnel project. Despite numerous efforts to salvage the structure for the arts community in the district, its re-utilization remains doubtful. The bridge's demolition exposes a prevalent problem in the post-industrial city: the annihilation of industrial artifacts by new infrastructural demands. Can one create a new future for an abandoned artifact such as the Rolling Bridge? This thesis suggests that the artifact evolves to dynamically engage its surrounding environment. It proposes that the bridge be dismantled and its parts reassembled into a building. By transplanting the new structure onto an adjacent site, a tension is created between the disappearance of the "ancestor" and the appearance of its "descendant". Recast as an art gallery for the Fort Point Arts Community, the transformed structure will present another chapter of the bridge's history. In re-utilizing the bridge components, the thesis will accomplish two tasks: one, preserve the memory of the original structure; and two, redefine the role of this artifact within the city. The mission is to provoke new ways of thinking about industrial relics by using the bridge as an instigator.<br>by Winston E. Lim.<br>M.Arch.
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Alhadi, Esameddin. "Transforming school museum partnership the case of the University of Flordia Harn Museum Teacher Institute /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1214496613.
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Bell, Aileen E. "The white knight: Edwin Austin Abbey's "Quest for the Holy Grail" in the Boston Public Library." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278796.
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The Boston Public Library was founded on the principle that it would serve the needs of Boston's entire populace, without respect to class, race, or gender. However, despite this democratic ideology, the nineteenth-century library, in its practices and artistic expressions, articulated an elite conception of the perfect American. Edwin Austin Abbey's Quest for the Holy Grail (1890--1902), painted for the library building of McKim, Mead, and White (begun 1883), embodies the cosmopolitan, Protestant, Anglo-Saxon, and masculine values of Boston's elite through its American Renaissance style, its subject, and its iconography. In particular, the figure of Galahad, the hero of Abbey's mural, conforms to models of spirituality, race, and manhood that legitimated the power and social position of the financial, political, and cultural elite that administered and constructed the library.
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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
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Higgins-Linder, Melissa M. "Case Study of the Columbus Museum of Art's Teaching for Creativity Summer Institute." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499353441955593.
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Mruk, Brendan J. "The creativity crisis: a study of art education in the Boston Public High Schools." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12537.
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Thesis (M.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>The Creativity Crisis described by Rachel Goslins (2011) is meant to serve as a waming to society about the way schooling nmtures creative thinking. This study provides evidence that addresses the cunent state of the arts in some urban area school systems across the United States. The focus of this study is the Boston Public School System, mainly at the high school level. This school system was ideal for the study because it afforded the oppmtunity to see both causes and effects of cunent policies as they are currently applied or disregarded within a diversely populated urban setting.
This study examined the written educational policies pertaining to art education on federal, state, and city levels. An examination, such as this one, can serve to establish an tmderstanding of the goals established by policy makers. Surveys and interviews of high school level faculty members from the Boston Public Schools were used to gauge adherence to art education policies. Both policy and its implementation were weighed against evidence from the literature that spoke to the importance of art education in developing a well-rounded student (Catterall, 2012). This study was not meant to highlight the shortcomings of the Boston Public Schools; rather, it aimed to shine a light on the current successes and areas of oppmtunity in arts education that, if given more support, could flourish.
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Carpenter, William Joseph. "Center for Art and Architecture: Center for Art and Architecture at the Aspen Institute for Humanistic Studies, Wye River Plantation, Queenstown, Maryland." Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53286.
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Whitham, G. J. "The independent group at the Institute of Contemporary Arts : its origins, development and influences 1951-1961." Thesis, University of Kent, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244238.
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Christiansen, Lauren. "Redefining exhibition in the digital age /." This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.
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Long-Tarasco, Véronique. "Mécènes des deux mondes : les collectionneurs-donateurs du musée du Louvre et de l'Art Institute Chicago, 1879-1940." Paris 1, 2003. http://www.theses.fr/2003PA010585.
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En Europe et en Amérique, la plupart des musées des beaux-arts sont nés après 1850 de l'initiative de collectionneurs. Majoritairement des industriels, des banquiers et des négociants, ils considéraient la collection comme un symbole de culture, de prospérité, de richesse, de pouvoir pour eux-mêmes et pour leur nation. Ainsi, l' Art Institute de Chicago est fondé en 1879. La culture européenne était un modèle pour la nouvelle nation américaine, soucieuse de compter parmi les puissances culturelles. Le Louvre devint le musée idéal et l'incarnation de la haute culture en raison de sa visée éducative, patriotique et régénératrice héritée du moment révolutionnaire français. Fondé sur une prosopographie comparée et une étude des goûts, ce travail met en évidence les aspects sociaux, culturels, politiques et économiques de la collection, ainsi que les processus d'imitations et de transformations, de Paris à Chicago, qui contribuèrent à façonner le musée américain.
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Dahan, Sarah Reine. "États‐Unis, musées et publics : l'exemple de l’Art Institute of Chicago." Paris 5, 2011. http://www.theses.fr/2011PA05H035.
