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Hersov, Mary. "The temporary exhibition in the Sainsbury Wing, National Gallery : commission, design and outcome". Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19861/.
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The Sainsbury Wing, the National Gallery’s new extension, opened in July 1991. It had the primary aim of providing new galleries for the Early Renaissance collection. It was also intended to give a new outward-looking face for the Gallery with expanded public facilities, including a larger temporary exhibition space. However, this space has been much criticised for its basement location and resulting lack of natural light. The rooms are limited in size and some are irregular in shape which make it difficult to install larger works and to provide enough viewing space for visitors to popular shows. This thesis investigates why the Gallery decided to build this space, why the design was developed and what were the consequences. It looks at the history of temporary exhibitions - the spaces they need in London and abroad. Using archive material and conversations with participants, it pieces together the convoluted story of the building of the temporary exhibition galleries in the Sainsbury Wing. It examines the many briefs, the involvement of the architects, Venturi Scott Brown, and explains how the resulting design developed. It then relates how the Gallery used the space for its expanded exhibitions programme and considers its advantages and disadvantages. In the conclusion, it makes some recommendations for the best way to create new exhibition galleries for the future. The thesis sheds new light on an aspect of institutional history of the Gallery. It provides an original analysis of an area of the Sainsbury Wing which has been little discussed. As a case study for the design of facilities for temporary exhibitions, it underlines the importance of these spaces and analyses the specific needs and requirements.
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Ballard, Tammara L. "A Case Study of the Springville Museum of Art Pre-Exhibition Workshop". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.
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The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.
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Assier, Mathilde. "La promotion des beaux-arts en Espagne (1853-1898). Soutenir les beaux-arts en temps de crise". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL091.
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Cette thèse s’attache à mettre en lumière l’organisation du système des beaux-arts et les conditions de production des œuvres d’art en Espagne entre 1853 et 1898, autour de trois pôles principaux : Madrid, Barcelone et Séville. Dans cette période de crise politique et économique, généralement envisagée sous le prisme du paradigme du retard ou de l’échec, la désillusion des artistes fut une réalité. Loin de conduire à la passivité, elle engendra un désir de « régénération » culturelle, de nombreuses controverses sur la manière d’encourager les arts ainsi que tout un jeu de comparaisons et de regards portés vers l’étranger. Ce bouillonnement intellectuel fut à l’origine d’un renouveau des structures de promotion des arts se traduisant par la création de musées, d’expositions, de concours ou par la concession de pensions. L’analyse des missions artistiques de la Maison royale, du ministère du Développement, des députations, des associations artistiques et des sociétés économiques des amis du pays s’appuie sur des études de cas et révèle les acteurs à l’œuvre : petits ou hauts fonctionnaires, artistes méconnus ou renommés, hommes politiques. Fondé sur un vaste travail de recherche en archives, ce parcours dans le paysage des arts espagnols permet de mieux comprendre quels furent les objectifs, les conséquences et les spécificités de l’encouragement public et privé de l’art, d’un point de vue régional et national, dans un contexte de construction de l’État-NationThis dissertation aims to bring to light the organization of the fine arts system and the conditions under which works of art were produced in Spain between 1853 and 1898, centering on three leading cities: Madrid, Barcelona, and Seville. During this period of political and economic crisis, usually understood through the lens of the paradigm of Spanish backwardness or failure, the artists’ disenchantment was considerable. However, far from driving them into passive resignation, this spurred a desire for cultural "regeneration," born of countless debates over the way in which the arts should be supported and a keen interest in comparison with what was happening abroad. This intellectual exuberance led to a renewal of the institutions promoting the arts, giving way to the creation of museums, exhibitions, contests, and grants. The analysis of the artistic missions of the royal household, the Ministry of Development, diputaciones (provincial governments), societies of artists, and the various Economic Societies of Friends of the Country, relies on case studies and reveals the agents at work: senior and junior civil servants, not-known or famous artists, and politicians. Rooted in broad archival research, this journey through the world of Spanish art enriches our understanding of the goals, consequences, and specific features of the public and private support of the arts on a regional and national scale and within the context of the construction of the nation-state
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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Cloutier, Geneviève. "An A/r/tographical Inquiry of a Silenced First Nation Ancestry, Hauntology, G(hosts) and Art(works): An Exhibition Catalogue". Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31797.
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As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry as I look towards the intergenerational narratives of my grandmother, mother, and I. As I employ the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography, as I draw on works which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal g(hosts) in spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise.
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Demange, Stéphanie. "« ¡A los pintores les ha dado por mojar el pincel en lágrimas! » : La pauvreté au miroir des Salons (Espagne, 1890-1910)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040152.
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Entre 1890 et 1910, les prix des concours artistiques officiels vont en Espagne à des toiles qui représentent les souffrances des couches sociales les plus défavorisées de la société de la Restauration. Pauvres et vagabonds, migrants et chômeurs, mendiants et prostituées, ouvriers et paysans précaires sont les figures de proue d’un nouveau répertoire pictural qui déclasse la peinture d’histoire et remporte un succès public et critique considérable. La présente étude a pour ambition de faire l’histoire de cette peinture de la détresse sociale, en cherchant à comprendre les raisons de son triomphe dans les Salons d’un régime peu enclin à considérer la misère comme un scandale, voire même comme une question politique. Ce travail croise pour ce faire deux historiographies : l’histoire de l’art, en participant de la redécouverte d’une production qui, bien que légitime et couverte d’éloges en son temps, n’eut par la suite aucune fortune critique; et l’histoire culturelle, l’enjeu étant de mettre au jour les représentations sociales produites ou véhiculées par cette peinture. L’analyse des regards portés sur ces tableaux permet parallèlement de cerner l’évolution des sensibilités face à la pauvreté, mais aussi d’identifier les croyances et représentations largement partagées en matière de légitimation des inégalités. En faisant dialoguer ces approches, cette recherche vise à proposer un premier travail de synthèse sur ce chapitre absent jusqu’ici de l’histoire culturelle du XIXe siècle espagnolBetween 1890 and 1910, most prizes awarded in Spain by official art exhibits went to depictions of the hardships faced by the poorest subjects of the Restoration. Destitutes and vagrants, migrants and the unemployed, beggars and prostitutes, day laborers and poor peasants were the icons of a new repertoire of pictorial forms which not only superseded history painting but also proved immensely popular both with critics and the public. This thesis aims to write the history of this art of social destitution, by elucidating how it could triumph in the Salons of a Regime which was certainly not inclined to consider poverty as outrageous or as a legitimate political concern. This task has entailed melding two distinct historiographic traditions together: whereas the methods of art history were used to rediscover this body of work and explain why, shortly after having been officially sanctioned and showered with praise, it could be spurned by critics; those of cultural history were mustered to identify the different social constructs fashioned or promoted by these pieces. Moreover, the study of how these depictions of social destitution were perceived might help to determine how the feelings towards poverty evolved and what shared beliefs and preconceptions were used to legitimize inequality. By bringing these approaches together, this thesis hopes to offer the first synthetic study of a neglected chapter of Spanish, 19th century, cultural history
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Lasheras, Peña Ana Belén. "España en París. La imagen nacional en las Exposiciones Universales, 1855-1900". Doctoral thesis, Universidad de Cantabria, 2010. http://hdl.handle.net/10803/10660.
