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Chubb, Shirley Jane. "Intervention, location and cultural positioning : working as a contemporary artist curator in British museums". Thesis, University of Brighton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479071.
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Berry, Jessica, i n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art". Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Considine, Marie. "The social, political and economic determinants of a modern portrait artist, Bernard Fleetwood-Walker (1893-1965)". Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3639/.
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As the first major study of the portrait artist Bernard Fleetwood-Walker (1893-1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant-garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits. Emerging, and soon dominant, tabloid newspapers shaped content and language to attract readers, influencing the articulation of the reception of the artist’s work. This thesis also makes a contribution to the regional perspective, demonstrating the temporary co-existence of multiple, heterogeneous, modern art worlds. Throughout the thesis the relevance of economic factors is emphasised, reappraising the Marxist theory of modern art and concluding that a more complex economic description is required to provide a sensitive and insightful analysis of art history.
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Mutch, Hollis Hafertepe Kenneth. "Institutional critique artists focus on museological issues /". Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5285.
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Rocha, Cláudia Regina Alves da. "Da Pinacoteca ao Museu: historicizando processos museológicos". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-13022015-104640/.
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O Museu Nacional de Belas Artes e sua documentação museológica constituem o principal objeto de estudo desta pesquisa, que procura investigar em suas origens, junto à Academia Imperial de Belas Artes/Escola Nacional de Belas Artes, as ações de tratamento documental que essas instituições utilizaram. Partindo da premissa de que a criação do Museu Nacional de Belas Artes deuse no século XIX, a pesquisa tem por objetivo mapear as proximidades e distanciamentos, sob o enfoque documental, entre tais instituições.The National Museum of Fine Arts and its museological documentation are the aim of this research, which investigates its originis by the identification of the documentation processes developped at the Imperial Academy of Fine Arts, renamed National School of Fine Arts. Considering that the creation of the National Museum of Fine Arts emerged from the debates on the foundation of an Art Gallery inside the Imperial Academy of Fine Arts in the 19th century, this research explores the similarities and differences between these institutions from the point-of-view of the documentation of their collections.
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Arrowsmith, Rupert Richard. "A British museum era : modernist artists and authors in London's museums, 1905-1918". Thesis, University of Oxford, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486968.
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This study considers the role of London's museums - especially the British Museum - as conduits for the delivery of extra-European visual art to the city's avant-garde during the years preceding World War One. It makes use of documents from the archives of the British Museum, the British Library, the Tate Gallery, the V&A, and the Royal Institute of British Architects - many of which have never before been quoted from or published - to show that the early modernist sculpture of Jacob Epstein, Henri Gaudier-Brzeska and Eric Gill; the philosophy of T.E. Hulme; and the poetic imagery of Ezra Pound, were all decisively shaped by a conscious adaptation of aesthetic concepts and technical approaches from exhibits at the above institutions. For the first time, Epstein is conclusively shown to have based his 1907-8 figures for the British Medical Association - traditionally regarded as London's earliest examples of modernist sculpture - upon Indian temple carvings displayed at the British Museum. New evidence is presented indicating that the sculptor's subsequent tours of the capital's Assyrian, Egyptian, African and Oceanic collections in the company of Gill, Gaudier and Hulme are what suggested many of the aesthetic characteristics of pre-war modernism in Britain. A reassessment of Pound's friendship with the curator and poet Laurence Binyon reveals a previously unsuspected link between Pound's first identifiably modernist poems and the Japanese lIkfyo-e woodblock prints available via the British Museum's exclusive Print Room. Important new evidence from the Museum's own archives and from those of the British Library is used to overturn previous hypotheses about Pound's early engagement with the visual cultures of eastern Asia in general - an engagement that would continue to affect his poetic imagery even as late as the final cantos.
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Kim, Seong Eun. "Artists' intervention in 'universal' museums as traced through the Victoria and Albert Museum, the British Museum and the Pitt Rivers Museum". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508580.
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Moreira, Antonia Camila Alves. "O museu na escuta - a experiência na formação de educadores". Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/5681.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In this reserach, the axis of discussion is the Art Museum Educator Formation. From the shared experience of Museum Studies Group, Museum in listen, and guided by the action-research principles, the research paths intertwine, intermingle and unfold on my journey of educator-researcher, in perspective of the experiences of participants of/in research - between conversations and listenings, and in line with the reflections on the role of education in exhibition spaces and art museums. The main objective of the research was to establish listening process between educators and concerned about Education in Museums, in order to build arguments on the concept of experience at the Art Museum Educator Formation and also on the role of Visual Culture in the process of formation. The Studies Group added Art Course undergraduate students and related areas, the Federal University of Goiás (UFG), and its activities developed in meetings at the Cultural Center of UFG, from period of September to December 2014.
Nesta pesquisa, o eixo de discussão é a Formação de Educadores de Museus de Arte. A partir da experiência compartilhada no Grupo de Estudos Museu na Escuta e orientados pelos princípios da pesquisa-ação, os caminhos de investigação entrelaçam, imbricam e se desdobram sobre o meu percurso de educadora-pesquisadora, em perspectiva das experiências dos participantes da/na investigação – entre conversas e escutas, e em consonância com as reflexões sobre o papel da Educação em espaços expositivos e Museus de Arte. O objetivo central da pesquisa foi instaurar processos de escuta entre Educadores e interessados sobre Educação em Museus, com o propósito de construir argumentos sobre o conceito de experiência na Formação de Educadores de Museus de Arte e também sobre o papel da Cultura Visual nesse processo de Formação. O grupo de estudo agregou estudantes de graduação do curso de Artes e áreas afins, da Universidade Federal de Goiás (UFG), e suas atividades desenvolveram-se em reuniões no Centro Cultural UFG, no período de setembro a dezembro de 2014.
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Parsons, Rachael Nerrada. "Virion : new media and the development of the discursive museum". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/44089/1/Rachael_Parsons_Thesis.pdf.
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The historical rhetoric established with the very first public art museums declared that the purpose of such institutions was to provide a space where art could be accessible to all citizens. However contrary to this aim, studies show that art museums are one of the least accessed cultural institutions in the western world. The prevailing consensus for this can be attributed to the perception that museums are elitist, irrelevant and restricted to a small and privileged group. The focus of this research project is to address the issues that lead to these perceptions, and to identify possible curatorial strategies to encourage greater access to, and participation in the visual arts. This will be done through designing and curating an open submission exhibition that utilises new media technologies to increase access and dialogue between artists and audiences. This is part of a hybrid practice-based methodology that also includes scholarly research to critically investigate a number of historical and contemporary theories concerned with public museums and approaches to curatorial practice. This research will culminate in the development of Virion, an Internet based exhibition that aims to develop a curatorial model that facilitates open and democratic participation in arts practice from a diverse public audience.
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Cregg, Shannon Thacker. "Collaboration and Connection: An Action Research Study on Inclusive Art Museum Programming". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587412917785129.
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Lenz, Elsa. "COMMUNITY CONNECTIONS: OPENING RELATIONAL AND DIALOGICAL SPACE IN ARTS ORGANIZATIONS THROUGH COMMUNITY OUTREACH". Thesis, Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1139%5F1%5Fm.pdf&type=application/pdf.
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Rodrigues, Olira Saraiva. "Museus em redesenvolvimento?" Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8076.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
The maingoalofthisthesis, fromthe cases analysis, istoperformanonthologicalbasedresearch, aboutstructural settings ofmuseums, specifically its system and network organization. The perspective is to verify the effectiveness of these arrangements and their adherence to contemporary conceptual models, from an investigation into the ways of articulating their nuclei, in programs, projects and integrated actions. Concerning the goals, the research is bibliographical, analytical and exploratory. As for the procedures, it is a field research with a qualitative approach.By means of a few historical cuts, the thesis has entered contemporary museums, in connection with the advances of scientific and technological fields and structured in a network, whose themes are not limited to art museums, but to all others, including scientific ones.Networks, Systems, Visual Culture, Phenomenology and Post-phenomenology, interspersed with the thought of complexity are brought up to analyze the ways of linking network structures in museums, while a synergic system of potentialization and not only of sum of their nuclei. The research, after a bibliographical study and analysis presented in two case studies, USP's Science Museum and SISEM-SP, brings forward counter-models and points traces of this network redesign failure in the organizational structure of museums.
A presente tese tem por finalidade, a partir de análise de casos, realizar um estudo de base ontológica, sobre configurações estruturais de museus, mais especificamente sua organização em redes e sistemas. A perspectiva é verificar a efetividade desses arranjos e sua aderência aos modelos conceituais contemporâneos, a partir de uma investigação nos modos de articulação de seus núcleos, em programas, projetos e ações integradas. Quanto aos objetivos, a pesquisa é bibliográfica, analítica e exploratória. Quanto aos procedimentos, tem- se uma pesquisa de campo e a abordagem é qualitativa. Por meio de alguns recortes históricos, a tese adentra em museus contemporâneos, em conexão com os avanços dos campos científicos e tecnológicos e estruturados em rede, cujas temáticas não se limitam a museus de arte, mas a todas as demais, inclusive as científicas. Redes, Sistemas, Cultura Visual, Fenomenologia e Pós-fenomenologia, entremeados ao pensamento da complexidade são trazidos à tona para analisar os modos de vinculação das estruturas em rede nos museus, enquanto um sistema sinérgico de potencialização e não somente de somatória de seus núcleos. A pesquisa, após estudo bibliográfico e análise contida em dois estudos de caso, Museu de Ciências da USP e SISEM-SP, apresenta contra-modelos e aponta indicativos para o insucesso desse redesenho em rede na estrutura organizacional de museus.