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Le sujet central de cette recherche universitaire se concentre sur l’étude des musées américains et de leurs publics. En ces temps de mutations dans le champ des habitudes culturelles, que devient le rôle du musée, en tant que maillon de ces changements, voire en tant que moteur de ces changements ? Aujourd’hui, le musée s’ identifie non plus par la variété de ses collections mais par celle de ses visiteurs. Face au discours national d’échec de la démocratisation de la pratique muséale, quelles sont les stratégies mises en place outre‐Atlantique afin d’attirer le public et d’en assurer sa diversité ? Et plus encore, comment déterminer si celles‐ci sont efficaces ? Pour répondre à ces problématiques, des enquêtes ont été menées auprès des visiteurs de l’Art Institute of Chicago en 2009. Deux questionnaires différents, dont un conçu dans le cadre de l’expérimentation du concept de la Temporalité de la réception, ont aidé à déterminer la typologie des publics ainsi que les représentations sociales associées à cette institution. À travers l’espace‐temps que constitue l’expérience muséale, dans quelle mesure le musée a‐t‐il un impact dans la poursuite ou non de la pratique de ses visiteurs ?<br>The current research focuses on the American museum as well as on an analysis of their audience. In these times of mutations in the field of cultural habits, what is the role of the museum as a link to, or even more, as a driving force of those changes? Museums are no longer identified by the diversity of their collections but by the diversity of their audiences. In considering the French national speech concerning the failure of our cultural democratization system, it would be interesting to identify which strategies have been established across the Atlantic to appeal the visitor and assure a variety of attendees, and determine whether the strategies are effective. To answer these questions, surveys were administered at the Art Institute of Chicago in 2009. Two questionnaires were developed with the objectives of determining the typology of visitors and the social representations associated with this institution. Through the space-time created by the museum experience, the surveys attempted to determine in which measures the museum has an impact on the museum practice of their visitors
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Schneiderman, Noah Rubin 1976. "Real estate development opportunities in the context of an institutional mission : Massachusetts College of Art, Boston, MA." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/32237.
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Thesis (S.M. and M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2002.<br>Includes bibliographical references (leaves 149-153).<br>The Massachusetts State College Building Authority (MSCBA) is a state agency that develops and renovates revenue producing facilities, such as residence and dining halls, for the nine state colleges in Massachusetts. The MSCBA sets rents and user fees, makes certain that revenues are adequate to maintain the system and pay debt service at the lowest possible cost to students. Outside of these official roles, the Authority assists the colleges in fulfilling their missions through prudent capital improvement programs, long-range campus planning, and more recently, entrepreneurial real estate ventures. The Massachusetts College of Art (MassArt), the sole Boston-based campus of the state colleges, is the only publicly supported independent college of art and design in the United States. While it is considered one of the premiere art institutions in the country, it is constrained by its existing facilities and the requirements of State funding and centralized decision-making. These factors inhibit it from realizing its overall mission and from competing with peer private art institutions. MSCBA and MassArt have recently initiated a conceptual master planning process in an effort to consolidate the college's space and improve the quality and efficiency of life on campus. In addition, MassArt has identified an annual funding gap, which if filled, would allow it to spend more money per student and protect itself from abrupt declines in state funding. Concurrent with these discussions, the College and the Authority has started to realize the value of its well located, and urban economically underutilized, institutional land. The purpose of this thesis is to define entrepreneurial real estate development opportunities for MassArt that will allow it to fund both the various spatial moves outlined by the planning process, as well as the identified annual revenue shortfall, all while enhancing its institutional mission. In addition to outlining real estate ventures for MassArt in particular, the key questions that this research attempts to answer are: -- What types of real estate development can public colleges undertake that can provide them with a level of independence that allows them to pursue their missions more effectively? -- What are the best forms of procurement alternatives for these ventures that align incentives and balance risk, responsibilities, and rewards between the parties involved? -- Is there an appropriate tradeoff between enhancing an institutional mission and pursuing entrepreneurial real estate activities?<br>by Noah Rubin Schneiderman.<br>S.M.and M.C.P.
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Schiavo, Bruno. "Autonomia e campo ampliado: Peter Eisenman, Rosalind Krauss e The Institute for Architecture and Urban Studies (1964-1984)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-20122016-145452/.
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A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional.<br>The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.
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Clayman, Jill F. "An investigation into the development of an interactive archival catalog of art within the Rochester Institute of Technology /." Online version of thesis, 1994. http://hdl.handle.net/1850/12190.
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Alhadi, Esameddin. "Transforming School Museum Partnership: The Case of the University of Florida Harn Museum Teacher Institute." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1214496613.
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Rosenzweig, Gilad J. "The art of cross-writing in Grove Hall : two centuries of form and place-making in a Boston neighborhood." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/81645.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2013.<br>Page 149 blank. Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 138-148).<br>The Boston neighborhood of Grove Hall is presently engaged in a period of urban revival. New civic, commercial and residential projects are starting to fill in empty lots and rejuvenate historic yet dilapidated structures. Once the vibrant heart of the Jewish community, Grove Hall has for over half a century been an almost exclusively African- American and black immigrant neighborhood. The area experienced a complete demographic transition in the 1950s and 1960s, when the Jewish population moved to the suburbs of Boston. The incoming black community, the majority of whom were recent migrants from the American south, inherited a seventy-year old neighborhood, rich in historic architecture and form, but also ripe with problems of an aging infrastructure and housing stock. Moreover, the era of this transition was a turbulent period in U.S. political and social activity; white and black populations were deeply polarized as they laid separate spatial claim to neighborhoods across the country. Within this context, the transition of Grove Hall had failed to transfer a successful urban environment to its next group of inhabitants. A long period of decline overcame the neighborhood, marked by the collapse of commercial activity, the loss of almost half its population, and the influx of a tiny yet strangling criminal element. Though it is often categorized as an 'inner-city' neighborhood, Grove Hall did not suffer the same fate as many similar districts in other U.S. cities. Its streets and houses were not destroyed for urban renewal, or ripped apart to create freeways; the original street pattern, and most of its classic buildings, survived years of decay. Thus, instead of replacing urban form, there is evidence that Grove Hall is instead adding more to it, re-writing its physical space in a continuation of neighborhood evolution. Using the concept of cross-writing, a nineteenth century technique of writing multiple 'crossed' layers of a letter on one page to produce a greater piece of text, my research hypothesizes that previous, even latent, layers of good form overlain with new and engaging design, can produce successful urban space.<br>by Gilad J. Rosenzweig.<br>M.C.P.
