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Relevant bibliographies by topics / An exhibition on Ontario Artists / Dissertations / Theses

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Dissertations / Theses on the topic 'An exhibition on Ontario Artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Cavagnaro, Loretta Maureen. "Eva Hesse in exhibition : contexts and categories /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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2

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 in

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3

Stefanis, Constantine. "Artists in retrospect : the rise and rise of the retrospective exhibition." Thesis, Birkbeck (University of London), 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595314.

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This thesis explores the emergence and development of the single-artist retrospective exhibition in eighteenth and nineteenth century Europe. The retrospective is understood as the presentation of a considerable body of works by an artist spanning an extensive period of his or her production so as to represent a career. The first such exhibition, I argue, occurred in London in 1775 by the Royal Academician Nathaniel Hone. This exhibition is juxtaposed to one that happened in Paris in 1783 at the Salon de la Correspondance, organised by Pahin de La Blancherie in honour of the works of the paint

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4

Dalal-Clayton, Anjalie. "Coming into view : black British artists and exhibition cultures 1976-2010." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4356/.

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This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of no

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5

Lauritis, Beth Anne. "Lucy Lippard and the provisional exhibition intersections of conceptual art and feminism, 1970-1980 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925733141&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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6

Girak, Susan. "forget me not: An exhibition –and– Creative Reuse: How rescued materials transformed my A/r/tographic practice: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1618.

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This thesis, comprising of a written exegesis, solo exhibition and an artist book, emerged from research undertaken by an artist-researcher-teacher. For that reason, a/r/tography was the overarching methodology used, incorporating a bricolage of methods to address a multifaceted study undertaken in two settings: a primary school classroom and an artist’s studio. A/r/tography is a multilayered interdisciplinary Arts education research methodology that correlates well with my expertise as a primary Visual Arts specialist. The methodology allowed me to immerse myself in both teaching and the artm

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7

Mwendo, Nilima Z. "Passionate visions of the American South: self-taught artists from 1940 to the present: an Arts Administration internship at the New Orleans Museum of Art." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/54.

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This paper demonstrates the overall success of bringing non-traditional audiences to a New Orleans Museum of Art (NOMA) exhibition, "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present." It also highlights the success of some of its public programs. However, the process of attracting these audiences to the museum falls short in its attempts at developing long-term relationships with NOMA. The first chapter provides historical background on NOMA and offers an overview of the "Passionate Visions" project. Chapter Two describes, in relative detail, the project'

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8

Moréteau, Constance. "L'artiste et la lecture : le livre dans les installations et dispositifs d'exposition de 1960 à nos jours." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100147.

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Cette thèse pose la question de la place du livre dans l’expérience de la lecture dans le musée quand dans la seconde moitié des années 1960 tout l’art, tel qu’il est redéfini par les artistes conceptuels, est à lire. Dans les années 1960 et 1970, puis de nouveau au tournant des années 1990-2000, les espaces de lecture se multiplientAlors que l’emploi du livre par les artistes conceptuels s’inscrit dans une quête de démocratisation de l’art, qui serait désormais diffusé hors du musée, le livre dans le musée semble poser le problème d’une relation apparemment contradictoire entre la nature repr

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9

Guéhenneux, Lise. "Une scène des années 1990 autour de la revue Blocnotes : une plate-forme d'échanges : entretiens entre artistes et critiques d'art." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0522.

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Notre étude veut apporter des précisions historiques sur la scène artistique des années 1990 à partir d’un travail de critique d’art. Nous interrogeant sur la place de ce type d’écriture dans un contexte qui médiatise largement une crise de l’art contemporain dans l’espace public, nous examinons comment la remise en question de la modernité est propice à la création de trois nouvelles revues Documents sur l’art contemporain, Blocnotes et Purple Prose. La recherche nous porte à examiner les structures existantes dans lesquelles évoluent les différents acteurs du monde de l’art qui vont accueill

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10

Yeh, Chia-Chi, and 葉佳琪. "THE RELATION BETWEEN THE EXHIBITION SPACE OF CONTEMPORARY ART AND THE CAREER DEVELOPMENT OF NEW GENERATION ARTISTS IN TAIWAN." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/55190624653083840068.