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Esta investigación aborda la participación española en las exposiciones universales celebradas en París durante el siglo XIX. Se ha tomado una perspectiva global, analizando, por tanto, el conjunto de factores que conformaron la imagen de lo español en las cinco ediciones universales organizadas en París: las instituciones efímeras y organismos permanentes que se encargaron de la organización de la asistencia española, los espacios e instalaciones que se adecuaron en París para albergar las colecciones nacionales, los productos seleccionados para representar a España (obras de arte, minerales, libros, tejidos, máquinas, productos agrícolas, etc.), así como los visitantes y comisionados que acudieron a la entonces denominada capital cultural del siglo.This research focuses on the Spanish participation in the international exhibitions held in Paris during the nineteenth century. It has been taken a global perspective, analyzing, therefore, all the factors that shaped the image of the Spanish in the five universal exhibitions organized in Paris: the ephemeral institutions and permanent organizations that were responsible for the Spanish attendance, the area and premises that were adapted in Paris to house the national collections, the items which were selected to represent Spain (works of art, minerals, books, fabrics, machines, agricultural products, etc..) as well as the visitors and commissioners who attended to the so-called cultural capital of the century at that time.
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Kazakova, Ekaterina. "La figure de la victime : un nouvel idéal artistique? : La (re) construction des imaginaires nationaux des états post-soviétiques à la Biennale de Venise (1993-2015)". Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALH018.
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Les Etats post-soviétiques participent à la Biennale d’art contemporain de Venise depuis les années 1990. Ils ont montré, dans les pavillons nationaux, tout au long de leur participation et de manière récurrente, des images de souffrance physique, de catastrophe sociale et de traumatisme politique. Ce thèse vise à analyser les causes possibles d’une telle insistance sur la représentation de la catastrophe en les liant aux enjeux politiques, économiques et artistiques qui déterminent, pour ces Etats, leur participation aux foires artistiques internationales.Ces pays post-soviétiques vérifient, en premier lieu une transformation radicale de la culture politique moderne: en quelques décennies, l'idéal orienté vers un avenir de progrès et de liberté a été remplacé par la célébration douloureuse d’un passé décliné sous une forme victimaire. Une telle transformation s'est accompagnée d'un changement de certains idéaux sociaux caractéristiques de la mythologie communiste : "Au centre de la culture historique moderne n'est plus l'idéal du héros, mais l'idéal de la victime". Le statut privilégié de la victime dans les années 1990 a créé alors de nouvelles formes d'auto-représentation et de politique identitaire : l'Arménie, un pays avec une longue tradition de souffrances depuis le génocide du début de siècle, ou les pays baltes, après l'effondrement de l'Union soviétique, ont construit leur identité sur le rôle de victime, en transformant l'histoire traumatique de la répression stalinienne et de l'occupation soviétique en glorification collective du passé misérable de leur peuple... Des expositions pour la Biennale illustrent visuellement, et avec une ferveur presque religieuse, cette histoire sacrificielle, représentant la résistance à la violence et le catastrophe vécu par le peuple comme origine héroïque de la naissance des nations. La célébration des catastrophes fonde une nouvelle conception de l'identité nationale. L'histoire traumatique, encore activement présente dans la mémoire vivante des contemporains, est transformée en objet esthétique et incluse dans le système international des manifestations artistiquesThe post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations
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Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
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Cette thèse explore l’influence artistique et culturelle de la Grande-Bretagne en Australie, ou les caractéristiques britanniques de l’identité australienne, depuis les années suivant la fin de la Première Guerre Mondiale jusqu’à 1941. La culture australienne de cette période a souvent été décrite comme isolée, voire même « en quarantaine », caractérisée par son acceptation tardive du modernisme. Bien qu’à cette époque la Grande-Bretagne accorde davantage d’indépendance et d’autonomie à ses dominions, l’Australie cherche à maintenir des liens culturels et impériaux en s’identifiant exclusivement à la Grande-Bretagne. Ainsi, pendant cette période, la majorité des Australiens considèrent toujours l’Angleterre comme mère patrie et Londres attire de nombreux artistes australiens expatriés. Pour reprendre les termes de Daniel Thomas, historien de l’art australien, l’Australie développe une identité culturelle dite « bi-hémisphérique Anglo-australienne », imprégnée de nationalisme, de conservatisme et de valeurs patriarcales. Cette thèse examine les échanges artistiques entre l’Australie et la Grande-Bretagne pendant les années 1920 et 1930 et met en lumière les complexités de l’identification culturelle. Elle considère tout particulièrement le fait que l’historiographie nationaliste de l’art australien a passé sous silence le rôle joué par les femmes dans la construction de l’identité nationale et dans la définition d’un art australien. A travers l’analyse des collections nationales d’art britannique et les mécanismes de circulation de l’art moderne britannique en Australie, cette thèse met en avant la dualité de l’identité culturelle australienne et la marginalisation des femmes, non seulement en tant qu’artistes mais aussi en tant que défenseuses culturelles. En mettant l’accent sur l’expérience d’expatriés australiens en Angleterre et comment ceux-ci cherchent à s’intégrer à la scène artistique britannique, cette thèse rend compte de l’importance de l’expatriation en tant que concept contribuant aux historiographies de l’art en Grande-Bretagne et en Australie. Enfin, cette thèse conceptualise le travail de deux Australiennes expatriées, Edith May Fry et Clarice Zander, qui, en tant qu’organisatrices d’expositions, ont considérablement contribué à la dissémination du modernisme en Australie et à la définition de l’identité culturelle australienne pendant l’entre-deux-guerres. L’enjeu de cette thèse est de démontrer les mécanismes qui ont permis à l’Australie de représenter sa propre identité à travers l’art tout en continuant à s’identifier à la Grande-BretagneThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
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Kinoshita, Harumi. "La diffusion culturelle internationale : les enjeux de la politique de prêts d'oeuvre et d'expositions du MNAM-CCI (Centre Georges Pompidou) pendant la période 2000-2007". Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00767576.