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Baumhoff, Anja. "The gendered world of the Bauhaus : the politics of power at the Weimar Republic's Premier Art Institute ; 1919 - 1932 /." Frankfurt am Main [u.a.] : P. Lang, 2001. http://www.gbv.de/dms/bs/toc/332837319.pdf.
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Baughman, Leslie C. (Leslie Claire). "Self-Efficacy and Selected Variables as Predictors of Persistence for First Quarter Students at a Proprietary Institution." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278626/.
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Proprietary colleges are uniquely different from two or four year colleges due to the emphasis on the student establishing a definite career path prior to enrollment. Because of this career track emphasis, Bandura's (1977) postulation that self-efficacy is a significant variable influencing task completion may offer insight into the challenge of student retention at a proprietary college. The study's purpose was to determine if career self-efficacy, demographic factors, and academic preparedness measures in first quarter students could predict student persistence, class attendance, and academic performance. The statistical technique of multinomial logistic regression was applied to data files of 725 first quarter students who attended The Art Institute of Dallas from Summer 1996 through Winter 1997. The predictor variables included a measure of career self-efficacy, ASSET scores (American College Testing Program, 1994), ethnicity, age, gender, full-time/part-time attendance, high school grade point average, parents' educational level, socioeconomic status, and developmental course placement. Criterion variables were completion, class attendance, and cumulative grade point average.
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Kushins, Jodi E. "Brave new basics case portraits of innovation in undergraduate studio art foundations curriculum /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1190075439.
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GONCALVES, GUILHERME NEVES. "ABOUT GROUND AND GATES: THE CULTURAL OCCUPATION OF A PSYCHIATRIC INSTITUTE AND THE RELATIONS BETWEEN ART, POLITICS AND SPACE IN THE CONTEMPORARY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=32672@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>A tese discute a questão das ocupações culturais a partir de uma reflexão sobre a experiência do Hotel Spa da Loucura, que consistiu na ocupação de um hospital psiquiátrico localizado no Instituto Municipal Nise da Silveira, entre os anos de 2012 e 2016. Considero ocupações culturais as estratégias de produção e ressignificação de espaços através da presença coletiva e de práticas significativas, ou seja, práticas que incidem sobre os usos e a relação simbólica dos espaços com as formas de vida. A ocupação do Hotel Spa da Loucura, da qual participaram coletivos culturais, artistas, pesquisadores, profissionais e usuários da rede de saúde mental, figura como um caso interessante no âmbito das práticas espaciais, na medida em que transformou dois andares de um hospital psiquiátrico em funcionamento em um espaço de produção artística e cultural, frequentado por uma ampla rede de atores sociais. Por mobilizar questões ligadas ao campo dos movimentos sociais, em especial o Movimento da Luta Antimanicomial, e processos relacionados ao campo das artes e da produção cultural, a ocupação constitui um terreno de análise revelador das interseções entre cultura e política nas formas contemporâneas de ação coletiva. A hipótese aqui abordada é a de que está em curso uma intensa aproximação entre as esferas política e da produção simbólica, marcada tanto pela politização da arte quanto pelo entrelaçamento entre ação política e performance cultural. Este processo está relacionado aos modos pelos quais, no contexto do biopoder, a disputa política tornou-se indissociável do que Arjun Appadurai chama de obra da imaginação. A questão das ocupações culturais, aqui discutida à luz do conceito de heterotopia desenvolvido por autores como Foucault e Hetherington, sinaliza para uma nova consideração da dimensão do espaço como eixo de agenciamentos e de construção de outras formas de vida.<br>The present thesis discusses the subject of cultural occupations based on a reflection regarding the experience of the Spa Hotel of Madness, which consisted in the occupation of a psychiatric hospital located in the Municipal Institute Nise da Silveira between the years of 2012 and 2016. The research considers occupations as the strategies of production and re-signification of spaces through collective presence and meaningful practices, that is, practices that focus on the uses and the symbolic relationship of spaces with life forms. The occupation of the Spa Hotel of Madness, attended by cultural collectives, artists, researchers, professionals and users of the mental health network, figures as an interesting case of spatial practices as it transformed two floors of a functioning psychiatric hospital in a space of artistic and cultural production that embraces a wide network of social actors. By mobilizing issues related to the field of social movements, especially the Anti Mental Health Institution s Movement, and processes related to the field of arts and cultural production, occupation is a field of analysis that reveals the intersections between culture and politics in contemporary forms of collective action. The hypothesis discussed here is that an intense approximation is taking place between the political and symbolic production spheres, marked by both the politicization of art and the interplay between political action and cultural performance. In the context of biopower, this process is related to the ways in which the political dispute became inseparable from what Arjun Appadurai calls the work of the imagination. The question of cultural occupations, discussed here in the light of the concept of heterotopia developed by authors such as Foucault and Hetherington, points to a new consideration of the dimension of space as the axis of agency and the construction of other life forms.
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Castro, Marta Sorelia Felix De. "Development of creativity in higher education: courses evaluation of the Institute of Art and Culture (ICA) th Federal University of Cearà (UFC)." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8054.