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Scheffy, Zoë-hateehc D. "Sami artistry, identity, and indigenism in museums and markets". [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3177636.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2004.Title from PDF t.p. (viewed Dec. 8, 2008). Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1903. Adviser: Henry Glassie.
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Moura, Allana Barcelos de Albuquerque e. "Públicos espontâneos no museu universitário de arte - um estudo sobre a relação dialógica em uma exposição". Universidade Federal de Uberlândia, 2013. https://repositorio.ufu.br/handle/123456789/12315.
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This dissertation deals with a study conducted in the public spontaneously University Museum of Art. For this, we research on the history of the Museum. This research took place at the University Museum of Art with the exhibition \"Concrete Animals\" artist Alex Hornest. We use as theoretical research on university museums Adriana Mortara Almeida, researchers John Falk and Lynn Dierking and his theory of interactive experience in museums, on public research studies of Pierre Bourdieu and Alain Darbel. Abigail Housen\'s research with the theory of aesthetic development in the study and assisted in the analysis of audience responses. We develop scripts of interviews for the research field. We analyzed the answers of the interviews in order to define profiles typical visitor found within this museum. In order to propose ways and materials to continue the study and research about the visiting public of art museums.Este trabalho de dissertação trata de estudo do público espontâneo realizado no Museu Universitário de Arte. Para isso, realizamos pesquisa sobre a história do Museu. Tal pesquisa teve como cenário o Museu Universitário de Arte com a exposição Animais de Concreto do artista Alex Hornest. Utilizamos como referenciais teóricos sobre museus universitários a pesquisa de Adriana Mortara Almeida, os pesquisadores John Falk e Lynn Dierking e sua teoria de experiência interativa em museus, sobre os estudos de público a pesquisa de Pierre Bourdieu e Alain Darbel. As pesquisas de Abigail Housen com a teoria do desenvolvimento estético auxiliaram no estudo e na análise das respostas do público. Desenvolvemos roteiros de entrevistas para a realização da pesquisa de campo. Analisamos as respostas das entrevistas com o objetivo de delinear perfis típicos de visitantes encontrados no espaço deste Museu. Ao fim propomos formas e materiais para dar continuidade ao estudo e a pesquisa acerca do público visitante de museus de arte.
Mestre em Artes
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Barbosa, Maria Helena Rosa. "Museu de arte: desafios contemporâneos para a adoção de políticas educacionais". Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/763.
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Previous issue date: 2009-09-29Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The object of this research is the Brazilian museums of art, mainly in that concerns to their policies. It has, as specific subject, the educational policies and actions resulting from them. So data that were obtained from eight Brazilian museums of art, from different regions of the country whose information about their policies and actions were obtained through questionnaires sent by e-mail, were analyzed. This study stemmed from uneasiness born in the professional exercise within a museum of art space and in it the educational function of museums is discussed. For the development of the study, it was adopted the exploratory research of qualitative and documental nature. Thus, it was organized data about the historical context of the museum of art space, about some concepts that permeate this institution, as well as fundamental issues were investigated in what concerns to the educational function of museums. In relation to the techniques used in the research, in the stage of data collection, it was resorted to the interview, using the resource of two questionnaires: one was answered by a representative of the Administrative sector and other by the representative of the Educational sector from the participating museums. In the data analysis, it was verified, among other results, that the eight museums develop several cultural and educational actions and that they interact with enough heterogeneous publics; however the educative actions in some of them are involved in many problems. They concern to the lack of professionals in the educational sector in determined museums; to the absence of systemized evaluation of the educational actions and others, as well as the lack of conceptual definition and theoretical support in some Educational sectors that were studied. And yet it was verified that some of these museums do not have clear and defined policies, because do not even have an official document that determines policies in relation of their practices and actions
O objeto desta pesquisa são os museus de arte brasileiros, principalmente no que diz respeito às suas políticas. Tem, como recorte específico, as políticas educacionais e as ações delas decorrentes. Foram, para tanto, analisados dados obtidos de oito museus de arte brasileiros, de diferentes regiões do país, cujas informações acerca de suas políticas e ações foram obtidas por meio de questionários enviados via correio eletrônico e-mail. O presente estudo originou-se de inquietações nascidas no exercício profissional dentro de um espaço museal da arte e nele discute-se a função educacional dos museus. Para o desenvolvimento do estudo, adotou-se a pesquisa exploratória de natureza qualitativa e de caráter documental. Desse modo, organizaram-se dados sobre o contexto histórico do espaço museal da arte, sobre alguns conceitos que o permeiam, assim como se investigaram questões fundamentais no que tange à função educativa dos museus. Quanto às técnicas empregadas na pesquisa, na etapa da coleta de dados, recorreu-se à entrevista, utilizando-se o recurso de dois questionários, sendo que um foi respondido por representante do setor Administrativo e outro por representante do setor Educativo dos museus participantes. Na análise dos dados, constatou-se, entre outros resultados, que os oito museus desenvolvem diversas ações culturais e educativas e que interagem com públicos bastante heterogêneos; entretanto, as ações educativas em alguns deles estão envoltas em muitas problemáticas. Elas dizem respeito à falta de profissionais no setor Educativo, em determinados museus; à ausência de avaliação sistematizada das ações educativas em outros, bem como à falta de definição conceitual e sustentação teórica em alguns setores Educativos estudados. E ainda constatou-se que alguns desses museus não possuem políticas claras e definidas, pois não dispõem nem mesmo de um documento oficial que determine diretrizes em relação às suas práticas e ações
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Alvarez, Veronica. "Art Museums and Latino English Learners| Teaching Artists in the K-8 Classroom". Thesis, Loyola Marymount University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10935081.
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Latino English learners (ELs), among the largest student population in the United States K-12 school system, continue to lag behind their English-proficient peers. They also tend to attend segregated schools, have less-qualified teachers, and lack access to rigorous curriculum, including the arts. Museum education departments have increasingly sought to fill the gap in arts education for underserved populations. This mixed methods study explored the degree to which teaching artists (TAs) from a large metropolitan museum are effectively addressing the art education needs of Latino ELs. The dissertation study occured in two phases. Phase 1 included quantitative analysis of observations of the TAs using the numeric components and ancedotal evidence of the Observation Protocol for Academic Literacies. Phase 2 consisted of semi-structured interviews with the participants. Findings of the study indicate that while TAs can improve instruction in terms of providing materials of students’ native langauge and providing opportunities to transfer skills between their primary and the target language, they nevertheless use numerous strategies for effective English language instruction. This can inform museum education departments on effective teaching practices of ELs, an area of study that has almost no scholarship.
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Pryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice". Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.
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The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.
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Darbyshire, Jo. "Restlessness of meaning: an exploration of how visual artists are working with museum collections". Thesis, Curtin University, 2003. http://hdl.handle.net/20.500.11937/2511.
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This exegesis is an exploration of issues involved in making an exhibition -The Gay Museum (2003) -at the Western Australian Museum. Inspired by the work of artist Joseph Kosuth at the Brooklyn Museum (1990) and curator Peter Emmett at the Museum of Sydney (1994), this project attempts to explore and extend the role of artists as curators in contemporary museums. The project also shows that by re- interpreting objects in museum collections artists can actively challenge and support museums in a period of change and that collaboration between artists and museums as 'makers of meaning' can open up new possibilities for both. The curatorial vision for the exhibition therefore included strategies from contemporary museums - a multi-disciplinary approach and the use of non-linear narrative - and strategies from the contemporary art world -those that explore an aesthetic approach to objects and installation. Research for the project was determined by the expectations, unique histories and political choices that shaped and connected three 'communities' - Jo Darbyshire from the visual arts community, the Western Australian Museum community and the gay and lesbian community of Western Australia. As The Gay Museum project shows, the collaboration between artists and museums can contribute to museums being sites that vibrantly reflect contemporary cultural changes.
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Leggett, Michael Graham College of Fine Art & Design UNSW. "Burning the Interface : artists' interactive multimedia 1992 - 1998". Awarded by:University of New South Wales. College of Fine Art & Design, 2000. http://handle.unsw.edu.au/1959.4/19334.