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Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l'étude de la politique de diffusion : celle-ci est l'objet de ma thèse en sciences de l'information et de la communication intitulée " La diffusion culturelle à l'échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ".Le Mnam-Cci est l'un des plus importants musées au monde grâce à sa collection d'art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l'une des stratégies importantes du musée. Dans la perspective d'une étude muséologique, l'analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l'échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l'heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l'échelle internationale à travers la politique de diffusion.C'est ainsi que ce travail montre la diffusion culturelle à l'échelle internationale par l'intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci.
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Benlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
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Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architectureThe thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
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Sutherland, Ann. "Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941". Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.
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Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European empires, the establishment of the League of Nations in 1920 and the rise of American power after 1930. The thesis opens with the nation a member of the British War Office in 1918 and ends with Australia a member of the Pacific War Council which formed in Washington DC in 1942.
While post-WWII initiatives in cultural diplomacy have been studied, their antecedents have been rarely noted in either the literature on Australian diplomacy, or within the history of Australian art and its exhibition. This thesis seeks to address this oversight, necessarily doing so from a broad multidisciplinary perspective. The profiled exhibitions are detailed as to their origins and content within their historical backdrop, the politics and the people involved. The thesis argues that visual arts exhibitions established a distinguishing aspect of national projection in the interwar period, one which remains embedded in policy and the public cultural programs of government and the national, state, and regional art galleries.
I draw three principal findings from the presented research. The exhibitions discussed enrich our knowledge of the various ways the nation managed its strategic interests as an internationally aligned nation after 1918. Secondly, it addresses a gap which will continue while the many public actors captured by cultural diplomacy - the participants, their objectives and location, institutional arrangements, and foreign and strategic policy – are investigated in isolation from each other. Finally, my hope is that this thesis will make an original contribution to an understanding of the role of exhibitions within the modernisation and the cosmopolitanising of the nation, including the important contribution of artists and arts institutions, business, and public administrators to those exhibitions in the inter-war period.
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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /". Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
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14
Ingram, Jacob. "No Place Like It - A BFA Exhibition". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/42.
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Bachelor of Fine Arts Exhibition, No Place Like It, held at Tipton Street Gallery, 126 Spring Street, Downtown Johnson City, TN, from April 2nd to April 6th. The show exhibit consists largely of drawings mostly done in graphite or charcoal, an installation piece, a quilt and found objects completed between the summer of 2010 and spring of 2012. The work uses family photos and Jackalopes to show the relationship to the artist as well as ideas about family, isolation, and identity.
15
Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions". Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
16
Imbert, Clémence. "Oeuvres ou documents ? : un siècle d’exposition du graphisme dans les musées d’art moderne de Paris, New York et Amsterdam (1895-1995)". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080084/document.
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La thèse s’intéresse aux expositions de design graphique, à la fois en tant qu’événements constitutifs de l’histoire de la discipline et en tant qu’espaces (scénographiques et discursifs) où se manifestent ses liens plus ou moins assumés avec la création artistique. Elle s’appuie sur un corpus de quatre cents expositions, organisées entre 1895 et 1995, au sein de trois institutions muséales : le Stedelijk Museum d’Amsterdam, fondé en 1895, le Museum of Modern Art (MoMA) de New York, créé en 1929 et le Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), né en 1993 de la fusion de deux départements du Centre Pompidou. L’étude des archives de ces manifestations met au jour ce que furent les choix de programmation des musées (quels objets, quelles époques, quels graphistes mettent-elles en avant ?) ; mais aussi les différents statuts qui sont conférés aux objets imprimés, par la scénographie ou par les discours qui les environnent. La thèse révèle, notamment, la préférence des musées d’art moderne pour l’affiche, pour le graphisme « d’utilité publique » et pour le travail des « graphistes-auteurs ». À ce graphisme « de musée » sont appliqués des cadres interprétatifs qui le rapproche de la création artistique : assimilation du graphiste à un artiste, omission des circonstances de la commande, description des styles, recherche des influences… Les expositions de « communications visuelles » organisées par le CCI offrent un singulier contrepoint à ce modèle, dans la mesure où elles consacrent moins les « œuvres » du graphisme qu’elles ne s’interrogent sur leur contexte social de production et d’utilisationThis dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use
17
Molony, Mary Carolyn. "Confessions: A BFA Exhibition". Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/154.
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The artist discusses her Bachelor of Fine Arts Exhibition, Confessions, held at the Tipton Gallery, from November 14th to November 25th. The exhibit portrays how the artist responds to issues such as organized religion, war, and politics. Being drawn to art from the Renaissance to Baroque era, the work encorporates an "old world" aesthetic, also with an emphasis on Gothic architecture.
18
Edmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958". CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
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The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history.
Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.
19
Columbus, Sanford Jillian. "Mobile Exhibition System". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1898.
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Through the development and design of a Mobile Exhibition System (MES) in this thesis, I will demonstrate the benefits and possibilities of a flexible and mobile system within an exhibition environment. A flexible system will be able to adapt to a wide range of content, while at the same time, maintaining a synergy between its form and function. By the reuse and reappropriation of shipping containers as the exhibition envelope, the goal of mobility can be achieved, reaching out to those who might not otherwise experience learning through an exhibition environment.