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nÃo hÃ<br>This paper refers to an investigation into the development of creativity in higher education. It is worth emphasizing the importance of the issue in the context of higher education is perceived as the current transition from the current mindset regarding the approach of pedagogical structures. In some developed countries the prevailing concern with the encouragement of creativity, that from government initiatives recognize and ensure the development of creativity as differential towards sustainability and the last resort accessible in terms of pedagogical strategy on capacity building for a fundamental culture emancipatory and social responsibility. The development of creativity in education is regarded today as the 'creative capital' of the new millennium as it will have a competitive advantage in positioning world countries who awaken to meet the new demands and new needs of humanity. To accomplish this, we carried out a qualitative research through literature review and documentary. Investigative tools were also applied with twenty-six teachers, one hundred and one students from the Institute of Culture and Art - (ICA) of the Federal University of Ceara - (CFU) to collect teacher and student perceptions about the stimulus to creativity throughout the training process at graduation. Developed, finally, interviews with managers of five courses that formed the sample of this research, to complement the perceptions analyzed by means of other instruments. The main results point to a reality much closer to other scenarios investigated at the national level, in which the most frequent challenges this context relates to training of teachers, the time for experimentation in classroom practices, monitoring students' individual projects by teachers, the lack of suitable environments for creative practices and lack of materials needed for practical exercises in general in the disciplines.<br>O presente trabalho refere-se à uma investigaÃÃo acerca do desenvolvimento da criatividade no ensino superior. Vale salientar a importÃncia da temÃtica no contexto da EducaÃÃo Superior visto que se percebe a atual transiÃÃo da mentalidade vigente no que tange a abordagem de estruturas pedagÃgicas. Em alguns paÃses de primeiro mundo prevalece a preocupaÃÃo com o estÃmulo à criatividade, que a partir de iniciativas governamentais reconhecem e asseguram o desenvolvimento desta criatividade como diferencial rumo à sustentabilidade e o Ãltimo recurso acessÃvel em termos de estratÃgia pedagÃgica na construÃÃo de capacidades fundamentais para uma cultura emancipadora e de responsabilidade social. O desenvolvimento da criatividade na educaÃÃo à tido hoje como, o âcapital criativoâ do novo milÃnio visto que terÃo vantagem competitiva no posicionamento mundial os paÃses que despertarem para o atendimento das novas demandas e recentes necessidades da humanidade. Para a realizaÃÃo deste, foram realizadas pesquisas de cunho qualitativo, atravÃs de revisÃo bibliogrÃfica e documental. TambÃm foram aplicados instrumentos investigativos junto a vinte e seis professores, cento e um alunos do Instituto de Cultura e Arte - (ICA) da Universidade Federal do Cearà â (UFC); a fim de coletar as percepÃÃes docente e discente acerca do estÃmulo a criatividade ao longo do processo formativo na graduaÃÃo. Desenvolveu-se, por fim, entrevistas com cinco gestores dos cursos que formaram a amostra desta pesquisa, a fim de complementar as percepÃÃes analisadas por meio dos demais instrumentos. Os principais resultados apontaram para uma realidade muita prÃxima de outros cenÃrios investigados em nÃvel nacional, nos quais os desafios mais recorrentes deste contexto dizem respeito à formaÃÃo dos professores, ao tempo destinado à experimentaÃÃo nas prÃticas de sala de aula; o acompanhamento individual dos projetos discentes por parte dos professores; a falta de ambientes adequados Ãs prÃticas criativas e a falta de materiais necessÃrios aos exercÃcios prÃticos de forma geral nas disciplinas.
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Lentis, Marinella. "Art Education in American Indian Boarding Schools: Tool of Assimilation, Tool of Resistance." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/203447.
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This dissertation examines the process of domestication of American Indian children in government-controlled schools through art education. At the end of the nineteenth century, Thomas J. Morgan, Commissioner of Indian Affairs (1889-1893), and Estelle Reel, Superintendent of Indian schools (1898-1910), brought changes to the curriculum of Indian schools by introducing the teaching of elementary art and instruction in "Native industries" such as pottery, weaving, and basketry. I claim that art education was as an instrument for the `colonization of consciousness,' that is, for the redefinition of Indigenous peoples' minds through the instilment of values and ideals of mainstream society and thus for the maintenance of a political, economic, social, and racial hierarchy. Art education served the needs of the late-nineteenth century assimilationist agenda. I consider Morgan's and Reel's national mandates at the turn of the twentieth century and examine their rationales for including drawing and Native crafts in the Indian schools' curriculum. This knowledge of educational programs crafted at the bureaucratic level is applied to an analysis of art instruction in two selected institutions, the Albuquerque Indian School in New Mexico and the Sherman Institute in Riverside, California, from 1889 to 1917. I examine local responses to government policies and daily practices of Indian education at the micro level in order to provide specific information as to the organization, structure, and pedagogy of art instruction within a school day in these particular localities. Finally, I discuss how students' artworks were displayed in the context of exhibitions and national conventions as exemplary evidence of the progress toward civilization, but also of the instrumentality of an Anglo education in reaching this goal. As Indian policy changed, so did the art curriculum of Indian schools; while drawing continued until the mid-1910s Native arts and crafts began to disappear and were eventually discontinued. As activities that promoted independence and individual creativity, they began to undermine the government's agenda. From the early 1890s when it was first introduced into Indian schools to the mid-1910s when it lost its significance, art education was a tool for the assertion of America's hegemonic power.
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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.
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Sakoutis, Stephanie Joan. "The Origins of Three Meroitic Bronze Oil Lamps in the Museum of Fine Arts, Boston." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/47.
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This thesis discusses three bronze oil lamps found in the ancient city of Meroë, in the collection of the Museum of Fine Arts, Boston. Scholars have considered the lamps to be imported from Hellenistic Egypt, but careful examination has revealed that the lamps were not imported. The lamps were locally made in Meroë; the materials and technology needed to create bronze lamps were available to Meroitic craftsmen.
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Lind, Norah Hardin. "Lilian Westcott Hale and Nancy Hale: From Victorian to Modern in Art and Text." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/81.
