Rozprawy doktorskie na temat „Regional art museums”
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Ashmore, Nicola L. "Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010". Thesis, University of Brighton, 2011. https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e.
Pełny tekst źródłaJankauskas, Jennifer Kathleen. "Acquiring contemporary art in today's global market : collecting strategies at small, mid-sized and regional American museums". Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32246.
Pełny tekst źródłaDouglas, Craig Cameron, i n/a. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum". Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.111309.
Pełny tekst źródłaDouglas, Craig Cameron. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365856.
Pełny tekst źródłaThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Full Text
Jones, Stacey Elizabeth. "Why women's clothing? a critical history of clothing collections : a regional case study /". Connect to PDF file Connect to PDF file, 2005. http://purl.fcla.edu/fcla/etd/UFE0009404.
Pełny tekst źródłaHansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand". Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.
Pełny tekst źródłaDIRKS, STEFANIE. "An Appalachian Arts Project: A New Model to Promote Communal Art Interaction". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211923981.
Pełny tekst źródłaHarrington, Kaysie Marie. "The American Studio Glass Movement: A Regional Study of its Birth in Northwest Ohio". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1542125173303787.
Pełny tekst źródłaChecchia, Viviana. "Beyond the exhibition : a vessel for self-reflexive curating in the Mediterranean". Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25048.
Pełny tekst źródłaBatista, Sandro Tôrres. "Do começo ao fim: história da implantação, desdobramentos e encerramento do Salão Nacional de Arte de Goiás - Prêmio Flamboyant (Goiânia, 2001 – 2006) Bastidores e memórias de um caso no sistema artístico regional". Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6703.
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This research had as object the National Art Salon Goiás - Flamboyant Award held in Goiânia between 2001 and 2006; analyze the relevant facts gathered from documentary sources and depositions. The Salon was designed, built and managed throughout its realization by a group of professionals who combined the project scope in the commercial sphere and professionals in the arts, in the defense of cultural character, and coined a form and regimentation never before seen in this State and aimed to select and reward through public tender (via notice) Brazilian artists with recent production in contemporary art. In the period of the Salon, the city was featured in the Brazilian scene of the visual arts and, therefore, attracted the attention of renowned artists, curators and art critics. It was left to the researcher in his text to highlight some aspects from the data collected in the survey, particularly with regard to the analysis of competition-salon format, the impact on the local landscape and the historical and cultural legacy for the city and the state. Interviews were conducted with some of the main characters involved in the project and analyzed documents and printed primary sources of research. During the master of the period, some versions of the text results of the survey were presented in the form of communications, lectures and discussions on the topic in the history of events, arts and within the Research Group Interartes- Interartistics Processes and Systems and Performance Studies (CNPq), which the researcher was part of effective and active form since joining the PPGH UFG.
Esta pesquisa teve como objeto o Salão Nacional de Arte de Goiás – Prêmio Flamboyant que aconteceu em Goiânia entre 2001 e 2006; com o objetivo de analisar os fatos relevantes levantados a partir de fontes documentais e depoimentais. O Salão foi concebido, erigido e gerido, ao longo de sua realização, por um grupo de profissionais que mesclavam o escopo do projeto na esfera mercantil e profissionais do campo das artes, na defesa do caráter cultural, e cunhou uma forma e arregimentação nunca dantes vista neste estado e tinha como finalidade selecionar e premiar, por meio de concurso público (via edital), artistas brasileiros com produção recente em arte contemporânea. No período de realização do Salão, a cidade recebeu destaque no cenário brasileiro das artes visuais e, com isso, atraiu a atenção de reputados artistas, curadores e críticos de arte. Coube ao pesquisador em seu texto destacar alguns aspectos dentre os dados levantados em pesquisa, principalmente no tocante à análise do formato de concurso-salão, o impacto no cenário local e o legado histórico e cultural para a cidade e o estado. Foram realizadas entrevistas com alguns dos principais personagens envolvidos no projeto e analisados documentos e materiais impressos, fontes primárias de pesquisa. Durante o período do mestrado, algumas versões do texto resultado da pesquisa foram apresentadas na forma de comunicações, palestras e discussões sobre o tema em eventos de história, de artes e dentro do Grupo de Pesquisa Interartes- Processos e Sistemas Interartísticos e Estudos de Performance (CNPq), do qual o pesquisador fez parte de forma efetiva e atuante desde seu ingresso no PPGH-UFG.
Drozdová, Alexandra. "Marketingová komunikace v soudobé praxi tuzemských muzeí umění". Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-205698.
Pełny tekst źródłaSantiago, Restoy Caridad de. "Los museos de arte moderno y contemporáneo: historia, programas y desarrollos actuales". Doctoral thesis, Universidad de Murcia, 1999. http://hdl.handle.net/10803/10881.