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The thesis describes the development during the 1990s of visual artists' utilisation of computer-based interactive multimedia and the production internationally, with a focus on Australian artists, of artworks on the CD-ROM media format. Earlier parts of the author's research led to the exhibition, 'Burning the Interface < International Artists' CD-ROM>', which he co-curated, opening at the Museum of Contemporary Art, Sydney, in 1996, before touring to Perth, Brisbane, Melbourne and Adelaide. The thesis surveys the range of practice by artists working with digital media and the opportunities for exhibition in the public spaces of museums, galleries and the street, and advances scenarios for correcting the laxity of response by the exhibiting institutions to the vigour with which Australian artists represented their work and ideas at this time in national and international forums. Four published artists' work on CDROM are analysed in detail, and a concluding chapter about 'interactive multimedia' and its usefulness as an art medium to the artist introduces the studio practice component of this MFA submission. This takes the form of a prototype 'experimental' version of an interactive multimedia work on CD-ROM, ('Strangers on the Land') a copy of which is contained in a pocket at the rear of the bound version.
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Santana, Mariana Pereira da Cruz Rodrigues. "Para além do museu : o espaço da arte, dos artistas e arquitectura na cidade contemporânea". Master's thesis, Faculdade de Arquitectura de Lisboa, 2012. http://hdl.handle.net/10400.5/5462.
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Darbyshire, Jo. "Restlessness of meaning : an exploration of how visual artists are working with museum collections /". Curtin University of Technology, Research Institute for Cultural Heritage, 2003. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=15181.
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This exegesis is an exploration of issues involved in making an exhibition -The Gay Museum (2003) -at the Western Australian Museum. Inspired by the work of artist Joseph Kosuth at the Brooklyn Museum (1990) and curator Peter Emmett at the Museum of Sydney (1994), this project attempts to explore and extend the role of artists as curators in contemporary museums. The project also shows that by re- interpreting objects in museum collections artists can actively challenge and support museums in a period of change and that collaboration between artists and museums as 'makers of meaning' can open up new possibilities for both. The curatorial vision for the exhibition therefore included strategies from contemporary museums - a multi-disciplinary approach and the use of non-linear narrative - and strategies from the contemporary art world -those that explore an aesthetic approach to objects and installation. Research for the project was determined by the expectations, unique histories and political choices that shaped and connected three 'communities' - Jo Darbyshire from the visual arts community, the Western Australian Museum community and the gay and lesbian community of Western Australia. As The Gay Museum project shows, the collaboration between artists and museums can contribute to museums being sites that vibrantly reflect contemporary cultural changes.
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Durand, Carine Ayele. "Anthropology in a glass case : indigeneity, collaboration, and artistic practice in museums". Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608757.
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Zanin, Hélène. "Rodin et les musées français : enjeux d’une diffusion (1883-1986)". Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100087.
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Le musée Rodin a été fondé par le sculpteur à la fin de sa vie, en 1916, à partir des donations de l’ensemble de son œuvre à l’État français. La création de ce musée monographique, perçue comme un geste patrimonial exemplaire, a magnifié l’idée de l’adhésion absolue de l’artiste au musée comme principe et comme institution. Mais elle a aussi concentré l’attention des historiens qui se sont peu intéressés aux musées ayant acquis des œuvres de l’artiste. Plus largement cette question des liens entre les artistes, leurs œuvres et les collections publiques d’art contemporain à la fin du XIXe siècle a été délaissée. Pourtant, et ce, dès avant l’existence du musée Rodin, les œuvres du sculpteur sont visibles dans de nombreux pays. Après la mort de l’artiste, ce phénomène ne fait que s’amplifier. Il s’agit donc d’observer cette diffusion exceptionnelle en France afin d’en identifier et d’en comprendre les mécanismes. Quels musées ont acquis les œuvres de Rodin ? Pourquoi, quand et dans quelles conditions ? Quelles ont été les positions du sculpteur vis-à-vis de ces musées ? À partir de l’élaboration d’un catalogue, cette thèse a pour projet d’analyser le rôle joué par les musées dans la carrière, la connaissance et l’appréciation de l’œuvre de l’artiste. Pour cela, il convient de s’attacher au parcours des œuvres, de la sortie de l’atelier jusqu’à l’exposition au musée, pour mieux saisir et reconstituer le paysage institutionnel, les pratiques sociales, les acteurs et réseaux mobilisés lors de cette diffusion. Notre étude se décline en six axes de réflexion : l’expérience du visiteur et les représentations du musée, les stratégies de visibilité et de légitimation dans les musées et dans les expositions parisiennes, les mouvements de dépréciation et de reconsidération des musées de province, la création et l’institutionnalisation du musée monographique, l’organisation de la diffusion posthume par le musée Rodin, les réceptions multiples et les interprétations contradictoires de l’œuvre du célèbre sculpteurThrough the donation of his entire work collection to the French state, Rodin founded his museum at the end of his life. The foundation of this monographic museum has been received as a model of legacy for posterity. In the past the idea that Rodin has given his full support to all the museums has been overestimated. Meanwhile, the issues of the specificity of the museums and its links with the artist has been disregarded by the historians. More broadly, the links between the artists of the 19th century and their contemporary museums has also been neglected. Yet, the works of the sculptor were found all over the world before the creation of the Rodin museum and even more after his death. We will focus on this dramatic diffusion in France to identify and understand its mechanisms. Which museums acquired Rodin’s works? Why, when and in which circumstances? What has been Rodin’s position regarding those museums? From the creation of a catalogue, the goal of this thesis is to analyze the role played by museums in the career, the knowledge, and the judgment of the artist’s work. To better understand and rebuild the institutional landscape, the social habits, the actors and networks involved in this diffusion, we will focus on the movement of the works from the studio to the exhibitions. Our study is divided in six parts: the visitor experience and the mental representations of the museum, the promotion and the legitimization strategies in the museums and the Parisian exhibitions, the depreciation and reconsideration tendencies towards the museums in the provinces, the creation and the institutionalization of the monographic museum, the organization of the posthumous diffusion by the Rodin museum, the various judgments and the contradictory readings of the famous sculptor’s work
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Bon, Gabriela. "Discursos e Práticas de Mediação em Espaços Museais no Brasil e na Espanha : Bienal de Artes Visuais do Mercosul, Museo del Prado e Espacio Fundación Telefónica". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149072.
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Esta tese buscou investigar as relações entre os discursos e as práticas de mediação em projetos educativos, tanto de instituições mais tradicionais, quanto de instituições dedicadas à Arte Contemporânea, no Brasil e na Espanha. As instituições selecionadas foram o Museo del Prado e o Espacio Fundación Telefónica, na Espanha, e a Bienal de Artes Visuais do Mercosul, no Brasil. A escolha de tais espaços foi feita pela possibilidade de um acompanhamento continuado: na Bienal de Artes Visuais do Mercosul, devido à minha participação no setor educativo em várias edições do evento; no Museo del Prado e no Espacio Fundación Telefónica, por ter, durante o estágio de Doutorado Sanduíche, realizado visitas regulares com especial atenção às ações educativas desenvolvidas nessas instituições. A concepção de discurso adotada não se resume à missão da instituição disponível em seus estatutos, mas está presente em todos os seus fazeres, seja no design de suas exposições ou nas suas escolhas curatoriais, ou, ainda, sob a forma de impressos, palestras e eventos públicos, cursos de formação internos para seus profissionais, propagandas veiculadas em meios de massa e materiais digitais disponibilizados na internet. Ressalta-se que este último veículo tem se constituído como uma potente forma de divulgação dos fazeres das instituições. Isto se deve ao fato de que, muitas vezes, o contato através da internet é a primeira aproximação de um visitante com uma instituição, seja através do design e dos conteúdos de seu site, seja através de postagens nas redes sociais da própria instituição ou, ainda, dos comentários de outros visitantes acerca de suas próprias experiências. Dessa forma, a concepção de práticas de mediação engloba desde a estrutura do percurso, o tempo destinado, o tipo de roteiro, a postura do mediador, a leitura das imagens e o modo como são segmentados os grupos. Os fundamentos teóricos envolvem questões da educação na pós-modernidade, em especial os trabalhos de Lyotard e Bauman; os estudos situados na interface da arte, da educação e da leitura de imagem (BARBOSA; PILLAR; ACASO); as pesquisas da semiótica discursiva (FONTANILLE); e os regimes de interação e sentido (LANDOWSKI). A metodologia utilizada foi baseada na descrição e análise proposta pela teoria semiótica discursiva quanto aos regimes de interação e sentido. Os resultados apontam que, em relação aos discursos das instituições há predominância dos regimes de programação e de manipulação, em especial de estratégias de sedução; no que tange às práticas, o Museo del Prado está baseado no regime de programação; já no Espacio Fundación Telefónica e na Bienal de Artes Visuais do Mercosul observam-se ações nos regimes do ajustamento e do acidente. As conclusões evidenciam que as relações entre os discursos e as práticas de mediação no Museo del Prado alinham-se no regime da programação; no Espacio Fundación Telefónica e na Bienal de Artes Visuais do Mercosul os discursos transitam entre os regimes da programação e da manipulação, mas nas práticas de mediação também são observados os regimes do ajustamento e do acidente. A pesquisa revela, portanto, que há uma consonância entre discursos e práticas no Museo del Prado e uma dissonância entre discursos e práticas no Espacio Fundación Telefónica e na Bienal de Artes Visuais do Mercosul.This thesis aimed to investigate the relationship between the discourses and practices of mediation in educational projects developed by traditional institutions and those ones dedicated to Contemporary Arts in Spain and in Brazil. The selected institutions were Museo del Prado and Espacio Fundación Telefónica in Spain and Bienal de Artes Visuais do Mercosul in Brazil. The choice of these spaces was based on the possibility of continuous monitoring: I had participated in the educational sector at Bienal de Artes Visuais do Mercosul for several editions, and I had made regular visits at Museo del Prado and Espacio Fundación Telefónica during my Doctoral Sandwich program, focusing on educational activities developed by such institutions. The concept of discourse adopted by the said institutions is not limited to the mission stated in their by-laws, actually it is present in all their actions: from the exhibition designs, including the printed materials, to the curatorial choices; from the lectures and other public events to the internal training courses for their staff; from the advertisements aired in mass media to the digital materials available on the Internet, which has become a powerful means for divulgating the institutions’ actions. Most of the times, the visitor’s first contact with an institution occurs either through its website design and content or through other visitors’ postings and comments on their own experiences. Therefore the concept of mediation practices ranges from the route structure, including its schedule and the kind of script, to the mediator’s posture, including image reading and how the groups are segmented. The literature review involves education issues in postmodernity, in particular the studies of Lyotard and Bauman; the studies of the interface of art, education, and image reading (BARBOSA; PILLAR; ACASO); the researches about discursive semiotics (FONTANILLE); and the interaction and sense regimes (LANDOWSKI). The methodology applied was based on the description and analysis proposed by the discursive semiotic theory in relation with interaction and sense regimes. The results show that regarding the institutions’ discourses the predominance lies on programming and manipulation regimes, especially when it comes to seduction strategies; in relation with practices, Museo del Prado is based on programming regime; on the other hand, Espacio Fundación Telefónica and Bienal de Artes Visuais do Mercosul are based on adjustment and accident regimes. The conclusions show that the relationship between discourses and practices of mediation at Museo del Prado align with programming regime; at Espacio Fundación Telefónica and Bienal de Artes Visuais do Mercosul the discourses range from programming to manipulation regimes, but adjustment and accident regimes are also observed during the practices of mediation. However, the research reveals a consistency between discourse and practice at Museo del Prado and an inconsistency between discourse and practice at Espacio Fundación Telefónica and Bienal de Artes Visuais do Mercosul.