20
Albornoz, Rodrigo Nicolas. "Purification : Research & Exhibition". Thesis, Konstfack, Institutionen för Konst (K), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6738.
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In recent years I have been working on topics related to Post-colonialism in South America, as well as the conditions of immigrants in Europe. The main interest of my work involves questions about my roots and personal stories of migration. This situation has been the engine of my art for the last ten years. Through my installations, I have tried to express or represent some certain facts, that have marked the post-colonial situation in Latin America and Europe over the last years. The slavery and exploitation of illegal labor are common working conditions for many people in South America, especially for those located in the jungles and slums. The Indigenous culture -its languages, values and traditions- have begun to disappear and been displaced by Western culture. Here in Europe, on the other hand, I feel 'alien' to the territory of my ancestors, due to the fact that my family comes from European immigrants in Argentina. Illegal labor has been also a part of my life, having experienced the condition of 'otherness' in Europe. Therefore, this project reflects upon my personal experience in relation to the unfair conditions of labor in autochthonous communities, researching the concept of 'otherness' taken from Post-colonial theories. It is for this purpose, that my methodologies include self-reflection, parallelism and metaphor. One of my purposes is toreveal those 'fake stories' used by the European acculturation in South America. I called these fake stories 'strategies', as they were used by the Colony for the reconstruction of a new National Identity in those countries. Therefore, convincing the Indigenous culture to adopt Western culture. The parts of my essay are a metaphor of different stages of narcotic's production, best called 'mobile labs' of the Amazon jungle.I have taken this concept to tell my story and to build up the laboratory as final representation. The first stage of this process is to weigh and measure the ingredients, followed by a mixture of substances and chemicals. Once mixed, it proceeds to three stages of filtering and purification. Then it is subjected to a press for semi-solid consistency and introduced into the oven to reach the compact state. The blocks will finally be packed with plastic film and adhesive tape, protecting them from adverse environmental conditions during transport and storage. Each chapter of this essay is also connected to the 'machines' constructed for my solo exhibition, following the same steps of Purification. Through this essay, I wanted to broaden my concept relating three main aspects: the colonial strategies of domination in South America, my personal work experience in Europe, and finally the unfair working conditions in marginal societies. Each of the 'machines' constructed for my installation is functional, ready to be activated according to the different parts of the cooking process and as a representation of a 'production line' in the system of labor. I also have chosen to wrap my body, as well as carefully chosen representative objects of the popular culture of South America, to finally pack them in cling film. As a result of this process of Purification, I have produced the 'final products' ready to be consumed here in the Western European countries.
21
Shanks, Sarah M. "The Memory Yields: B.F.A. Thesis Exhibition". Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1401583720.
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Durmaz, Nur. "Awarding Architecture In Turkey: National Architecture Exhibition And Awards Program". Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611377/index.pdf.
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The establishment of the National Architecture Exhibition and Awards (NAEA) program in 1987, by Chamber of Architects, coincides with the period of dissolving modernist paradigm and rising pluralist influences in Turkey. The program, as a critical medium, is expected to reflect &ldquonational&rdquo
architectural practice and contribute in the &ldquo
contemporary&rdquo
architectural practice in Turkey. In order to evaluate the consistencies with these objectives, firstly the program identity and then the participations are analyzed. On the other hand, regarding the searches for &ldquo
innovativeness&rdquo
and &ldquo
contemporaneity,&rdquo
parallelism with the international architectural agenda and concerns for geographic differences are analyzed through the awarded projects and the jury reports. In the analysis about the position of the program as well as its indications about Turkish architectural practice, the following results are obtained: Program can be defined as having an insulated and closed character with regard to its structure. Considering the participations, it is seen that it does not reflect the heterogeneous character of its geographical scope and has an elitist profile in awards distribution. Priority given to senior architects in Grand Prizes, the weight of the restoration category and the newly established commemoration program itself point out to a conservative stance. In the thesis, the awarded submissions are analyzed comparatively with Progressive Architecture (PA) Awards program. It is an established program in United States, which perpetuate since 1954 and it is claimed to have both &ldquo
reflective&rdquo
and &ldquo
limit-pushing&rdquo
positions in the architectural platform. In NAEA program, instead of the claims for giving precedence to &ldquo
limit-pushing&rdquo
attempts, a &ldquo
reflective&rdquo
position has been maintained. In the jury reports, the &ldquo
modernist&rdquo
award criteria can be defined as parallel with the agenda of international platform. In recent years, in international platform, instead of domination by styles, conceptual productions and sustainable themes gain prominence. Thus, regarding the submissions of NAEA, these parallelisms have been diminished.
23
Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises". Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.
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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.
24
Schoeber, Felix. "Modernity, nationalism and global marginalisation : representing the nation in contemporary Taiwanese art exhibitions". Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/8yv7y/modernity-nationalism-and-global-marginalisation-representing-the-nation-in-contemporary-taiwanese-art-exhibitions.
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This thesis describes and analyses the development of the most prestigious large- scale exhibitions of the Taipei Fine Arts Museums from its opening in 1983 until 2009, concentrating on the Trends of Modern Art in the R.O.C. series of the 1980s , the introduction of the Taipei Biennial in 1992, and the Taiwan Pavilion in Venice from 1995 until 2009. Its focus lies on the transformation of the museum space and the status of the work of art. Several threads of questions run through this thesis: an attempt to analyse and illuminate the specific modernity and its inherent contradictions that characterized the museum space; the specific status of the object of art (and the artist) within the museum space; and lastly the image of the nation and its transformations as it is projected through these exhibitions. The first part of this thesis concentrates on how modernism was enacted in the first museum of modern and contemporary art in Taiwan (and one of the first in Asia), how a Chinese modernism was anointed through the exhibitionary system, and how this was challenged and finally abolished in favour of a new exhibitionary system, the Taipei Biennial. This part also analyses the rupture between those two exhibitions, and how the latter inaugurated a new and different status of the work of art, not merely an aesthetic object, but an element of a cultural narrative and discourse. The second part of the thesis shifts its focus on how the work of art was re-framed through the discourse of Taiwanese identity. Using as a starting point the writings of Benedict Anderson, the idea of the nation as a universe or microcosm of knowledge is used to describe a new pattern of representation of the nation that emerged since 1995, with the inauguration of the Taiwan Pavilion at the Venice Biennale. This part of the thesis concentrates on how this new and pluralist pattern of nationalism was created, repeated, and re-confirmed, but also re-written over the years, projecting an archetypical image of an “imagined community” or a microcosm of knowledge of the nation, rooted in the past, projected into the future, and centred around a synthesis of the nature of its territory and the urban experience of the capital. The third part of the thesis describes how the subaltern position of local artists and curators in relation to the museum have re-shaped their analysis of the nation, and how the notion of centrality of the nation was de-constructed once the question of the voice of a nation, but most of all of its curators and artists within a globalised world came to the fore.