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Lilian Westcott Hale (1880-1963) and her daughter Nancy Hale (1908-1988) built successful careers during a period of transition in America, as Victorian mores were replaced by new modern freedoms. Greater independence for women had evolved during the preceding century, before the influential cultural factors which occurred during the early twentieth century like urbanization and world war. This interdisciplinary analysis of Lilian Hale‘s artwork and Nancy Hale‘s writings demonstrates the imprint of the surrounding world on their work. Lilian Hale‘s art is influenced by her Victorian childhood, and Nancy Hale‘s fiction reveals many conflicts of the modern era. The study of these two women is enhanced by the wealth of primary documentation connecting their ideas and their lives to their artistic works. Both of the women ranked among the most respected in their fields during their lifetimes. Their works resonate with elements of their eras, demonstrating what it was to be a woman during the first half of the twentieth century. Lilian Westcott Hale and Nancy Hale both engage the gender constructs of their periods through their work. Lilian Westcott Hale‘s art is divided here into three distinct genres: her still lifes and landscapes express the confining environment the Victorian woman occupied; her idealized women reflect the period‘s taste for female perfection and beauty; her portraits and figure studies point to Hale‘s own distinction between males and females through their clothing and their poses. Unlike Lilian Westcott Hale, Nancy Hale demonstrates woman‘s new freedoms in an open manner, a result of the break with Victorianism. Hale‘s use of a literary medium allows her direct examination of the turmoil caused by the modern breakdown of Victorian structures. Lilian Westcott Hale refrains from harsh judgment of her daughter‘s world, while Nancy Hale‘s modern challenge of the previous era‘s standards leads her into troubling relationships and difficulties balancing her career with her personal life. Their work reveals the cultural ideologies of their respective eras and particularly the changes taking place for women.
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Denton, Michael. "Crowdsourcing the production of public art : a thesis presented in partial fulfilment of the degree of Master of Design, Massey University College of Creative Arts, Institute of Communication Design." Massey University, 2010. http://hdl.handle.net/10179/1345.
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Many people that would like to contribute at some level towards creating art in public spaces. However little is currently being done to make use of this untapped potential. The difficulties involved with collecting and coordinating dispersed talent often prevents it from being utilized. But now the Internet offers new opportunities to make harnessing latent talent much easier. Successful online platforms (such as Wikipedia and YouTube) demonstrate the potential value that can be derived from volunteers when appropriate systems are in place to utilize their contributions. Jeff Howe refers to this idea of harnessing distributed volunteered effort via the web as ‘crowdsourcing’. Which he explains as “the process by which the power of many can be leveraged to accomplish feats that were once the province of a specialized few” (2008). This thesis aims to investigate how an online platform might harness voluntary contributions in order to produce public art. The design objective for this project is to develop an online platform that allows people to contribute towards creating art in public spaces. My research explores the needs and motivations of potential contributors as well as techniques for harnessing voluntary contribution and coordinating group effort. As understanding human behaviour and user interaction is central to this project I have adopted a user-centered approach to research and development. To better understand the requirements of the proposed online platform user research was initially conducted in the form of focus groups with potential users and then via an in depth case study. In order to tackle the challenge of designing an entire platform the process was divided into distinct elements that could be addressed individually. These elements included the core functionality, the brand identity, the structural design, the interface design, and the visual design. For each element I consider what techniques might help to better harness voluntary contribution. The final result provides an online environment for people to get involved with specific art projects around their city. Projects are presented as separate challenges and users can contribute at many different levels such as sharing designs online, attending events, or simply providing feedback
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Ibbotson, Verity Rose. "Collaboration and the Arts and Crafts Movement : the Art Workers' Guild, the Arts and Crafts Exhibition Society, the Quarto Imperial Club, and related group endeavour in Boston and Chicago." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577638.
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Wessels, P. G. W. "Commercialisation of a strategic government-owned military institute : a market orientated approach to the development of a marketing strategy for OTB test range." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50297.
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Thesis (MBA)--Stellenbosch University, 2005.<br>ENGLISH ABSTRACT: OTB, a Division of Denel, is a multi purpose test range specialising in the in-flight
testing of guided missile systems and aircraft. Originally established as a launch
facility for an ambitious low earth orbit satellite programme, and with a secondary
function to support the South African military industry, its raison d'etre stemmed from
strategic military considerations.
Changes in the political and economical scene, which started in the early nineties,
led to the cancellation of the satellite programme and a dramatic downswing in the
production of arms in South Africa. This rendered much of the capability of OTB
redundant. Although the government signalled its desire to maintain access to the
services of a test range in order to support an indigenous arms industry, OTB was
structured as a division of Denel at its formation as a company operated for profit.
This left OTB faced with the challenge to replace government grant funding with
revenues earned in the market place. Furthermore, the drastically lower domestic
military spending provided insufficient business to support a test range at the
technological level required to serve the demands of modern weapons testing. In
order to survive, OTB had to be successful in broadening its client base in a highly
competitive commercial environment, a feat only possible with the implementation of
an effective marketing strategy.
The objective of this study is to formulate a marketing strategy for OTB based on a
market orientated approach, bearing in mind that the task at hand is the marketing of
a service. The study covers the relevant marketing theory in some depth and
employs it as a basis to conduct a situational review followed by the development of
an appropriate marketing mix and implementation plan.
Even though the development of a marketing strategy for the test range produces
some unique issues to address, the applicability and extent of coverage afforded by
existing marketing theory suggest that OTB's circumstances show significant
commonality with those encountered in other situations and therefore may find
broader application. Some of the notable findings are: (1) the integrated marketing
effort demanded by the market orientated approach; (2) the distinctive elements
contained in the marketing mix of a service organisation; and (3) the possibility and
need to retain a strategically founded market while developing a commercially driven
market requiring particularly sharp market segmentation and distinctive strategies
respectively.<br>AFRIKAANSE OPSOMMING: OTB, In Divisie van Denel, is 'n multi-aanwendbare toetsbaan wat spesialiseer in die
in-vlug toetsing van geleide missiele en vliegtuie. Die toetsbaan is oorspronklik
ontwikkel as 'n fasiliteit vir die lansering van lae aardbaan satelliete met, as
sekondere funksie, die ondersteuning van die Suid-Afrikaanse militere industrie. Die
aanvanklike bestaansreg van die fasiliteit was dus gesetel in militer-strategiese
oorwegings.