Esta tesis objetivó investigar las relaciones entre los discursos y las prácticas de mediación en los proyectos educativos, tanto en instituciones más tradicionales como en las que se dedican al arte contemporáneo en Brasil y en España. Las instituciones seleccionadas fueron el Museo del Prado y el Espacio Fundación Telefónica, en España, y la Bienal de Artes Visuales del Mercosur, en Brasil. La elección de estos espacios se hizo frente a la posibilidad de un seguimiento continuo: en la Bienal de Artes Visuales del Mercosur, debido a mi participación en el sector de la enseñanza en varias ediciones del evento; en el Museo del Prado y en el Espacio Fundación Telefónica, por haber realizado, durante la etapa de pasantía de Doctorado en el Exterior, visitas periódicas con especial atención a las actividades educativas desarrolladas en estas instituciones. El concepto de discurso adoptado no se limita a la misión de la institución disponible en sus estatutos, sino que está presente en todos sus hechos, ya sea en el diseño de sus exposiciones o en sus decisiones curatoriales o, incluso, en forma de productos impresos, conferencias y actos públicos, cursos de formación interna para sus profesionales, comerciales emitidos en medios de comunicación y materiales digitales disponibles en Internet. Interesa destacar que este último vehículo se ha establecido como una poderosa forma de divulgación de los hechos de las instituciones. Esto se debe al hecho de que, a menudo, el contacto por internet es la primera aproximación de un visitante con una institución, ya sea a través del diseño de los contenidos de su sitio, ya sea a través de publicaciones en las redes sociales de la institución o, por otra parte, sea por los comentarios de otros visitantes acerca de sus propias experiencias. Por lo tanto, la concepción de las prácticas de mediación incluye desde la estructura de ruta, el tiempo asignado, la modalidad de la visita, la postura del mediador, la lectura de las imágenes hasta la forma de segmentación de los grupos. Los fundamentos teóricos implican los temas de educación en la posmodernidad, especialmente las obras de Lyotard y Bauman; los estudios ubicados en la interfaz de arte, de la educación y de la lectura de imágenes (BARBOSA; PILLAR; ACASO); las investigaciones de la semiótica discursiva (FONTANILLE); y los regímenes de interacción y sentidos (LANDOWSKI). La metodología utilizada se basa en la descripción y en el análisis propuesto por la teoría semiótica discursiva sobre los regímenes de interacción y sentido. Los resultados muestran que, en relación a los discursos de las instituciones, hay predominancia de los regímenes de programación y de manipulación, en especial las estrategias de seducción; con respecto a las prácticas, el Museo del Prado se basa en los regímenes de programación; ya en el Espacio Fundación Telefónica y en la Bienal de las Artes Visuales del Mercosur se observan acciones en los regímenes de ajustamiento y del accidente. Las conclusiones muestran que la relación entre los discursos y las prácticas discursivas de mediación en el Museo del Prado están alineadas en el régimen de la programación; en el Espacio Fundación Telefónica y en la Bienal de Artes Visuales del Mercosur los discursos se mueven entre los regímenes de la programación y de la manipulación, pero en las prácticas de mediación también se han observado los regímenes de ajustamiento y de accidente. La investigación revela, así, que existe una concordancia entre el discurso y la práctica en el Museo del Prado y una disonancia entre los discursos y las prácticas en el Espacio Fundación Telefónica y en la Bienal de las Artes Visuales del Mercosur.
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Robins, Claire. "How did the reticent object become so obliging? : artists' interventions as interpretive strategies in galleries and museums". Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10019933/.
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This is a study about knowledge/power in galleries and museums, contested and reconfigured by a genre of artworks, referred to as Artists' Interventions. Such artworks, their intended functions, and pedagogic uses are the locus of the study. I define galleries and museums as inherently pedagogic institutions, which have historically constructed and disseminated dominant systems of value. In order to examine in what ways these values have been reconfigured through Artists' Interventions, I undertake a historiography of the role of the gallery and museum. In defining interventions, I differentiate between interventionist artworks that disrupt and contest the 'normative' or dominant discourse of galleries and museums, and artworks that support and confirm established interpretations of art and artefacts, and focus attention on the former. I propose art-historical predecessors for Artists' Interventions and situate contemporary initiatives in relation to disruptive, dialogic and parodic methodologies. These are more closely examined in a central case study, a practice-based aspect of the thesis in which I make my own intervention, An Elite Experience for Everyone, performed and exhibited at the William Morris Gallery, London (2005). Where Artists' Interventions have emerged against a backdrop of dominant regulatory and divisionary discourse their disruptive and parodic strategies re-establish the museum as a discursive forum. However, the trope of disruption and dialogue has recently been accommodated within curatorial and pedagogic initiatives. Only the trickster is allowed to evade this assimilation.
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Ururahy, Heloisa Pinto. "Museus na internet do século XXI: a caminho do museu ubíquo". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-25042014-112545/.
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A pesquisa observa as novas relações de produção e difusão da arte que surgiram com a utilização da internet e das novas tecnologias, pelas instituições culturais, para a expansão de suas atividades. A investigação propõe que essa nova forma de comunicação pode unir o alcance das plataformas virtuais, a credibilidade de grandes centros artísticos e a força dos processos colaborativos de criação em rede para ampliar a propagação da arte e da cultura. O estudo pretende mostrar como museus, galerias e instituições culturais em geral, têm desenvolvido trabalhos na world wide web, desde o começo dos anos 90, de forma a ampliar o acesso do público, não apenas a seus acervos e exposições, mas também à possibilidade de criação conjunta do conhecimento museológico e de nossa herança cultural. Através da observação dos conteúdos disponibilizados na rede por museus variados, nacionais e internacionais, relacionados a artigos sobre questões contemporâneas da museologia, são analisados como os objetivos das instituições artísticas quanto ao uso do ciberespaço têm evoluído. Há um crescente esforço em suprir as necessidades culturais dos novos espectadores da era conectada da internet. Hoje, modelos de exposições virtuais permitem que formatos de arte efêmera, como performances ou intervenções, possam efetivamente fazer parte dos espaços museológicos. Foi criada uma nova ligação com o visitante do museu, que pode estar em qualquer lugar do mundo e, utilizando redes sociais e mídias móveis, passa a ser criador e difusor de conteúdo, além de receptor. Por fim, há a reflexão sobre como, enquanto se adéquam às novas relações do homem com a arte e a cultura através do mundo virtual, as instituições devem se preocupar com a responsabilidade social e a democratização do acesso aos bens culturais por aqueles que ainda não tem contato frequente com as novas tecnologias.The research points the new relations of production and dissemination of art that emerge with the use of the Internet and new technologies, by cultural institutions to expand their activities. The research suggests that this new form of communication can put together the reach of virtual platforms, the credibility of major artistic centers and the strength of networks for collaborative creation processes, to enlarge the propagation of art and culture. The study aims to show how museums, galleries and cultural institutions in general, have developed activities on the world wide web since the early \'90s, in order to increase public access, not only to their collections and exhibitions, but also to the possibility of joint creation of the museological knowledge and cultural heritage. How the goals of art institutions in the use of cyberspace have evolved are analyzed through observation of the content provided on the net by various museums, national and international, related with articles about issues on contemporary museology. There is a growing effort to meet the cultural needs of the new spectators of internet connected age. Nowadays, virtual exhibitions models allow ephemeral art formats, such as performances or interventions, to effectively be part of the museum spaces. A new connection was created with the museum visitor, who can be anywhere in the world and, using social networks and mobile media, becomes a creator and disseminator of content, as well as a receiver. Finally, there is the observation on how, while adapting with the man\'s new relationship with art and culture through the virtual world, institutions should concern also about social responsibility and democratic access to culture for those who do not have frequent contact with new technologies.