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碩士<br>元智大學<br>藝術管理研究所<br>96<br>Exhibition space connecting artists and the art field is one of the main intermediaries of contemporary visual art. As the germination of contemporary art in the 1980s of Taiwan, the changing art environment has enhanced both the quality and quantity of exhibition space, which not only increases the chance for new generation artists to cut a fine figure, but also influences upon their career development either directly or indirectly. Through the conception of Capital, Struggle and Power in Pierre Bourdieu’s theory and other related theories including Distribution

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11

Graham, Robyn. "Exhibition and Ideology: The Perpetuation of the Rural Ideal at the Wellington County Museum and Archives." Thesis, 2013. http://hdl.handle.net/10214/7171.

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This thesis is an analysis of the rural ideal as it resonates through exhibition at local county museums in southern Ontario. This study brings attention to the potential for museums to perpetuate the rural ideal through the manner in which they frame artifacts and create historical displays. Through a combination of a through historiography which features public history, museums, and rural history, this thesis argues that museums work in a similar manner as text or images to identify with an ideology. Utilizing the Wellington County Museum and Archives as a case study, exhibits of the institu

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12

Jim, Alice Ming Wai. "Black women artists in Canada : a documentation and analysis of the 1989 exhibition Black Wimmin--When and Where We Enter." Thesis, 1996. http://spectrum.library.concordia.ca/2627/1/MM10864.pdf.

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13

Lin, Chi-Yun, and 林其昀. "Special Exhibition as the Interpretation Method of Art History in Art Museum:A Case Study of “ The Pioneers of Taiwanese Artists” in National Taiwan Museum of Fine Arts." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/9vj466.

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碩士<br>國立臺北藝術大學<br>博物館研究所碩士班<br>102<br>In this research, National Taiwan Museum of Fine Arts (NTMoFA) is the main subject to discuss how to interpret art history through public art museums. In this research, we first want to summarize and analyze the researches about the art history of Taiwan since the NTMoFA was founded. The second part is to characterize the concept and the presentation of the art historical exhibitions by the art museum. Last but not the least, to understand how to spread and construct the knowledge of the art history of Taiwan through the exhibitions. In 2013, the NTMoFA

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14

Boyle, Mark. "Do you like my pics? : exhibition and exegesis as self reflective study." Thesis, 2012. https://vuir.vu.edu.au/21477/.

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This research thesis, Do you Like My Pics, investigates perceived value in art through the recreation of well-known paintings. Using photography and photo-manipulation the content of the image has been recreated in another medium in order to dissociate the tangible, actual image from the aura of the artist who created it.

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15

Van, Zijl Carol Wendy. "A model for service rendering to meet the information needs of South African artists." Diss., 2000. http://hdl.handle.net/10500/17785.

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This dissertation analysed the information needs and information-seeking behaviour of visual artists. An empirical survey was conducted on a sample of the more informationliterate visual artists in South Africa. A model of the information environment of South African visual artists was developed. This model provides a basis for another model which represents the optimal service that should be rendered to meet the needs of this user group. It was found that the general information needs of South African artists are fairly adequately met, but that there are several shortfalls, especially in serv

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16

Pitt, Clifford C., Barbara Douglas, James Leach, et al. "Perspective vol. 23 no. 1 (Feb 1989)." 2013. http://hdl.handle.net/10756/251249.

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17

Pitt, Clifford C., Barbara Douglas, James Leach, et al. "Perspective vol. 23 no. 1 (Feb 1989)." 1989. http://hdl.handle.net/10756/277579.

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18

Moineau, Claire. "La construction des artistes femmes du Moyen-Orient dans les expocollections du Centre Pompidou : les cas de "elles@centrepompidou" et "Modernités plurielles de 1905 à 1970"." Thèse, 2018. http://hdl.handle.net/1866/21278.

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19

Liebenberg-Barkhuizen, Estelle Juliana. "The Iconography of the 'indigene' in Mary Stainbank's sculpture c 1920-1940." Thesis, 2002. http://hdl.handle.net/10500/879.

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20

Walton, Diana. "Stratégies pour encourager et soutenir l’exploitation des archives par des artistes dans les centres et les services d’archives au Québec." Thèse, 2018. http://hdl.handle.net/1866/21242.

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