In die vroee neentigs het politieke en ekonomiese veranderinge wat aan die
ontwikkel was gelei tot die kansellering van die satellietprogram en 'n drastiese
afname in die produksie van krygstuig in Suid-Afrika. Die gevolg was 'n
onaanvaarbare onderbenutting van die toetsbaanvermoens en -kapasiteit. Alhoewel
die regering aangedui het dat dit van voornemens was om toegang tot 'n
funksionerende toetsbaan te verseker ten einde die plaaslike militere industrie te
ondersteun, is OTB met die stigting van Denel as 'n divisie daarvan gestruktureer
met die doel om winsgewend te opereer. Dit het OTB gelaat met die uitdaging om 'n
staatsbefondste begroting met 'n inkomste uit die kommersiele markte te vervang.
Voorts het die dramatiese afname in die plaaslike militere spandering tot sodanige
verlaging van inkomste uit hierdie bron gelei dat dit nie meer voldoende was om die
toetsbaan op die verlangde tegnologiese vlak te onderhou nie. Ten einde te oorleef
moes OTB sy klientebasis verbreed in 'n hoogs kompeterende kommersiele
omgewing, 'n doelwit wat slegs haalbaar is met die implementering van 'n effektiewe
bemarkingstrategie.
Die doel van hierdie studie is die formulering van 'n bemarkingstrategie vir OTB
gebaseer op 'n markgeorienteerde benadering met inagneming dat die taak voor
hande die bemarking van 'n diens is. Die studie dek die relevante bemarkingsteorie
tot 'n redelike mate en steun voorts daarop om 'n situasie analise, gevolg deur die
ontwikkeling van 'n gepaste bemarkingsamesteliing (marketing mix) en
implementeringsplan te ontwikkel.
Selfs al lewer die ontwikkeling van 'n bemarkingsplan vir die toetsbaan sommige
unieke aspekte op, dui die toepaslikheid van, en die mate waartoe die bestaande
teorie die probleme aanspreek daarop dat OTB se omstandighede duidelike
ooreenkomste toon met die wat reeds in ander situasies ondervind is. Die
bevindinge hier mag dus wyer toepassing hê. Sommige van die noemenswaardige
waarnemings is: (1) die geintegreerde bemarkingpoging wat deur die
markgeorienteerde benadering vereis word; (2) die onderskeidende elemente wat in
die bemarkingsamestelling (marketing mix) vir dienste voorkom; en (3) die
moontlikheid en belangrikheid om 'n strategies gefundeerde mark te behou terwyl 'n
kommersiele mark ontwikkel word met die skerp marksegmentering en spesifiek
gerigte strategie wat per marksegment onderskeidelik nodig is.
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Costa, Beatriz de Alcantara. "Relatório de Estágio no Middlesbrough Institute of Modern Art." Master's thesis, 2019. https://hdl.handle.net/10216/123501.
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Costa, Beatriz de Alcantara. "Relatório de Estágio no Middlesbrough Institute of Modern Art." Dissertação, 2019. https://hdl.handle.net/10216/123501.
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Phipps, Linda S. "The Art Institute of Chicago 1890-97 patrons and architects /." 1986. http://catalog.hathitrust.org/api/volumes/oclc/15313197.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1986.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 170-182).
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Champagne, Linakim. "L’institutionnalisation du Street Art : l’exposition d’Os Gemeos à l’ICA de Boston." Thèse, 2017. http://hdl.handle.net/1866/20162.
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Shapiro, Joshua. "The Wits Institute of religion & art: a centre of dialogue." Thesis, 2018. https://hdl.handle.net/10539/24895.
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This document is submitted in partial fulfilment for the degree: Master of Architecture (Profesional) at the University of Witwatersrand, Johannesburg, South Africa, 2018<br>Th e geographical change of the city of Johannesburg over the years has developed various spatial problems to the urban landscape. A set of conditions have characterised spaces in-between, left over, and peripheral spaces. Th e impact of these fragments continues to plague the city’s urban fl ow and the cityscape. In contrast, current development spatial patterns continue to widen the territory of urban edges. Th ere is a need to integrate city fragments to the urban fabric by dissolving its impacts. It requires an approach of redefi ning the private and public realm. An intervention to urban edges presents the opportunity to defi ne spaces of encounter. It requires an approach that will place the importance of connectivity, porosity, and transparency at the centre. Th is approach is vital in redefi ning private-public spaces. In recent years, major cities have used sport as a tool in regenerating urban areas. Existing literature confi rms that many cities have used sports as a tool in forging a new identity for areas and advancing the quality of life (Rosentraub, 2009:10). While these fi ndings are important, understanding the role of sport and its potential needs to be investigated. Architecture continues to possess the ability to perform a transformative role in communities. Th e opportunity to explore this ability exists in space for sports. Th e use of sport as a tool in education, health, research and social inclusion is explored in appropriating urban edges. Th e intervention is an approach on how to stitch together urban edges with the goal of seamlessly integrating these spaces to the urban fabric as vital spaces of connectivity and spaces of intensity. It is a social tool fostering development and education for young people. Th e use of a sports facility as a catalyst is aimed at linking and inspiring integration to the surrounding neighbourhoods.<br>XL2018
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LoGiudice, Peter. "Humanism and the classical the expansion of the Art Institute of Chicago /." 2006. http://etd.nd.edu/ETD-db/theses/available/etd-04212006-063136/.
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Lin, Pei-Wen, and 林姵汶. "A Case Study of the Curriculum Approach of a Private Art Institute." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/5wsv92.