25
Gonyo, Denise. "Envisioning India : South Asians, exhibitions and the development of nation in the late nineteenth and early twentieth centuries". Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/cf9f4d47-fd5b-4271-b7a6-80e8a1263d73.
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This thesis explores the envisioning of India through two different but related exhibitionary forms: it examines the record of South Asian experiences of the Crystal Palace at Sydenham, the Colonial and Indian Exhibition of 1886 and the organisation of exhibitions hosted by the Indian National Congress in the subcontinent between 1901 and 1905. Through a detailed analysis of a range of related primary sources, including contemporary South Asian travel narratives, Indian National Congress proceedings, and local publications such as the Times of India and Indian Textile Journal, this thesis investigates the ways in which South Asians, specifically those who could be considered urban elites, constructed the modern Indian nation in relation to their visiting and organising of these exhibitions. Deploying the critical frameworks of the study of the history and theory of Great Exhibitions, which, in turn, are informed by postcolonial theories, the thesis reveals the ways in which South Asians disseminated the idea of modernity but also, importantly, the ways in which they negotiated, complicated and, in part, made these imperially inflected ideals their own.
26
Baker, Charles. "An Exhibition of Painting, Sculpture and Video". Thesis, Waterloo, Ont. : University of Waterloo [Dept. of Fine Arts], 1997. http://etd.uwaterloo.ca/etd/cbaker1997.pdf.
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Thesis (M.F.A.)-University of Waterloo, 1997.Includes bibliographical references (p. 65). Issued also in PDF format and available via the World Wide Web. Requires Internet connectivity, World Wide Web browser, and Adobe Acrobat Reader.
27
Small, Stephen W. ""A national imaging arts museum"". Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53275.
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In designing a National Museum for the Imaging Arts, a dual obligation is created. It is to provide an intimate place for the cherishing of manifestations of the individual, while also creating, at the scale of the nation, a symbol of the civilization. Architecture accepts this obligation through the hierarchical scaling of the referents of order, material, space, and light.Master of Architecture
28
Van, der Heijden Merijn. "The Exhibitionary Complex: An Inquiry into the Role of the Modern Art Exhibition". The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394802552.
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Saxbee, Helen. "An orient exhibited : the exhibition on the Chinese Collection in England in the 1840s". Thesis, Royal College of Art, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305400.
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30
Giraldo, Verónica. "Here we are building a museum together: An interactive exhibition". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22327.
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It has been established by several studies that interactive exhibitions in museums bring many benefits to the experience of its visitors. This thesis explores how to make the exhibition Människor och idéer i rörelse (People and Ideas in Motion) interactive. This exhibition took place at the Workroom of Rörelsernas Museum (Museum of Movements) in Malmö. The exhibition was designed so that no one needed to go inside, but rather view and interact with the content of the exhibition from the street, which was displayed on the windows of the Workroom.Through a context-based design approach, the design process consisted of three main phases: inspiration, ideation and implementation. Throughout the design process, it was defined that in order to maintain the distance measures needed, it was adamant to employ technology as a design material. Following a number of testings, the specific technologies that were to be used were defined, namely capacitive sensors. Following this, the project delves into the steps needed in order to define the output of sensors. The final product consisted of four sensors. Two of these were connected to surprise boxes that enhanced the visual content of the exhibition. The other two were connected to a sound system that employed the windows as speakers, providing extra information about the museum and the exhibition.
31
D'Onghia, Danielle M. "Windows to Reverie: A Photography Exhibition of Works by Danielle D’Onghia". Ohio Dominican University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1368528376.
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32
Bansal, Anupam. "Indira Gandhi National Centre for Arts". Kansas State University, 1996. http://hdl.handle.net/2097/36073.
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33
Lieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery". Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.
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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.
34
Sharp, Michael G. "Ghost Water Exhibition". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6272.
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The Ghost Water exhibition of artworks by Michael Sharp was comprised of four main works titled: 30 x 60 Minute Grid Series, Suspension, History/Prehistory, and Lake Bonneville Remnants. The artwork was created as a reaction to the land that once held the prehistoric Lake Bonneville and to its current remnant Great Salt Lake. The work explores the dialogue between absence and presence.
35
Fernández, López Olga. "Dissenting exhibitions by artists (1968-1998) : reframing Marxist exhibition legacy". Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1346/.
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The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.
36
Howard, Justin K. "The Barbershop: a photographic documentation and exhibition". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/854.
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In this project I explore the environment that surrounds and frames my life experiences. Interests in form, architecture, vernacular typographyand community blend into a photographic documentationcommunicating my perceptual experience of Richmond barbershops through public exhibition.
37
Bucciantini, Alima Maria. "Museum, exhibition, object : artefactual narratives and their dilemmas in the National Museum of Scotland". Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/7983.