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Whitley, Zoe. "Against a sharp white background : dialogic and exhibitionary practices of Black contemporary artists and curators in art museums". Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/23580/.
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This research seeks to better understand how Black artists experience the mainstream art museum. The thesis makes an original contribution to scholarship on curating contemporary art through qualitative analysis of subjective approaches to art museum space. It makes evident responses to institutionalised systems of address. Foundational in establishing this action research methodology (Lewin 1946; Carr & Kemmis 1986) are the dialogic frameworks provided by the theories of Mikhail Bahktin (1975), Edouard Glissant (1997), and chiefly the writing of Zora Neale Hurston (1929). It concludes that art museums can become sites of dialogic exchange (Bennett, 2006) for those who have been traditionally excluded from such spaces, though the means may be other than those formally sanctioned by the institution. Examining racial difference in museological and curatorial spheres potentially allows for multiple dialogues, referred to by Bakhtin as ‘polyphony.’ Interviews with fourteen international artists and curators suggest that critical debate around the racialisation of museum space has progressed relatively little since the 1990s, with identity politics and institutional critique having fallen out of favour in contemporary museum discourse (Bishop 2012, Haq 2014). Indeed, recent academic research into race and the art museum tends to focus on the past (Cooks 2011, Cahan 2016) or artists’ continued lack of visibility (Chambers 2015). While museum-centred research interrogates the relationship between audience and museum space (McClellan 2003; Karp et al. 2006; Bourriaud 1998; Kester 2011), little consideration has been dedicated to Black contemporary artists’ physical presence in art museums. As a critical paratext to curatorial projectsThe Shadows Took Shape and In Black and White which I co-authored, this study examines Black artists’ roles as uniquely informed generators of address (speakers) and respondents within the art museum. Given the insular and highly specialised body of curatorial writing (Hoffmann 2013; Lind 2010; Obrist 2008; Martinon & Rogoff 2015), it is therefore proposed that studying modes of Black curatorial and artistic address can ultimately yield new translations for contemporary museum-going publics.
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Burns, William James. "We Must Grow Our Own Artists: Mary-Russell Ferrell Colton, Northern Arizona's Early Art Educator". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/eps_diss/54.
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What were Mary-Russell Ferrell Colton’s contributions to the progressive education movement and the Indian arts and crafts movement in the Southwestern United States at a time when the region was still very remote? Artist, author, amateur ethnographer, educator, and curator; these were but a few of the talents of Mary-Russell Ferrell Colton, co-founder of the Museum of Northern Arizona and early art advocate on the Colorado Plateau. This study investigates how Colton contributed to the progressive education movement and the Indian arts and crafts movement through the work that she did at the museum. There, she labored to increase public awareness of the importance of art education and to revive Native American arts on the Colorado Plateau. Using an extensive collection of archival material in the Colton Collection at the Museum of Northern Arizona, as well as oral history interviews, this historical study provides a nuanced analysis of Colton’s life as an educator. Colton’s influence is not well known today, but her professional contributions merit recognition, giving her a place in the history of American education. This study reveals how Colton’s efforts fit within the context of the work of her contemporaries in Santa Fe and Taos, and within the progressive education movement, from the then relatively remote outpost of Flagstaff. Much can be learned from Colton’s work that is relevant to the field of education today. Her ideals and writings about art education will resonate with opponents of No Child Left Behind. Colton’s work as one of northern Arizona’s earliest art educators contributed to a better understanding of the culture of the various peoples of the Colorado Plateau and to the preservation of Navajo and Hopi traditions through education. Colton made notable contributions to the Indian arts and crafts movement, museum education, and the progressive education movement. A woman of firm convictions and ideals, Colton was strong-willed, and complex, a multi-faceted person with a broad range of interests which she pursued with passion and commitment. This study crosses the boundaries of several disciplines, including educational history, museum studies, women’s studies, educational biography, Native American studies, and art education.
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Richard, Sophie. "International Network of Conceptual Artists : dealer galleries, temporary exhibitions and museum collections (Europe 1967-1977)". Thesis, Anglia Ruskin University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436467.
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Kgokong, Arthur. "South African black artists : in the permanent collection of the Pretoria Art Museum (1964 –1994)". Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78619.
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The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of South African Old Masters and 17 Century Dutch art. On 15 April 1964, about a month before the museum opened officially to the public, the Selection Committee of the Board of Trustees of the Art Museum instituted by the City Council of Pretoria met to deliberate on how the collection of the museum was to be built in order to expand this nucleus collection further.The result was a series of eight resolutions that favoured the acquisition of South African Old Masters and The Hague School (19thcentury Netherlandish art). In the minutes of that meeting no mention was made of the acquisition of 20thcentury South African black artists. By 1994 about 2 404 units of artworks by white artists had been acquired in contrast to about 86 units of artworks by black artists. The eight resolutions tabulated by the board, can be taken as an informal policy thatthe museum adopted during the thirty-year period of its existence from 1964 to 1994 to acquire artworks. No formal acquisition policy existed as a part of the museum’s acquisition strategy during that three decade period. Fortunately, as the collection grew, there were deviations in the ‘acquisition strategy’ because works by black artists, though collected at a far lesser frequency than those by white artists, found their place in the collection. This research paper is a homage to the contributions of 20thcentury South African black artists’ contributions to the history of South African art.Dissertation (MSocSci)--University of Pretoria, 2020.
Historical and Heritage Studies
MSocSci
Unrestricted
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Lima, Fábio Rogério Batista [UNESP]. "Imagem & tecnologia: webmuseu de arte". Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93645.
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lima_frb_me_mar.pdf: 1381876 bytes, checksum: 732a3a9364ef71fce939f43c9554a19f (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Com o Ciberespaço surgiram os webmuseus, que se caracterizam como ambientes informacionais com exposições de obras de arte apresentadas virtualmente, afetando o uso da imagem. A partir de um dispositivo de acesso à rede Internet, qualquer pessoa pode visitar obras de artistas consagrados sem sair do lugar em que está, uma característica da ubiquidade (estar presente em vários lugares ao mesmo tempo) oferecida pelas tecnologias de informação e comunicação (TIC), o que era possível apenas com o deslocamento geográfico para visitas presenciais. A transformação formal e dos conteúdos das obras de arte na sua transposição para ambientes digitais é uma consequência da passagem de uma estrutura semiótica para outra, o que ocasiona mudanças na qualidade estética da obra produzida em suporte diferente daquele que está sendo apresentado no ambiente digital para a construção de informação imagética (tamanho, cor, forma, etc.) nos museus digitais. A digitalização e a transposição das obras de arte para catálogos digitais (versão digital dos catálogos tradicionais) e/ou nos webmuseus criam simulacros das obras originais e sua forma material e orgânica transforma-se em linguagem computacional de bits e bites. Nesse contexto, apresenta-se como proposta identificar as características que indicam as transformações da estrutura de apresentação da obra de arte na sua transposição para ambientes virtuais quando digitalizadas, uma vez que, a mudança de um sistema semiótico para outro ocasiona rupturas e mutações na qualidade estética da obra de arte produzida sobre um suporte e transferida para outro. Com uso do método bibliográfico descritivo, o objetivo foi verificar as características dos catálogos impressos de obras de arte, dos sites de museus e de webmuseus demonstrando suas semelhanças...
With the presence of Cyberspace, web museums emerged, which are characterized as informational environments with exhibitions of artworks presented virtually, affecting the use of the image. Using an access device to the Internet, anyone can visit the works of established artists without leaving the place they are, which is a characteristic of ubiquity (being present in several places at the same time) offered by information and communication technologies (ICT), which was possible only with the geographic displacement to in-person visits. The formal and the artworks contents transformation in its transposition into digital environments is a consequence of the passage of a semiotic structure to another, which causes changes in the aesthetic quality of the work produced in different support from the one which is being presented in the digital environment for the construction of imagery information (size, color, shape, etc.) in digital museums. The digitalization and transposition of artworks to digital catalogs (digital version of the traditional catalogs) and /or web museums, create simulacra of the original works and its organic and material form transforms into computer language of bits and bites. In this context, were analyzed the impacts that information and communication technologies (ICT) cause the aesthetics of images available in these environments. Using the bibliographic descriptive method, the objective was to determine the characteristics of printed artworks catalogs, museums and web museums websites to demonstrate their ... (Complete abstract click electronic access below)
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Lima, Fábio Rogério Batista. "Imagem & tecnologia : webmuseu de arte /". Marília, 2012. http://hdl.handle.net/11449/93645.