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碩士<br>國立彰化師範大學<br>美術學系<br>107<br>Social art education has becoming more popular. However, there were only a few studies on private art institutes, such as art supplementary classes, ateliers, after-class schools and studios. Thus, this present case study stated the curriculum rationale and practice of a private art institute, and discussed the flexibility and openness of its curriculum development. To achieve the goal of this study, in-depth interviews and classroom observations were conducted, and related materials were collected. A private art institute（hereinafter referred to as X institute）was selected for this case study for its uniqueness and professionalism. The founder, senior educators and business partners were invited for individual interviews. This study attempted to present the various aspects of X institute by interviewing different people and observing classes. To faithfully convey the story of X institute, five topics were discussed in this study, development context, educational concept, curriculum design, class planning, and curriculum implementation.
Findings in this study were: (i) The Unique curriculum design was developed by the founder，and various classroom hardware was used when teaching. Its educational concept was a six-faced philosophy which referred to thinking, body, story, life, gallery, and island. The educators taught students how to use their five senses to discover the beauty in life, and highlighted the educational concept of life aesthetics and thinking; (ii) X institute developed a unique logical aesthetics teaching system, sinking teaching method, and four teaching tools. It could offer more complete curricula because of its structural and systematic teaching methods. It implemented and localized foreign art education theories in classroom in Taiwan. ; (iii) Teachers in X institute were professionally independent, and only needed to achieve course objectives when teaching. With mutual adaptation, teachers could keep a balance between curriculum rationale and teaching methods. The flexibility of private art institutes might provide art educators different ideas.
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MA, Nan-Hsuan, and 馬南璇. "A Study of Membership Program of Art Institute of Chicago (AIC), Illinois, USA." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/49q3ea.
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碩士<br>國立臺北藝術大學<br>藝術行政與管理研究所碩士班<br>99<br>Art Institute of Chicago (AIC) is a world-renowned large museum for fine arts and also a private non-profit organization. AIC is one of the many private museums that use membership program to reinforce their revenue. In 2008, AIC''s annual revenue was 83,247,000 U.S. dollars, and proceeds from membership are 4,375,000 dollars. Membership contributed 5.26% of the annual revenue, so it''s an important part of AIC''s operation.
This research set the inquiry upon the Membership Program at AIC, in order to understand the marketing and operational aspects of a membership program in a large private institute for the arts in the United States. First, the institutional structure and operations, current and historical, of the program will be reviewed. Second, a questionnaire will be implemented in the AIC Member Lounge to understand members'' perceptions toward this exclusive place for them, and this place''s benefits on the membership program, including its scope and effectiveness.
This thesis includes the following parts: (1) Introduction includes research motives, problematic, structure, objectives, tools for analysis, limits, and literature review. (2) The background and history of AIC. (3) Introduction to AIC Membership Program and Member''s Lounge. (4) Analyses of questionnaire with contingency tables. (5) Conclusions and suggestions, based upon the contingency table analysis, will include analytical conclusions and suggestions for future research and practices.
This research learns that, the AIC Member''s Lounge has positive effects for encouraging members to maintain their memberships, and it''s somewhat critical to middle age, younger and male members. The relaxation space and free beverage are the most favored services in the lounge. Last, this research discovers that while the AIC membership program uses the methods of market segmentation in its several services for members, these services can support all the others to form a balanced total, resulting in a strategic integration of the membership program.
In the United States, it is the people''s need and public trust toward museums the basic reason why the museums founded by private entities or endowed institutions can flourish. This research indicates that, beyond the economic factors based on benefits, the two most important factors to encourage people to join or maintain membership are: the fondness for arts and the willingness to support AIC.
Therefore, the success of a membership program is a way to examine how trustworthy a museum is to the public. It''s because membership program''s exercise reflects whether the museum deserves the support from the public, and whether appropriate management exists in it.
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Chaseling, Scott. "Post graduate diploma, Canberra School of Art, Canberra Institute of the Arts, 1991." Thesis, 1991. http://hdl.handle.net/1885/156246.
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Cuyún, Jennifer Lara, and 辜妍貞. "Internship Report at FOTOSOFT Institute of Photography: Developing an Art Installation to Promote Contemporary Art Photography within Taiwanese Society." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/43488493709078799306.
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碩士<br>國立臺北藝術大學<br>文創產業國際藝術碩士學位學程<br>101<br>The purpose of this paper is to research and present the current tendencies of Installation Art and Contemporary Art Photography in order to understand the Photograph as a medium to create Installation Art. This paper also illustrates a selection of 15 photo-artists whomthrough their artworks share a commitment to making their own contribution to the physical and intellectual space of culture.The aim of these works are presented to give foundation to the development of the Solo-Photo Installation The Absence of the Unknown, held in FOTOSOFT Institute of Photography(視丘攝影藝術學院), Taipei 2015. This Installation was a personal contribution in collaboration with WU Jiabao (吳嘉寶), founder ofthe Institute. The Solo-Photo Installation served with the purpose of a case study since the main focus of this Installation was to develop an artwork from a foreigner’s perspective in order to promoteContemporary Art Photography within the Taiwanese society.
Research collected helped to create a practical guide of the promotion and development of a Photo-Installation, which would serve as a model to be applied in the development of an Art Installation.Through an “observer as participant” approach,interviews and questionnaires,the research analyzed the data by interpreting the insights and experiences of professional artists, art students and non-art related attendants. The obtained datahelped toarrived to the final conclusions and recommendations. There is also a considerable scope for further investigation.
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Andrews, Justin. "Sub-thesis from Art Theory Workshop." Master's thesis, 2003. http://hdl.handle.net/1885/155518.
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Stein, Deborah Hartry. "The visual rhetoric of Charles Callahan Perkins: the early Italian Renaissance and a New Fine Arts paradigm for Boston." Thesis, 2017. https://hdl.handle.net/2144/20875.
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The art historian Charles Callahan Perkins (1823–1886) taught Boston elites to embrace early Italian Renaissance art, and, in so doing, transformed the cultural landscape of his city. Mostly Unitarian in their religious beliefs, the local elites had previously spurned Italian paintings and sculpture of the fourteenth and fifteenth centuries for their Roman Catholicism. However, when the new Museum of Fine Arts opened on July 4, 1876, the institution displayed close to one hundred art objects of the period, mostly copies. Perkins, who had returned recently from twenty-five years in Europe as an acclaimed scholar and illustrator of early Italian Renaissance sculpture and an expert in fine arts museums, was responsible for this result.