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National museums are spaces where stories of the past are told through the display and interpretation of material culture. The narratives that are created in this way reflect the ways in which the nation wants to be seen at that particular moment, and are often embedded in the larger political and social contexts of that time. This thesis looks at the National Museum of Scotland as having three levels of narrative: that of the museum as a physical space and national institution, that of the temporary exhibitions it hosts and develops, and, most crucially, as a collection of important and iconic objects. By tracing the artefacts that were given a central role in various exhibitions over the life of the museum, the narratives of nation and history which were most valuable at that time can be uncovered. The two permanent and five temporary exhibitions profiled in this work act as windows into the life of the museum, and the goals and challenges it had at that moment. The thesis begins with the story of museum history in Scotland, from the 1780 formation of the Society of Antiquaries of Scotland to the debates in the 1990s about the potential form and contents of a new Museum of Scotland. From there we look at two temporary exhibitions in the 1980s which inspired the Museum of Scotland, before examining some more recent temporary and touring exhibitions – a pair that came to Scotland from Russia, and one that left Edinburgh to travel among other Scottish museums. The final chapter returns to the realm of what it means to have a national museum, as it investigates the 2006 rebranding that changed the Museum of Scotland into the National Museum of Scotland, and what the new nomenclature signals about the objects and narratives within. All together, this work is both the story of a particular national museum and an investigation into the ways in which national history is continuously made and remade for the public through the display of artefacts from the past.
38
Flannagan, Wickham Catesby. "Translation: A Journey Toward Ethnographic Art". OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2233.
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This paper breaks down my process of transitioning to a new environment through ethnographic documentation. Through the progression of my creative work, I explore the various ways in which I express my own internal feelings through my art. By expressing an alienation within a foreign country in a multitude of filmic ways, these depictions help illustrate my mental and physical journey. My work is informed by psychoanalytic theory and I am most influenced by Jacques Lacan and Sigmund Freud. These theories help me understand the human condition and how I create media art to help me come to terms with my surroundings. Another part of my influence is the genre of ethnographic film, and in my use of this style, I attempt to portray the isolation that I’ve experienced as an American citizen while living in Ankara, Turkey. Many contemporary artists have influenced my approach to the post-production treatment of my ethnographic footage such as David Lynch and the Propeller Group. In addition to a summary of these influences, I discuss the thesis exhibition and my plans for the future.
39
Rodriguez, Kathryn Lorraine. "Henry Meloy the portraits : a narrative of the exhibition /". The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05202008-125608/.
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The Montana Museum of Art & Culture (MMAC) exhibited the portraiture of Montana modernist painter Henry Meloy in July and August of 2007. As curatorial intern, I assisted in the mounting of this exhibition and researched the biography of and portraits created by Meloy. The professional paper describes the process of mounting the show from the acquisition of the permanent loan of the Meloy collection by the MMAC through exhibiting and and shipping the work. This description is supplemented with biographical information and critical assessment of the portraits, which show stylistic developments in visual arts in the United States between 1920 and 1950.
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Miller, Chasity Janet. "From the Seat of Authority: A Case Study in Exhibition Development". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1034.
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During the Spring 2006 semester, Virginia Commonwealth University students enrolled in the graduate Museum Studies course on exhibition development collaboratively curated an exhibition entitled From the Seat of Authority, which opened at the Anderson Gallery in June 2006. This thesis project documents the exhibition and offers an account of the deliberative and creative development process in which student-curators engaged. It is different from other case studies that focus on the technical aspects of curating an exhibition.Major components of the development process include articulating a theme, selecting artworks, writing interpretive text, and designing display techniques. This thesis project aims to characterize the development of these components in relationship to the overall creative processes. It is important to note that the previously mentioned four components were not developed independently of one another, as the exhibit development process was non-linear and organic.
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Lotery, Kevin. "an Exhibit / an Aesthetic: The Independent Group and Postwar Exhibition Design". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463126.
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This dissertation tracks the exhibition design practices developed in and around the Independent Group (IG) from the late 1940s through the 1950s. A loose affiliation of artists, architects, and critics, the IG gathered at London’s Institute of Contemporary Arts in the early to mid-1950s to debate the aesthetic, socio-political, and techno-scientific forces of their present (key figures included Lawrence Alloway, Reyner Banham, Richard Hamilton, Nigel Henderson, Eduardo Paolozzi, Alison and Peter Smithson). Synthesizing science-fiction, Dada, theoretical biology, and cybernetics (among many other topics) within a single mode of research, IG members formulated a non-hierarchical model of the cultural “continuum” in discussions, presentations, and most importantly, collaborative exhibition designs.
The dissertation contends that exhibition design provided the IG with a timely strategy for navigating the contradictory traditions of aesthetic and technical production that came together in Britain during postwar reconstruction, from interwar avant-gardes to emergent American technocracy. IG members realized that exhibition design was the one technique that could move fluidly between the phenomenological conditions of architecture and display and the technological networks of communication, image distribution, and scientific production structuring the “continuum.” The goal was to bring these circuits and spaces—gallery, factory, laboratory, office, home, cinema, television, street—to bear on bodily experience so they might first be lived, then studied and redesigned.
Chapter 1 examines Hamilton’s Growth and Form (1951), arguing that the exhibition’s apparatuses for displaying images and models of organic processes materialized a looming shift in global power structures. Chapter 2 unpacks a “Brutalist” empiricism from Parallel of Life and Art (1953), a web of photographs of cultural and technical materials. Chapter 3 investigates Hamilton’s Man, Machine and Motion (1955), which was less exhibition armature than metallic machine of production. Chapter 4 considers IG participation in This is Tomorrow (1956), a collection of propositions for artistic integration. Here, the IG met spectators, not in the realm of bodily experience, but on the plane of fantasy. Chapter 5 examines Hamilton’s an Exhibit and Exhibit 2 (1957/59), proto-Conceptual projects testing whether forms of affect, play, and chance might be fabricated within production systems no longer requiring human operators.History of Art and Architecture
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Kato, Miwako. "Views from Daily Life: A Supporting Paper for a Graduate Exhibition". [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0330101-110959/restricted/katoM0501.pdf.
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Cagol, Stefano. "Towards a genealogy of the thematic contemporary art exhibition : Italian exhibition culture from the Mostra della Rivoluzione Fascista (1932) to the Palazzo Grassi's Ciclo della Vitalità (1959-1961)". Thesis, Royal College of Art, 2013. http://researchonline.rca.ac.uk/1642/.
