Academic literature on the topic 'Art exhibition practice'

This exegesis outlines the procedures, processes and methodology used in developing a significant body of studio work that investigates the dominance of the screen-image in contemporary art and culture. Following the established modes of practice-based research, the outcomes can be seen in two phases: the work developed and exhibited during the candidature, and the culminating submission exhibition. All the outputs resulted from intensive studio practice, although without using the studio as a hermetic environment, but rather as the base for practice attuned to the feedback loop of constant interaction and review of the most recent developments in exhibition practice and technique. All of the works discussed in the exegesis and developed towards the final submission demonstrate the progressive interrogation of the production of a screen-image from primitive forms such as the camera obscure through to the high-definition digital television image. A clear evolution is evident in the forms and strategies for dealing with the relationship between the screen and the machinations and industry that is behind bringing the image to fruition. The final submission exhibition brings these processes to a point of conclusion, if not resolution, where the material production experience and knowledge of the limits of the technology combine to demonstrate a new understanding of the impact of digitally generated screen-images and the role of the image in the age of new technology...<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Queensland College of Art<br>Full Text

This practice-led PhD research investigated alternate forms of articulation to relate stories of place-making, as narrative or object, and added threads to the complex meshwork and herstory of the Country. The research was conducted in ‘The Country’, of the north-eastern Goldfields and Yalgorup Lakes in Western Australia. These two non-urban sites provided unique experiences of the bush, local people’s stories and understandings of time. The research investigated the implications of non-urban spaces as studios in relation to the concepts of place, time and narrative. This research was, in part, experiential and drew on an absorbed embodied awareness of notions of the Country (a place). This was embedded in an ethical onto-epistemology, through the process of piecing together bricolages of seemingly unrelated fragments of methods, conceptual frameworks and materials in simple and complex ways. In making and thinking, gleaned, recycled and repurposed bits and pieces were gathered and utilised during nomadic wayfaring. The research drew on ideas pertaining to wayfaring and yarning, ‘mapping’ and experiencing the Country through the multi-faceted lenses of the bricoleuse, the geoscientist, the maker and the artsworker. Experiencing the materiality of the Country was a spatial, kinaesthetic and tactile engagement over long periods of time in the midst of the social, physical, material and biotic elements of specific ‘places’. Narratives and artworks emerged from piecing together pre-used fragments into textiles, then curated to form assemblages in built environments, and at the non-urban sites. Collective gatherings of people making, and sharing were facilitated as part of my practice. Yarning about and creatively mapping, these situated experiences in place, aimed to encourage connections and collaborative understanding between the city and the Country. This research contributes to the value and importance of using non-urban spaces both as sustainable sources of material for artwork and as studios. A bricoleuse’s approach to field-based/practice-led research contributes a relational, conceptual and methodological approach to creative arts, and to collaborative and interdisciplinary research frameworks.

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.

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 artmaking process, as ways of gaining a deeper understanding of Visual Arts pedagogy. The purpose of the study was to examine what the impact of making art with discarded materials had on raising environmental consciousness, from the viewpoint of an artist-researcher-teacher. Additionally, this research was positioned within the United Nations Decade of Education for Sustainable Development (2005–2014) and Sustainability, a cross-curriculum priority in the Australian Curriculum. The aim of this research was to show that Visual Arts is an effective way to embed Sustainability in the curriculum. In a two-phase study, the role of artmaking to facilitate shifts towards sustainability was investigated among 12-year-olds and myself in my creative praxis. In Phase One, 20 primary school students, from an area of high socio-economic advantage, participated in a 10-session Visual Arts program, using discarded materials to make and exhibit artworks with an environmental focus. Then, as an artist, I followed the same brief as the students, resulting in an exegesis and two creative components: an artist book incorporated into the exegetical writing and a solo exhibition at Edith Cowan University’s Spectrum Project Space in October 2014. This study showed that the creative reuse of discarded materials promoted reflexivity and raised sustainable awareness, leading to positive attitudinal and behavioural shifts in both the students and myself. The outcome of my creative component was a catalyst for shifts in the way I made art and the way I taught Visual Arts. By immersing myself in the artmaking process, I questioned unsustainable artmaking processes and moved towards reducing my own environmental footprint. The symbiotic nature of a/r/tography meant that new knowledge gained in the studio could be transferred to the classroom. The results of the research are presented through this exegetical writing and an exhibition, which included: returning to techniques that promoted reflexivity; exploring the ephemeral through photography; and demystifying the artmaking process through an artist book. The most significant finding of this study was that the physical act of artmaking enabled the students and me to re-examine our behaviours and to reconsider the value of discarded materials, which in turn triggered shifts in our awareness towards sustainability. Self-initiated behavioural shifts in the students included reusing materials and reducing consumption. Further, the students were able to make personal connections between their behaviours and their environmental footprints. This has implications for teachers integrating Sustainability. Arts-led education provides an alternative approach to teaching Sustainability across the curriculum. A set of recommendations arising from the research include: to provide support mechanisms to assist in-service teachers to implement Visual Arts-led Sustainability programs in primary schools; to introduce a/r/tography into pre-service teacher training; and for REmida WA to provide professional learning to support innovative, low-cost, multimodal in-service teacher training for Visual Arts-led Sustainability programs.