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Orientador: Plácida Leopoldina Ventura Amorim da Costa SantosBanca: Maria Lucia de Niemeyer Matheus Loureiro
Banca: Maria José Vicentini Jorente
Resumo: Com o Ciberespaço surgiram os webmuseus, que se caracterizam como ambientes informacionais com exposições de obras de arte apresentadas virtualmente, afetando o uso da imagem. A partir de um dispositivo de acesso à rede Internet, qualquer pessoa pode visitar obras de artistas consagrados sem sair do lugar em que está, uma característica da ubiquidade (estar presente em vários lugares ao mesmo tempo) oferecida pelas tecnologias de informação e comunicação (TIC), o que era possível apenas com o deslocamento geográfico para visitas presenciais. A transformação formal e dos conteúdos das obras de arte na sua transposição para ambientes digitais é uma consequência da passagem de uma estrutura semiótica para outra, o que ocasiona mudanças na qualidade estética da obra produzida em suporte diferente daquele que está sendo apresentado no ambiente digital para a construção de informação imagética (tamanho, cor, forma, etc.) nos museus digitais. A digitalização e a transposição das obras de arte para catálogos digitais (versão digital dos catálogos tradicionais) e/ou nos webmuseus criam simulacros das obras originais e sua forma material e orgânica transforma-se em linguagem computacional de bits e bites. Nesse contexto, apresenta-se como proposta identificar as características que indicam as transformações da estrutura de apresentação da obra de arte na sua transposição para ambientes virtuais quando digitalizadas, uma vez que, a mudança de um sistema semiótico para outro ocasiona rupturas e mutações na qualidade estética da obra de arte produzida sobre um suporte e transferida para outro. Com uso do método bibliográfico descritivo, o objetivo foi verificar as características dos catálogos impressos de obras de arte, dos sites de museus e de webmuseus demonstrando suas semelhanças... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: With the presence of Cyberspace, web museums emerged, which are characterized as informational environments with exhibitions of artworks presented virtually, affecting the use of the image. Using an access device to the Internet, anyone can visit the works of established artists without leaving the place they are, which is a characteristic of ubiquity (being present in several places at the same time) offered by information and communication technologies (ICT), which was possible only with the geographic displacement to in-person visits. The formal and the artworks contents transformation in its transposition into digital environments is a consequence of the passage of a semiotic structure to another, which causes changes in the aesthetic quality of the work produced in different support from the one which is being presented in the digital environment for the construction of imagery information (size, color, shape, etc.) in digital museums. The digitalization and transposition of artworks to digital catalogs (digital version of the traditional catalogs) and /or web museums, create simulacra of the original works and its organic and material form transforms into computer language of bits and bites. In this context, were analyzed the impacts that information and communication technologies (ICT) cause the aesthetics of images available in these environments. Using the bibliographic descriptive method, the objective was to determine the characteristics of printed artworks catalogs, museums and web museums websites to demonstrate their ... (Complete abstract click electronic access below)
Mestre
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Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895". Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
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This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.
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Moraes, Julia Nolasco Leitão de. "Museu, informação artística e “poesia das coisas”: a divulgação artística em museus de arte". Universidade Federal do Rio de Janeiro / Insitituto Brasileiro de Informação em Ciência e Tecnologia, 2014. http://ridi.ibict.br/handle/123456789/807.
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Pesquisa de caráter essencialmente teórico que discute a divulgação artística em museus de arte como alternativa de estratégia infocomunicacional para a promoção do encontro entre visitantes não familiarizados com o universo artístico e a “poesia das coisas”. Levando em consideração que é no âmbito do processo de musealização que a informação artística é estruturada a partir do discurso da arte e no discurso sobre arte, o estudo buscou identificar e analisar princípios para a divulgação desse tipo específico de informação no contexto dos museus de arte. Para tanto, a pesquisa assumiu como desafio discutir fundamentos teóricos que orientam o processo de musealização em museus de arte e propor um conceito de divulgação artística, tomando como base pressupostos da divulgação científica. Compreendidos como agentes propulsores do processo de familiarização e interrogação com o/acerca do campo da arte, os museus podem se configurar como plataforma privilegiada para a formação e o exercício da sensibilidade e da apreciação crítica, estimulando modos de apreensão contextuais e reflexivos capazes de promover mudanças no cotidiano dos visitantes. Para tal, os museus precisam desenvolver ações integradas no âmbito do processo de musealização, com especial foco às atividades de pesquisa e documentação, a fim de possibilitar a concepção de exposições que favoreçam o desvelamento da “poesia das coisas” e a sua ressignificação pelos diferentes visitantes.
This mainly theoretical research discusses art divulgation through art museums as an alternative of info-communication strategy for promoting meetings of visitors not acquainted with artistic universe and "the poetry of things". Thinking that artistic information is structured from the discourse of art and on art in the musealization process framework, we have gathered a bibliography, identified and analyzed principles that guide audience divulgation of this specific kind of information in the art museum context. Thus, the research has taken as challenges to discuss theoretical foundations underpinning the process of musealization in art museums and to propose a concept of artistic divulgation from scientific divulgation. Assuming that museums are propelling agents of familiarization and interrogation processes with and on the field of art, they can be configured as a privileged platform for constructing and exercising sensibility as well as critical appraisal, stimulating ways of contextual and reflexive apprehension capable to promote changes in visitors' everyday life. In that sense, museums must develop integrate actions and initiatives in a process of musealization, focusing on research and documentation in order to make possible to organize exhibitions which unveil the “poetry of things” and favour its resignification by different visitors.
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Michel, Karl Frederick. "Drawing on experience a study of eighteen artists from the National Vietnam Veterans Art Museum collection /". Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Michel.pdf.
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Regiani, Atila Ribeiro de Sousa. "Museus utópicos : curadorias poéticas". reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24419.
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Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2017.Submitted by Raiane Silva (raianesilva@bce.unb.br) on 2017-07-19T17:24:20Z No. of bitstreams: 1 2017_AtilaRibeirodeSousaRegiani.pdf: 6735728 bytes, checksum: 2bd48d93e9de4ff53940a155071817b1 (MD5)
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Esta tese discute a curadoria e os museus a partir da obra de arte contemporânea. No primeiro capítulo, aborda o tema do Arquivo, sob a égide do pensamento do filósofo francês Michel Foucault (1926 - 1984): “o sistema que governa a aparição das enunciações”. A partir da abordagem desconstrutiva do Arquivo, via Jacques Derrida (1930 - 2004), e a proposição de arquivos desconstruidos pela incorporação dos processos de montagem presentes na pesquisa de Benjamin e Warburg. O segundo capítulo discute a incapacidade do museu de assimilar completamente a obra de arte contemporânea decorrente, sobretudo, dos sistemas de catalogação e conservação que se originaram no século XIX. A sistematização, a conservação e a determinação da autoria são dados que amparam a compreensão da obra e se tornam um problema estrutural para sua assimilação pelo museu nas experiencias mais radicais da arte no século XX e XXI. O terceiro capítulo discute os museus de artista, museus experimentais e as possibilidades de reinvenção do museu. Para tanto, traz uma análise do Museu Imaginário (1947) de André Malraux (1901-1976), a Caixa-Valise (1935 - 1941) de Marcel Duchamp (1887 - 1968), o projeto LiMAC (2002) da artista peruana Sandra Gamarra (1972 – ), curadorias experimentais das décadas de 1960 e 70 e curadorias contemporâneas que se aproximam dos processos artísticos, como Do It (1993), Do Corpo a Terra (1970) e Quando Atitudes se Tornam Forma (1969). Tanto a curadoria quanto os museus são pensados pelos seus espaços de crise, de exceção e conflito. Propoe-se, assim, que a curadoria possa entendida pelos processos artísticos, como um rearranjo de suas estruturas pela obra que organiza. Apresentam-se, portanto, como a possibilidade utópica de reinvenção do museu, apontando para sua reestruturação a partir de outros parâmetros.
This thesis discusses curatorship and museums having contemporary work of art as the starting point. In the first chapter, it deals with the theme of the Archive, under the auspices of the thought of the French philosopher Michel Foucault (1926 - 1984): "the system that governs the appearance of statements." From the deconstructive approach of the Archive, by Jacques Derrida (1930 - 2004), and the proposition of deconstructed archives by the incorporation of the assembly processes present in the Benjamin and Warburg research. The second chapter discusses the inability of the museum to fully assimilate the work of contemporary art stemming mostly from the systems of cataloging and conservation that originated in the nineteenth century. The systematization, conservation and determination of authorship are data that support the understanding of the work of art and become a structural problem for its assimilation by the museum in the most radical experiences of art in the XX and XXI century. The third chapter discusses Artist's museums, experimental museums and the possibilities of reinvention of the museum. To that end, the text presents an analysis of the Museum Without Walls (1947) by André Malraux (1901-1976), Marcel Duchamp's Box in a Valise (1935-1941) (1887-1968), the Peruvian artist Sandra Gamarra (1972) project, LIMAC. Experimental curators of the 1960s and 1970s, and contemporary curators who approach art processes such as Do It (1993), Do Corpo à Terra (1970) and When Attitudes Become Form (1969). Both the curatorship and the museums are thought as spaces of crisis, of exception and conflict. It is thus proposed that curatorship can be understood by artistic processes, as a rearrangement of their structures by the work they organize. They are presented, therefore, as the utopian possibility of reinventing the museum, pointing to its restructuring from other parameters.