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The goal of this thesis is to look at the emergence of the thematic contemporary art exhibition in Italy through an analysis of the influence of Fascism and the commercial sector in the three exhibitions composing the Cycle of Vitality, organised between 1959 and 1961 at the Centro Internazionale delle Arti e del Costume (CIAC), opened at the Palazzo Grassi in Venice in 1951. The cycle falls within the fields of both curatorial studies and the history of modern and contemporary exhibitions, two disciplines that have been developed since the 1990s. This inquiry contributes to them by clarifying further their specific fields of investigation, or in presenting alternative genealogies by casting light on overlooked antecedents; and by addressing the curator as a distinct cultural producer, the institution as a medium for social change and the history of exhibitions. The exhibitions analysed belong to the genealogy that resulted from the shift in the display language of international inter-war avant-garde experiments in exhibition design as manipulated by Fascism and commerce in the 1930s. Modernist architects were engaged in turning the exhibition into a medium for social change, and a mass-medium to bring a sense of the future into the present: It was from this premise that the model of the thematic exhibition emerged. Its further development in post-war Italy paralleled the questioning of the fine art museum’s entanglement with the discipline of art history, enacted by those architects trained in the 1930s. The Cycle of Vitality paired the two models in the thematic contemporary art exhibitions – Vitalità nell’arte (1959); Dalla natura all’arte (1960) and Arte e contemplazione (1961) – organised by curators avant-la-lettre Paolo Marinotti and Willem Sandberg. Crucial to the analysis of the Cycle of Vitality is the questioning of the relationship between contemporary curators, museums and the discipline of art history, as a consequence of Italian exhibition culture between 1932 and 1961. Within this historical framework, these exhibitions were influenced by the original profile of the CIAC, a cultural centre sponsored by the SNIA Viscosa, a company manufacturing man-made fibres. The CIAC allowed for the development of exhibitions that were intended to reshape the social body rather than to present the results of art historical research as was traditionally the role of museum or fine art exhibitions. In the 1950s, modernist Italian architects played a strategic role in rethinking the museum, a tendency further fostered by curators avant-la-lettre who, as cultural producers, turned the institution into their medium rather than considering it a function of the discipline of art history.
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Casey, Briege. "Making an exhibition of ourselves : using narrative and arts-based inquiry with student nurses". Thesis, University of Bristol, 2010. http://hdl.handle.net/1983/e0235c18-2782-4ebf-b762-450551267125.
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Poos, Francoise. "The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition". Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12429.
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This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises today about 10.000 objects from the 1920s to the mid 1970s. Made in Luxembourg or by people from Luxembourg, the movies, and even more so the film stills as a condensed version of the archive, represent the nation, yet as an ensemble they remain contained, making a close examination possible. I consider in this context that images are not however only indexical referents, but also, and especially, bundled objects existing materially in the world, entangled in a complex tissue of social interactions and practices, tensioned between document and art work and interwoven with shifting institutional aspirations. Drawing on the work of Ingold, I characterize this as a meshwork, in which everything is connected and visual objects evolve organically, subject to internal and external influences. Thus, this thesis observes the private family films as they meet and mesh with the public institution CNA where they develop new agency as historical documents, as works of art or triggers of collective memory. It explores the filmed material in relation to the national and institutional politics of the CNA’s emergence, the shifting culture of curatorial intention and ambition for the collection, the hierarchies of information within CNA. By making visible the lines, the connections and the nodes of this meshwork, as well as its patterns of disruption and fracture, this study highlights the varying interactions with Luxembourg’s Amateur Film Collection in particular, and, more generally, the performative nature of family photographs and films as they are used to construct images of nationality. The small scale of Luxembourg as a nation-state presents a demonstrable case study of the ecology of images in national identity building and makes an unusually grounded contribution to the wider debate about the ways in which images strengthen a sense of belonging, and how archives and museums use photography and film to construct and articulate visions of nationhood.
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Jousselme, Gwladys. "Enseignement, pratique de l’art et rôle du musée en Russie : le cas du Musée russe de Saint-Pétersbourg". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040117.
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La pédagogie muséale est une discipline portant sur l’introduction de l’art et du musée dans le système éducatif et sur l’utilisation particulière des ressources muséales lors des visites au musée par les enfants. L’expérience russe est à cet égard particulière et mérite une étude approfondie que propose cette thèse. En nous concentrant sur l’étude du Musée russe, musée pionnier et chantre de la pédagogie muséale, nous comprenons que le musée est en Russie une institution extrêmement dynamique et porteuse d’innovations originales. Ces avancées sont le fruit d’une forte tradition ancrée dans le monde muséal russe depuis la période soviétique, durant laquelle le musée était un lieu d’éducation majeur. Aujourd’hui, la pédagogie muséale russe a évolué et n’est plus teintée de propagande. Le Musée russe, un des plus grands musées de Russie, a théorisé et développé la pédagogie muséale à un niveau jusqu’à présent inégalé dans le monde. Le Musée russe travaille depuis plus de vingt ans à offrir à l’éducation russe une humanisation de l’enseignement au moyen de l’art. Son programme éducatif « Bonjour musée ! » appliqué dans les écoles, de la maternelle au lycée, donne aux enfants, par l’étude de l’art russe et mondial, les bases culturelles indispensables à une harmonieuse compréhension du monde environnant, alliée à l’éveil du sentiment national, un thème cher aux Russes. L’analyse de l’expérience du Musée russe dans le domaine de la pédagogie muséale vise à montrer d’une part l’impact bénéfique de l’art sur l’épanouissement de l’enfant et d’autre part les multiples applications de l’art pour l’enseignement, par le développement de l’interdisciplinarité : enseignement des mathématiques, chimie, physique et langues étrangères par le biais de l’artThe museum pedagogy is a discipline on the introduction of art and museum resources in the education system. The Russian experience in this regard is particularliar and deserves further study as it is proposed in this thesis. By focusing on the study of the Russian Museum, museum pioneer of museum pedagogy, we find evidence that the museum is an institution in Russia extremely dynamic with original innovations. These advances are the result of a strong tradition rooted in the museum world since the Soviet period that the museum is a major place for education. Today, the Russian museum education has evolved and is no longer linked with propaganda. The Russian Museum, one of the largest museums in Russia, has theorized and developed museum pedagogy at a level far unequaled in the world. The Russian Museum has over twenty years offered the Russian education humanization of education through art. Its educational program "Hello museum! "applied in schools, from childrengarden to high school, gives children, trough the study of Russian and world art, cultural foundations necessary for a harmonious understanding of the surrounding world, coupled with the awakening of national consciousness, a beloved theme for Russians. The analysis of the experience of the Russian Museum in the field of museum pedagogy is to show, first the positive impact of art on the development of the child and secondly the multiple applications of art education for the development of interdisciplinarity: teaching of mathematics, chemistry, physics and foreign languages through the medium of art
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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art". Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.