Pełny tekst źródła1- In the first place, a historic perspective of the modern art museum has been concisely elaborated, that is to say, since institutional grants to artists are created with the celebration of the Halls and the creation of the first museum of living world artists at the Luxembourg Palace of Paris.2- Subsequently, we focus on the birth of the Museum of Modern Art in New York, MOMA, created in 1929 with only thirteen pieces of art. This museum became an obliged reference from a museological point of view for the creation of the future modern art museums all over the world for almost six decades. The work concludes with the model created in the 1960s, the factory "Beaubourg", the postindustrial period museum, and the postmodern museum of the 1880s and its repercussions in the new museology. If the MOMA in New York created an encyclopedic collection of the art of the 20th Century, the "Musée National d'art Moderne", achieved to involve the citizens with the modern art. The collections showed inside were as important as the flow of visitors and curious that crowded outside. It ends with approximation to the "Fonds Regionaux d'art Contemporain" and the birth of the Centres of Contemporary Culture.
Samuel, Estela Maria do Carmo. "Museu Regional de Arte e Arqueologia Islâmica". Master's thesis, 2017. http://hdl.handle.net/10437/9222.
Pełny tekst źródłaEsta dissertação de mestrado aborda o projeto para um Museu Regional de Arte e Arqueologia Islâmica em Olhão, uma arquitetura contemporânea interpretada a arquitetura islâmica; na criação de um edifício cubista, cujo conceito é um edifício voltado para o interior, com amplos espaços decorados com elementos arquitetónicos cujos desenhos têm origem numa geometria de originalidade única e genuína. O edifício possui uma ligação com os edifícios da zona histórica da cidade de Olhão, onde estão acentuadas as açoteias e os mirantes numa arquitetura cubista delineada, cujas origens tudo aponta para o País vizinho do Norte de África, Marrocos, local apetecível onde os nossos emigrantes Olhanenses, trazendo no seu regresso a cultura de um povo que os acolheu e que neste caso se expressa na arquitetura local, onde se podem observar ruas e ruelas estreitas, tal como uma Medina, tão característica na arquitetura Islâmica. Este projeto no exterior também foi pensado num arranjo, com amplos passeios pedonais, parqueamento para viaturas destinados aos visitantes e arborização com árvores de folha caduca de modo a criar zonas de sombra no Verão e espaços abertos com muito sol no Inverno. O suporte da formalização da proposta foi induzido pela beleza das formas geométricas presentes nos elementos arquitetónicos islâmicos e nas formas dos edifícios cubistas que caracterizam a arquitetura Olhanense. A ideia fundadora passa pelo “modus operandi” das formas geométricas, centralizadas nos edifícios com suas açoteias, os seus mirantes e contra mirantes, que eram utilizados para secagem de frutos e principalmente como observatório do estado mar. O projeto propõe melhorar a qualidade do espaço envolvente, proporcionando à cidade uma mais-valia, do ponto de vista cultural, turístico e urbano.
This master's thesis deals with the project for a Regional Museum of Islamic Art and Archeology in Olhão, a contemporary architecture interpreted Islamic architecture; In the creation of a cubist building, whose concept is a building facing the interior, with ample spaces decorated with architectural elements whose designs originate in a geometry of unique and genuine originality. The building has a connection with the buildings of the historic area of the city of Olhão, where the roofs and gazebos are accentuated in a delineated cubist architecture, whose origins all point to the neighboring country of North Africa, Morocco, an attractive place where our emigrants Olhanenses, bringing back the culture of a people who welcomed them and which in this case is expressed in local architecture, where you can see narrow streets and narrow streets, such as a Medina, so characteristic in Islamic architecture. This outdoor project has also been thought of in an arrangement with extensive pedestrian walks, parking for vehicles intended for visitors and forestation with deciduous trees in order to create shady areas in summer and open spaces with lots of sunshine in the winter. The support of the formalization of the proposal was induced by the beauty of the geometric forms present in the Islamic architectural elements and in the forms of the cubist buildings that characterize the Olhanense architecture. The founding idea goes through the "modus operandi" of the geometric forms, centralized in the buildings with their roofs, their lookouts and against lookouts, which were used to dry fruits and especially as observatory of the sea state. The project proposes to improve the quality of the surrounding space, giving the city an added value, from the cultural, tourist and urban point of view.
Fitzpatrick, Peter Gerard Media Arts College of Fine Arts UNSW. "The Doulgas Summerland collection". 2007. http://handle.unsw.edu.au/1959.4/44257.
Pełny tekst źródłaPausini, Adel Igor dos Santos Cangueiro Romanov. "Modernidade e provincianismo: MASP, MAM-SP e a Campanha Nacional de Museus Regionais no nordeste brasileiro". Doctoral thesis, 2020. http://hdl.handle.net/10437/10219.