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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.
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Goldwhite, Phil. "Frames ate the art, frames are the art, the camera is the art, the text is the art, the thing is the art, art is the art /". Online version of thesis, 1995. http://hdl.handle.net/1850/12203.
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Casey, Erin E. "The Richmond Maker Museum: The Evolution of Process". VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3839.
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The Richmond Maker Museum is a working museum design, offering an inside look at past achievements, juxtaposed with the unlimited future possibilities of an evolving, active maker culture. It is a dynamic place designed to allow makers to showcase skills, take risks, engage the public, and grow their craft in real time. The museum displays finished pieces, introduces makers, demonstrates the processes they employ in their work, and invites the community to meet the artisans who, through skill, ingenuity, and hard work, make the artifacts on display. This type of educational museum experience does not currently exist on this scale in Richmond. While other local museums invite visiting artists and offer lectures, the Richmond Maker Museum takes interaction to a new level, introducing visitors to the routines and procedures of each artisan’s daily practice.
Maker culture is a tightly woven network of craftsmen—woodworkers, metalworkers, glassblowers, etc. It celebrates traditional fabrication techniques, while also introducing modern technologies such as laser cutting and three-dimensional printing. The social and educational aspects of the maker movement have created a revolution, revitalizing public appreciation for the role of the maker and the importance of craftsmanship.
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Nastari, Danielle Misura. "A gênese da coleção de arte brasileira do MoMA: a década de 1940, Portinari e artistas seguintes". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-07032017-102630/.
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Este trabalho apresenta uma investigação pioneira dos encadeamentos que conduziram a formação da coleção de arte brasileira do Museu de Arte Moderna de Nova York (MoMA), buscando desvendar os fatores que levaram peças nacionais a serem incorporadas ao acervo da proeminente instituição americana, partindo da primeira aquisição em 1939 e mapeando todos os ingressos ao longo dos anos 1940. O objetivo central do estudo é compreender os processos históricos que direcionaram a aquisição e permitiram a recepção das obras por parte da instituição no período investigado, bem como os fatores que permitiram que ela divulgasse a arte brasileira no contexto cultural americano no decênio de 1940.This study presents a pioneering effort to set out the formation processes of the Museum of Modern Art in Ney York (MoMA) Brazilian art collection, revealing the sequence of events that lead artworks from Brazil to be acquired by this institution from 1939 to 1949. Its aim is to understand the historical scenarios that allowed these artworks to be received by the museum in the delimited time, as well as to comprehend the reasons that propelled MoMA to promote Brazilian art in the 1940s. The investigation work was based on correspondence of key people in this process Nelson Rockefeller, Alfred H. Barr Jr., Lincoln Kirstein and Cândido Portinari as well as on documents produced by the MoMA; the results of this research opens new possibilities of understanding the relations between Brazil and the United States, in the fields of art, culture and politics.
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Dalal-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/.
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This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of non-art-historical conceptual and alternative curatorial models: Afro Modern (Tate Liverpool), Action (The Bluecoat), and a retrospective of works by Chris Ofili (Tate Britain). Comparative exhibitions of the past were typically premised on concepts of difference that ultimately resulted in the notional separation of black artists from mainstream discourses on contemporary art and histories of British art. Through a close and critical textual analysis of these three recent exhibitions, which is informed by J.L. Austin’s theory of speech acts (1955), the study considers whether, and to what extent the delimiting curatorial practices of the past have been successfully abandoned by public art museums and galleries, and furthermore, whether it has been possible for British art institutions to reject the entrenched, exclusive conceptions of British culture that negated black contributions to the canon and narratives of British art in the first place. The exhibition case studies are complemented and contextualised by an in-depth history of the Bluecoat’s engagement with black creativity between 1976 and 2012, which provides a particular insight into the ways that debates about representation, difference and separatism have impacted the policies and practices of one culturally significant art gallery that is frequently overlooked in histories of black British art. With reference to the notion of legitimate coercion as defined by Zygmunt Bauman (2000), the study determines that long-standing hegemonic structures continue to inform the modes through which public art museums and galleries in Britain curate and control black creativity.
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Dobranszky, Diana de Abreu. "A legitimação da fotografia no museu de arte : o Museum of Modern Art de Nova York e os anos Newhall no Departamento de fotografia". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285150.
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Orientadores: Fernando Cury de Tacca, Geoffrey BatchenTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Departamento de Fotografia do Museum of Modern Art de Nova York foi fundado em 1940 e seu primeiro curador foi Beaumont Newhall. Através de exposições e aquisições ele e sua esposa Nancy - que o substituiu nos anos em que ele serviu nas forças armadas durante a Segunda Guerra Mundial - estruturaram esse que foi o primeiro Departamento de Fotografia independente em um museu de arte. A importância do fato está no apoio institucional que o meio fotográfico recebeu e que possibilitou o reconhecimento da fotografia como arte. Ao mesmo tempo, pouco antes de ser indicado curador, Beaumont organizou a exposição Photography 1839-1937, cujo catálogo transformou-se no conhecido livro The History of Photography. O processo que levou ao Departamento assim como o trabalho desenvolvido pelos Newhall no MoMA entre 1940 e 1946 é tema de nossa pesquisa
Abstract: The Photography Department of the Museum of Modern Art (New York) was created in 1940, and its first curator was Beaumont Newhall. With exhibitions and acquisitions he and his wife Nancy, who replaced him while he served the Navy during the World War I, structured this that was the first independent Photography Department in an art museum. The importance of this fact lies in the institutional support that established photography as an art form. At the same time, shortly before Beaumont was appointed curator he assembled the Photography 1839-1937 exhibition. Its catalogue evolved into the seminal book History of Photography. The process that led to the Department as well as the work developed by the Newhalls at the MoMA between 1940 and 1946 is the subject of this study
Doutorado
Doutor em Multimeios
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ELUSTA, Halima Alves de Lima. "Visita ao museu de pedra: o Cemitério da Saudade de Campinas - SP". Universidade Federal de Goiás, 2008. http://repositorio.bc.ufg.br/tede/handle/tde/2823.
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Previous issue date: 2008-11-04The Saudade Cemetery, in Campinas, Brazil, is considered na open-sky museum for burial monuments that represents and materialize the relation man death in this city. The main goal of the present research is to show the transformations after the death secularization in the city, since 1881, when the cemetery was founded till the 1950 s decade. The transformations occurred during this period are here represented by statuary, tombs and monuments elaborated by Giuoseppe Tomagnini, Vélez Family, V. Lazzeri, Rosada Family, Coluccini Brothers and Camillo dos Santos. Those artist-artisans responsible for that buildings were influenced by stylistic of the European funerary art, such as neoclassic and eclectic architecture, art nouveau, art déco and modern to attend to the local citizen needs in order to preserve their memory. The burial buildings found in the Saudade Cemitery, besides a local for reflection and memory, can be considered significant part of Historical and Cultural Patrimony of Campinas
O Cemitério da Saudade é considerado um museu a céu aberto por abrigar túmulos que representam e materializam a relação do homem com a morte na cidade de Campinas. Esta dissertação tem por objetivo mostrar as transformações após a secularização da morte na cidade, que se inicia em 1881 com a fundação desse primeiro cemitério público, até a década de 1950. As transformações ocorridas durante esse período são aqui apresentadas por meio das construções de Giuoseppe Tomagnini, Família Vélez, V. Lazzeri, Família Rosada, Irmãos Coluccini, Irmão Zarattinni e Camillo dos Santos. Esses artistas-artesãos, responsáveis pelas construções, apropriaram-se de referências estilísticas da arte funerária européia como o neoclássico, eclético, art nouveau, art deco e moderno para atender as necessidades dos cidadãos campineiros de perpetuar sua memória. Essas construções fazem do Cemitério da Saudade, além de local de reflexão e memória, parte significativa do Patrimônio Histórico e Cultural da cidade de Campinas
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Travis, Sarah Teresa. "Portraits of Young Artists: Artworlds, In/Equity, and Dis/Identification in Post-Katrina New Orleans". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157583/.
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Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions. Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans, 1) How do contextual figured worlds influence artist identity work? 2) How does artist identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work? The findings of the study highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.
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Demarchi, Rita de Cassia. "Ver aquele que vê: um olhar poético sobre os visitantes em museus e exposições de arte". Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/1925.