In an attempt to help a class of high school AP Studio Art students find a more authentic sense of autonomy and ownership with their own art projects, the author has constructed a portable art gallery space designated for the exhibition of student artwork. Through a theoretical framework of post-structuralism, as well as a hybrid methodological approach, including tenets of both action research and grounded theory, he was able to explore how de-centralizing traditional, pedagogical notions of power in the classroom and utilizing contemporary art education practices affected AP Studio Art students' experience in the art classroom. By placing an emphasis on student exhibitions, the author was able to foster an environment of greater student autonomy and meaningful art making in the classroom.

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.

This research examines how the practice of curating has been used to further counter-hegemonic agendas in public art institutions since 1989. The central aim is to provide a fuller, contextualised, and medium specific understanding of the how the institutional exhibition might be used to challenge the hegemony of neoliberalism and the post-political consensus politics that sustains its dominance. It provides insights, through both historic case studies and reflective practice, that problematise the idea that the institutional art exhibition is a viable medium for counter-hegemonic critique, or represents the ideal space for the development of an agonistic public discourse. This thesis presents collaborative research undertaken with Tate Liverpool and Liverpool John Moores University. The research presented both extrapolated from, and contributed to, the development of an exhibition, co-curated with Tate Liverpool, entitled Art Turning Left (8 November 2013 – 2 February 2014) and a supplementary publication of the same name. The first section investigates how the idea that curators can counter neoliberal dominance, through institutional exhibition-making, developed. It draws from analyses of previous exhibitions, and the theory of Chantal Mouffe, in order to critically evaluate the curatorial application of counter-hegemonic critique and agonistic practice. It also provides a review of how exhibitions (held in major art institutions since 1989) have articulated politics, in order to determine their relationship to neoliberal dominance, and to identify significant gaps in the dialogue facilitated by these institutions. These analyses provides the theoretical and contextual grounding for the final two chapters, which provide a rationale and critical evaluation of my own attempt to develop an alternative counter-hegemonic curatorial strategy for the exhibition at Tate Liverpool. They document, and analyse, the areas of dissensus, and the ideological and pragmatic limitations that emerged, in trying to realise these theoretical propositions (in practice) in a public art museum. The thesis therefore provides a critical framework for the development of an alternative practice that positions the exhibition as a form of post-political critique and specifically targets the hegemonic role that institutional exhibitions play in reinforcing class distinctions and devaluing nonprofessional creativity.

This practice-led research project investigates indeterminate aspects of perception related to human vision and postcolonial conditioning. Through an inventive range of lens-based artworks, the research draws parallels between preconscious visual phenomena and the subjective experience of non-indigenous Australians of multiple generations. The resulting body of creative work, New Australian Plants and Animals, can be seen to approach preconscious visual phenomena derived from the physiology of the human eye through the use of primitive photographic lens technology. This process is applied to the subject matter: introduced plants and partially naturalised migrants. This synthesis of subject and materials creates new insights into preconscious vision whilst questioning aspects of colonisation-in-reverse (Tacey, 1995) where the colonised land immeasurably exerts itself on the coloniser’s psyche. The partially naturalised migrant is metaphorically compared to introduced plants in Australia that are found inexplicably to evolve into new species. The research highlights photography’s historic role in falsely maintaining the view that the human eye views the world with a flat, sharp field of focus by revealing how images potentially appear at the back of the human eye before being processed by the mind. The photographic component of the research work can be seen to depart from the contemporary practice of representing cultured landscapes with highly refined technical processes. Instead, the photographs move towards picturing an indeterminate space where the physical world meets the embodied subject through the use of primitive photographic materials. Additionally, by inverting the power of the lens and photographing the coloniser instead of the colonised, this project enabled fresh insights into the postcolonial subject. In line with Paul Carter’s concept of material thinking (2004), this research relies on the ‘intelligence’ of materials to automatically reduce visual phenomena to a preconscious ocular quality whilst metaphorically operating as nineteenth-century colonial survey equipment. A broad range of artists has informed the research, ranging from late nineteenth-century European naturalist painters to contemporary Australian installation artists. The main theorists informing this project are Walter Benjamin, Maurice Merleau-Ponty and Edmund Husserl.