Pełny tekst źródłaA tese buscou identificar o capital social de determinados grupos da elite agrária paulista do século XIX e a sua relação com a ideia de ciência, museus e arte, articulados com o contexto político e econômico do período. Partindo do conceito de modernização conservadora de Florestan Fernandes, a proximidade tecida entre este grupo e o Movimento de Arte Moderna de 1922, na década de 1940, associados ao capital industrial emergente e ao capital cultura e econômico internacional, influenciaram o processo de constituição de museus de arte em São Paulo, comprometidos com a formação e a promoção do diálogo museológico e artístico entre o cenário externo e o cenário nacional. Em contexto de Guerra Fria, a pesquisa buscou discutir o envolvimento desses museus com o quadro político, econômico e cultural internacional, bem como compreender se a Campanha Nacional dos Museus Regionais significou a tentativa de reverberar tais aspectos internacionais, acrescido por um suposto projeto urbano-industrial paulista para outras regiões do país, a partir da política de implantação de museus regionais de arte moderna. Os estudos foram concentrados nos três museus regionais estimulados pela Campanha na região Nordeste do Brasil, inaugurados nas cidades de Olinda, Feira de Santana e Campina Grande na década de 1960, durante o regime militar brasileiro. Considerando a centralidade de Yolanda Penteado, vinculada a esses múltiplos processos, por meio da pesquisa de campo, aliada à revisão bibliográfica e a fontes documentais, a tese buscou compreender as dinâmicas dialógicas estabelecidas entre os grupos locais que acolheram o projeto de implantação dos museus regionais e o grupo paulista no momento de fundação de tais museus, bem como compreender as dinâmicas que foram determinantes para a manutenção desses museus regionais após a extinção da Campanha Nacional de Museus Regionais em 1968.
The thesis sought to identify the social capital of certain groups of the 19th century paulista agrarian elite and their relationship with the idea of science, museums and art, articulated with the political and economic context of the period. Starting from the concept of conservative modernization of Florestan Fernandes, the proximity woven between this group and the 1922 Movement of Modern Art, in the 1940s, associated with emerging industrial capital and international cultural and economic capital, influenced the process of constitution of museums. São Paulo, committed to the formation and promotion of the museological and artistic dialogue between the external and the national scene. In the context of the Cold War, the research sought to discuss the involvement of these museums with the international political, economic and cultural framework, as well as to understand if the National Campaign of Regional Museums meant the attempt to reverberate such international aspects, added by a supposed urban-industrial project. São Paulo to other regions of the country, based on the policy of implanting regional museums of modern art. The studies were concentrated in the three regional museums stimulated by the Campaign in the northeast region of Brazil, inaugurated in the cities of Olinda, Feira de Santana and Campina Grande in the 1960s, during the Brazilian military regime. Considering the centrality of Yolanda Penteado, linked to these multiple processes, through field research, allied to bibliographic review and documentary sources, the thesis sought to understand the dialogical dynamics established between the local groups that welcomed the project for the implementation of regional and local museums. The São Paulo group at the time of the foundation of such museums, as well as to understand the dynamics that were determinant for the maintenance of these regional museums after the extinction of the National Campaign of Regional Museums in 1968.
Cheng, Chu-Chien, i 鄭竹倩. "The Regional Revitalization of Togo Rural Village Art Museum". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/2729y3.
Pełny tekst źródła國立臺中教育大學
美術學系碩士班
106
The TOGO Rural Village Art Museum is located in Tugou, Houbi District of Tainan city. It had its inauguration on December 16th, 2012. The ideology of TOGO Rural Village Art Museum is that the village and museum are merged into one, the houses are the exhibition halls/venues, the paddy (field) is the canvas, the famers are the artists and the agricultural products are the artworks,. Their intention rests on the demonstration of aesthetics of rural life, and the entire village serves as the exhibition area/venue to display the scenery, artifacts, and the human connection of Tugou. However, judging from the exhibitions and activities of TOGO Rural Village Art Museum of the past years, the operational strategy of the museum is largely different from its (original) concept of establishment, which makes the meaning and the positioning of TOGO Rural Village Art Museum for the local culture ambiguous . In this paper, the activities of community empowerment and the TOGO Rural Village Art Museum’s background of the establishment are collected before the exhibitions and activities in the past years analyzed. The focus is put on the local cultural identity of TOGO Rural Village Art Museum and the positioning of the local cultural production and the identity of the museum itself. The findings are (listed) as follows: 1. As a tool to build local identity, TOGO Rural Village Art Museum enters the community through art in attempt of becoming the new local feature. However, the connection between the museum and the local culture is too weak to serve as the cultural representation. 2. Regarded as the local brand of Tugou, TOGO Rural Village Art Museum combines art exhibitions and first-hand activities as the marketing strategy and the secondary local industry in order to revitalize the region. 3. TOGO Rural Village Art Museum does not reflect the idea of "Rural life is aesthetics", instead, it is used as a tool to promote social reform and art practice.
Peštová, Petra. "Vzdělávací koncepce regionálního muzea. Role regionálního muzea ve výtvarném vzdělávání". Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-326474.
Pełny tekst źródłaRasal, Sneha. "Reconnecting The City With The Riverfront, To Revitalize The Socio-Economic Conditions Of Springfield, Ma". 2012. https://scholarworks.umass.edu/theses/795.
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