Perkins focused on art whose “visual rhetoric” reflected the early Italian Renaissance humanist belief in clarity of line and subject as the most pleasing and edifying in art. These Renaissance principles emerged in his view from classical rhetoric, that is strategies for persuasive spoken and written communication, which had long been the core curriculum of Harvard University where Boston elites studied. Perkins also capitalized on the city’s taste for classical sculpture by privileging quattrocento sculpture, which, while more devotional in subject than had traditionally been displayed, did feature a naturalism that evoked ancient art.
Chapter one presents four biographical case studies of individuals who were important players in shaping the fertile cultural ground upon which Perkins built a generation later. Chapter two forges the link between classical rhetoric and the fine arts in ante-bellum Boston. Chapter three examines the broad-based revival of early Italian Renaissance art that Perkins encountered in mid-century Europe. Chapter four assesses his own professional oeuvre within that context. The concluding chapter demonstrates how Perkins revamped ideas of what constituted fine art and how it could be viewed by positioning early Renaissance art at the new Museum as a powerful visually rhetorical tool, thus achieving a far more wide-reaching cultural change than previous scholarship has suggested.
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Violette, Zachary J. "The decorated tenement: working-class housing in Boston and New York, 1860-1910." Thesis, 2014. https://hdl.handle.net/2144/15106.
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During the Gilded Age, the use of elaborate architectural ornament extended to the facades of tenements built for the working class in Boston and New York. Yet these lavish "decorated tenements," which used industrially-made ornament, did not represent the established view of how a tenement should look. Elite architects, prominent citizens, and housing reformers almost universally created spartan buildings when designing for these classes. In contrast, most of the decorated tenements were built by immigrant entrepreneurs, who remade the landscape of their communities in a way that challenged the notion of tenement districts as sites of unmitigated austerity. The dominant narrative on housing in this period derives from a reform literature that has focused on elite experiments in building and on regulating architecture for the poor. This study, instead, utilizes extensive vernacular architecture fieldwork methods and documentary research to put the more common decorated tenement at its center. The immigrant builders of these structures demonstrated their accommodation to an American landscape of material prosperity by using ornament to tap into longstanding associations with stability, power, and, surplus. In doing so they created an identifiable building type that represents an intersection of European sensibilities, industrial production, American material surplus, social striving, and cultural aspiration.
As chapter one demonstrates, the antebellum period saw the rise of explicitly classed landscapes for the working class. Full of worn-out buildings these neighborhoods were dismissed as 'slums.' Chapter two examines the complex web of people who built the decorated tenement, immigrant builders, and architects who largely wiped away the physical severity of the slum. Chapter three explores the design and decoration of the tenement, describing the ways in which ornament was used on these buildings, its production, cost, availability, and meanings. The decorated tenement was part of a wider phenomena described in chapter four in which forms formerly associated with the working class were replaced with industrially-made goods in styles associated with the elite. Chapter five details how the Arts and Crafts movement for aesthetic purity corresponded to the social and cultural simplicity manifested in the housing reform movement.
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Allende-Pellot, Francis H. "Designing a website as part of networking : a process to cultivate support and community amongst artist-educators /." 2005.
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Wiesenberger, Robert. "Print and Screen, Muriel Cooper at MIT." Thesis, 2018. https://doi.org/10.7916/D8VM5VC5.
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Muriel Cooper (1925–94) worked at the Massachusetts Institute of Technology (MIT) for more than four decades as a graphic designer, an educator, and a researcher. Beginning in the early 1950s, she was the first designer in MIT’s Office of Publications, where she visualized the latest scientific research in print. In the late 1960s, she became the first Design and Media Director for the MIT Press, rationalizing its publishing protocols and giving form to some of the period’s most significant texts in the histories of art, design, and architecture, among other fields. In the mid-1970s, Cooper co-founded the Visible Language Workshop in MIT’s Department of Architecture. There she taught experimental printing and explored new imaging technologies in photography and video. And from the 1980s until her death, Cooper was a founding faculty member of the MIT Media Lab, where she turned her attention to the human-computer interface. Cooper helped cultivate a design culture at MIT. And before her premature death, she established some of the metaphors and mentored some of the designers that have shaped our contemporary digital landscape.
Few 20th century designers have made significant contributions in both print and digital media, or helped to navigate the epochal transition between the two. Yet Cooper, in designing and redesigning roles for herself within new fields at MIT, did just that. Over her career and across multiple media, Cooper’s concerns remained quite consistent: She focused on developing both design tools and user experiences that would provide greater control and quicker feedback, eventually to be aided by machine intelligence. She sought to create experiences that were dynamic rather than static and simultaneous rather than linear, ones that engaged multiple media and a range of human senses. Cooper applied her knowledge of print design to software, and considered print and the process of its production as a prototype for the experiences that she would seek on screen. She also borrowed freely from media such as photography and film to inspire some of the effects she would later explore in new media. Cooper’s career traced an arc, in her practice and her pedagogy, from a focus on objects to one on systems. And her relationship to the digital evolved from a set of effects to be emulated in other media to seeing the computer at first as a tool, then as an assistant, and finally, as the medium itself. At the same time, she participated in a broader shift during this period from the paradigm of the humanist subject to the digitally augmented, “posthuman” condition of the present. In her interests and her achievements, Cooper exceeded any traditional definition of a graphic designer. At the same time, her work has defined the present state of the field. This dissertation, the first dedicated to Cooper, charts her pathbreaking career at MIT while also shedding new light on vital moments in the history of art, design, architecture, and media in postwar America.