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Mason, Gale Joanna. "Aggregate: An exhibition -and- Event, Sensation and Figurative Painting: An exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2495.
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This practice-led doctoral research has emerged out of dedicated figurative painting practice and interweaves Gilles Deleuze’s Sensation and Slavoj Žižek’s Event concepts. The Event is understood as a philosophical system and not a particular occurrence. As with Sensation, it is framed as an unseen destabilising force or rupture that can only be experienced through its effects. Utilising the heuristic value of oil paint’s materiality and examining approaches of capturing the idea of Evental rupture, emphasis was given to colour theory, art history, facture and the construction of figurative paintings, with particular attention to the quality of materials.
Key figurative painters Susanne Kühn and Neo Rauch, who originated from the East German city of Leipzig and gained prominence after the fall of the Berlin Wall, provide the lens through which these notions are interrogated and applied in this doctoral research. Although differing in styles, they share ideas, commitment to process surface quality, technical skill and a classical painting education at the venerated Hochschule for Grafik und Buchkunst in Leipzig (Academy for Graphic Design and Buch Art). The Leipzig painters draw heavily on the history of painting and past culture, which is evident in their large-scale, discordant theatrical compositions. By tracing the influences of the Leipzig painters through select case studies, I aim to show that this ancient medium has continued relevance in the 21st century and how painting from the past continues to be a crucial factor in informing the present.
The creative component of the research examines how devices and strategies in figurative painting can successfully visually manifest notions of Event and Sensation as a bodily experience using the mise-en-scéne genre or the staged event. Select historical painters are referenced throughout the research, but Francis Bacon appears as the third solid key figure, as Deleuze’s Sensation is embedded in his unorthodox painting practice. I critically analyse strategies and devices deployed in his work and align them with that of the Leipzig painters. Insights gained from this are generated in my painting practice.
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Vazquez, Rebecca M. "The rise of interactive cinema and its significance for filmmakers, audiences, and the exhibition industry". Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/525.
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Traditionally, movie theater audience members are passive participants. The role of the traditional spectator is to sit down in a dark theater and watch as the film unfolds. As images flash across the screen, the audience member has no obligations. All they have to do is react. However a new, more actively engaged audience member is now emerging. The new role of the active audience member can be defined as putting a conscious effort into affecting one's own movie-watching experience. The trend we are now seeing in cinema is that of an interactive experience in motion picture creation and exhibition, and it utilizes this updated spectator role to great effect. Whether the audience member has a role in actually making the film, as is the case with crowdsourced cinema, or if they are actively involved after the film is created, as is the case with shadow casts and "choose your own ending" movies, going to the movies has become a much more active experience. The fascinating implications of this interactive cinematic movement for artists, audiences, and the exhibition industry cannot be understated. This thesis will explore some of the biggest interactive trends in filmmaking and exhibition today, and then delve into the implications of these trends.B.A.
Bachelors
Arts and Humanities
Cinema Studies
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Chang, Hsin-yi, i 張心怡. "A Case Study of the Exhibition Forms on Digital Art─Examples of the Digital Arts Exhibition of National Taiwan Museum of Fine Arts in 2004 and 2005". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/fs3hz8.
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碩士南華大學
美學與藝術管理研究所
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People’s lives are changing from analogy to digital due to the impact and trial of globalization and technicalization. “Digital” is just like a powerful current and trend, the creation style or theme content is inevitably influenced by the variety and the varying impact of digital technologies. Digital art soon becomes the main shaft of the development of art creation, it presents rich and diversity appearances, breaking through the time and space limitations of works and audiences in traditional art style. As for the traditional art museum, its exhibition forms have great changes and breakthrough. Hence this study takes the exhibition forms of National Taiwan Museum of Fine Art as the main theme of research, and adopts qualitative research method, implementing document analysis, case studies and in-depth interviews to explore and analysis the issues. First of all, I collect the related document information, and explore the development track and features of digital art. Afterwards, I analyze the differences of exhibition forms of digital art and traditional art according to case studies. Finally, I hope this study can be the reference for subsequent researchers on the applications of theory and practical work. The Conclusions and suggestions are as the followings: 1. Conclusions: 1.1 Technical ways of thinking generates new art styles, and enables artists to break through the set pattern of creation in traditional art. 1.2 Creative feature with great development potential, manifest the variety appearance of digital art. 1.3 Offer brand new connection of audiences/works /artists. 1.4 The exhibition forms, styles, and materials have broken the traditional ways of thinking and exhibition scope. 1.5 To apply interactive exhibition form that integrated different kinds of media, digital technologies and interfaces, eliminating the gap between the exhibited works and the audiences. 1.6 The diversification of creation styles influence the implementation and practice of exhibition. 1.7 Emphasis on humanity and meaning of creation, to increase the depth of the works. 2. Suggestions: 2.1 Methods to improve the planning and implementation of digital art exhibition: a. The planning and implementation of exhibition venues should cope with the needs of different creation styles. b. The arrangement of technical director and technical staff is helpful to the implement of exhibition organization and maintenance of works during the period of exhibition. c. The arrangement of exhibition guides enables interactive communication between works and audiences. d. Having long-term cooperation relationship with maneuverable and professional strategic groups enables the inheritance of experiences and accumulation of techniques. 2.2 Establish research institutes that focus on both experiments and researches enable the enhancement of mechanism and integration of resources 2.3 Offer artists creation reward and needed technical resources to create. 2.4 Encourage the team work of artists and engineers can complement each other, and may stimulate new creation inspiration.