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Previous issue date: 2015-02-24Theoretical reflections and images/photographies approach in this research the complex domain which involves the visitors and art exhibition museums in Brazil and abroad. Based on research methodologies in Arts (Róldan & Marin-Viadel, 2012), single images or compound as photoshoots are considered a mode of knowledge and foster studies and reflections. Apart from the dialogue among images, the experience lived and the thought of scholars from different areas, the lightness of poetry and metaphors is also included in this work as well as reflections from contemporary art and Art history. Some issues concerning the contemporary scenario which can impede the meeting between the individual and art are discussed, such as excess, spect cle, consumerism, speed, tourism. These issues constitute what was named as penumbra and nourish the attitudes of the fugitive subject visitors. There must be both for the visitor and the researcher an openness for the aesthetical experience, land of the pilgrim, in order to unveil penumbra, ambivalence, maze and twilight. This openness inspires the research as a path of pilgrimage in order to search for the understanding of the complexity of phenomena and the poetic work of capturing the images shots at the exhibitions. This research of phenomenological nature adopts the theoretical framework of authors who reflect upon contemporaneity, such as Calabrese (1988), Bauman (2001); as well as authors who value sensibility and experience, such as Bachelard (1988), Dewey(2010), Merleau-Ponty(1975), Ferreira Santos (2005), Maffesoli (1998).
Reflexões teóricas e imagens/ fotografias abordam nesta pesquisa o complexo território que envolve os visitantes e os museus de exposições de arte, no Brasil e no exterior. Com base nas metodologias de pesquisa em arte (Róldan & Marin-Viadel, 2012), imagens individuais ou compostas como foto-ensaios são consideradas uma forma de conhecimento e impulsionam o estudo e a reflexão. Além do diálogo entre as imagens, a experiência vivida e o pensamento de estudiosos de diferentes áreas, inclui-se a leveza da poesia e das metáforas, além de reflexões derivadas da arte contemporânea e da história da arte. São discutidas algumas questões acerca da paisagem contemporânea que podem dificultar o encontro do sujeito com a arte, tais como o excesso, o espetáculo, o consumo, a velocidade, o turismo, que constituem o que foi nomeado de penumbra e alimentam as atitudes dos visitantes sujeitos fugidios. Tanto para o visitante, quanto para a pesquisadora, a fim de desvelar em meio à penumbra e as ambivalências, ao labirinto e ao crepúsculo, há que se ter a abertura para a experiência estética, terreno do peregrino. Abertura que inspira a pesquisa como uma trajetória de peregrinação em busca de compreensão da complexidade dos fenômenos e o trabalho poético de captura das imagens - flagrantes nas exposições. A pesquisa de cunho fenomenológico adota como referencial teórico autores que abordam reflexões sobre a contemporaneidade tais como: Calabrese (1988), Bauman (2001); e autores que valorizam a sensibilidade e a experiência, entre eles: Bachelard (1988), Dewey(2010), Merleau-Ponty(1975), Ferreira Santos (2005), Maffesoli (1998).
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Chu, Man-hua, i 朱曼華. "Development of Private Artist Museums in Taiwan (1980-2005)". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/42705355081031725635.
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碩士國立雲林科技大學
文化資產維護系碩士班
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The character of museums in Taiwan is essentially a combination of two systems descending originally from the formulation of an ancient Japanese system and expanded upon by the administration and management of a newer American system. Earlier, before the establishment of public fine art museums, some of the private fine art museums in Taiwan had already been constituted and established according to the development of the politics, economy, society and culture of Taiwan. Furthermore, due to the declaration of the end of the martial law in politics, different varieties of art creations became active, including liberal and riotous. All these are the testimony of the multi-cultural art activities in Taiwan. There have always existed significant public opinion and discourse debating the reasons causing the difficulty surrounding the development of private fine art museums in Taiwan; however, there have been few studies which give the issue a comprehensive review and treatment. This study is based on the history and environment of art in Taiwan. In chapter two, it separates the evolvement and development process of private fine art museums in Taiwan into three stages: before A.D.1990; between A.D.1990-2000 and after A.D.2000. By complete data collection, dissemination of questionnaires and analysis of that data, this study tries to find out the relationships between private fine art museums and the society in Taiwan. In chapter three, it analyzes the difficult situations of the development of private artist museums in Taiwan in the present days by four aspects: budget, human resources administration, exhibition and conservation. In chapter four, it analyzes the situations in detail by selecting two similar private artist museums in Taiwan, Li Mei-Shu Memorial Gallery and Yu Yu Yang Museum as case studies. In chapter five, it generalizes all the reasons which caused the difficult situations of private artist museums in Taiwan into three main reasons: Vague and incomplete museum laws, societal and cultural change in Taiwan and the prevailing attitude concerning the construction of private artist museums in Taiwan. Finally, after much critique, suggestions to improve the difficult situations surrounding this issue will be outlined and discussed.
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Crane, Jennifer E. "New media art matters : artist perspectives on preservation in museums /". 2007. http://library2.jfku.edu/Museum_Studies/New_Media_Art_Matters.pdf.
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Vazquez, Julia Maria. "The Artist as Curator: Diego Velázquez, 1623-1660". Thesis, 2020. https://doi.org/10.7916/d8-9bnj-4989.
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“The Artist as Curator: Diego Velázquez, 1623-1660” reconsiders the career of Diego Velázquez at the court of Hapsburg king Philip IV as a major episode in the history of curatorial practice. By this it means to examine the ways Velázquez’s activities as a painter and his activities as curator of the Hapsburg art collection transformed each other. Velázquez’s paintings express ambitions and attitudes towards his predecessors that would motivate Velázquez’s reorganization of parts of the royal collection that included their works. In turn, the collection and display of paintings in royal exhibition sites would cultivate in Velázquez a knowledge of art and its history that would inform the paintings he produced at court. Velázquez was a singularly art-historical painter, many of whose works investigate the nature of art itself. This dissertation seeks to prove that these aspects of Velázquez’s work were cultivated in the early modern museum that was the Alcázar palace, where he was surrounded by a veritable history of art under the Hapsburgs.
The dissertation has five chapters; each closely examines a significant project in Velázquez’s trajectory as artist-curator at the Hapsburg court. The first uses the first major installation that Velázquez would witness at the Hapsburg court to set up the problematic of the dissertation as a whole - namely, that meaning was made on the walls of galleries, and that if Velázquez was going to make his name at court, it would be by engaging the royal art collection as it appeared on gallery walls. The second investigates Velázquez’s first curatorial project, the redecoration of the Octagonal Room; it argued that Velázquez’s interest in art itself—an interest characteristic of his painting practice—found a new medium in his work as curator of this gallery. The third chapter reexamines The Rokeby Venus as a function of what Velázquez witnessed over the course of the assembly of the Vaults of Titian, where paintings of nudes were exhibited all together; it thus demonstrates the impact of the royal art collection and its display on his creative imagination as a painter. The fourth chapter considers the culminating curatorial project of Velázquez’s career—the redecoration of the Hall of Mirrors—in tandem with the suite of paintings he made for it—the painting cycle including Mercury and Argus, examining the ways that these two projects mutually informed one another. The final chapter proposes that Las Meninas again evidences Velázquez’s curatorial and painterly imaginations at work simultaneously; then it uses the painting as a point of entry into the reception of both of these aspects of Velázquez’s work at the Hapsburg court, arguing that to make art after Velázquez was to acknowledge both. All together, these chapters tell the story of Velázquez’s increasing engagement with the royal art collection, from the start of his career at the Hapsburg court through his legacy beyond it.
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Walton, Alexandra. "Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial". Phd thesis, 2017. http://hdl.handle.net/1885/154283.
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This thesis examines the historical development of the artist
print collections of the Imperial War Museum and Australian War
Memorial, and analyses the relationship of these collections to
their institutions. Printmaking is an artistic medium that has
historically been used by artists for social critique, and many
high quality works of this type are present in the two
collections. I argue that in both museums, when developing the
print collections, curators were able to acquire beyond the
strict interpretation of the museums’ collecting guidelines. As
a result of this, the prints have challenged some of the more
conservative underlying messages of the museums.
National war museums are ideal for a study of contested
histories, particularly those within their own collections, and
the IWM and AWM are prominent institutions in this specialist
category of museums. My hypothesis is that prints can destabilize
the histories that war museums wish to present due to their
historical use by artists for a variety of purposes that are
somewhat unique to the medium. This is driven by the materiality
of the print. This study also analyses how museum structures and
internal cultures affected the development of the print
collections. In particular, I have tried to answer the questions:
What factors influenced the development of the print collections?
And how did the professional agendas of curators inform that
development? Print collecting flourished at key points in the
histories of the institutions, particularly when fine art
specialists were in charge of acquisitions. While print
collecting broadly reflected the aims of the institutions at
different times, on occasion it introduced divergent narratives
into the war museums.
This thesis is interdisciplinary in the way it uses a history
methodology and museum studies framework. The historical research
methods employed include archival research and semi-structured
interviews with selected former and current museum staff. My
research will add to academic and curatorial knowledge about how
collections are formed in large national museums, and analyse the
role and significance of two collections that have not previously
been thoroughly examined. The thesis places the curator as the
creator of the collection, not merely as someone who carries out
instructions from management, but who negotiates between the
institutional forces, social forces and the nature of the
objects, to ultimately shape the collection.