Dissertations / Theses: 'Art exhibition practice'

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Burns, Ian. "Art Viewing and New Technology: Manufacturing the Screen Image." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365383.

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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... Thesis (PhD Doctorate) Doctor of Philosophy (PhD) Queensland College of Art Queensland College of Art Full Text

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Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.

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Meynell, Katharine. "Time-based art in Britain since 1980 : an account of an interdisciplinary practice." Thesis, Royal College of Art, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323001.

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Nykiel, Annette. "meeting place An exhibition – and – locating the Country: an Australian bricoleuse’s inquiry An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2100.

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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.

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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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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 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.

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Gillespie, Jethro D. "The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2848.

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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.

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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.

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Wray, Lynn Marie. "Turning left : counter-hegemonic exhibition-making in the post-socialist era (1989-2014)." Thesis, Liverpool John Moores University, 2016. http://researchonline.ljmu.ac.uk/4426/.

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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.

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Gray, Michael. "New Australian plants and animals. An exhibition - and - Physiology, phenomenology and photography: Picturing the indeterminate within an Australian art practice. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1923.

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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.

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Sears, Cim. "I walk to see, I walk to know: Walking to Wongawol. An exhibition and I walk to see, I walk to know: Walking to Wongawol. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2356.

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The context of my embodied project, I Walk to See, I Walk to Know: Walking to Wongawol, is an exploration into 1) the absence of Western Desert Aboriginal narratives via the act of walking as knowing and 2) my recently discovered ancestral connections, which were historically erased by the state. The location of my project is Wongawol Station in the Western Desert, Western Australia, where my Indigenous ancestors lived, and whose lives I draw upon to make connections with the narratives and sensations of the desert landscape. I use the methodology of walking to investigate the interconnectivity between body and space/place and how this might be interpreted in relation to my research. For Nandi Chinna (2014), walking defines the body as the sensory vessel that can experience the dimensions of told and untold narratives of life on earth. I further explore the act of walking through the lens of rhythmanalysis—an approach that refers to how movement is a primary way of “engaging with the world” (Chen, 2013, p. 531). This is illustrated by works such as Raban’s Fergus Walking (Chen, 2013), a structural film that experiments within a nonbinary representation of walking within disrupted notions of time and space. Expanding on this idea, I have incorporated Derrida’s concepts of absence/presence within language/text, time and space as informed by his deconstructionism and nonbinary phenomenology to disrupt accepted literary and philosophical dichotomies. Indigenous film maker Thornton (2018) is also examined from the perspective of cinematography techniques in relation to body, memory, history and the land. Anselm Kiefer’s artworks, which convey the effects of Nazi Germany’s holocaust, allow a potent comparison reflecting “an intimate involvement with destruction and apocalypse [which acts] to provoke and keep memory alive” (Spies, 2016, p. 17). Underpinning my practice-led research are the writings of phenomenologists Merleau- Ponty (1962, 2012) and Heidegger (1962), who believe that the body and the world cannot be separated and that the body is essentially the primary place of knowing and interpreting the world (Merleau-Ponty, 2012): “my existence as subjectivity is identical with my existence as a body and with the existence of the world” (p. 431). The resultant dynamism and potentialities of working with materials to define the place/space of my ancestors comprises the act of walking, field notes, archives, photographic processes, ceramics and print processes. Further, the knowledge gained from acute immersive processes, experiential outcomes in situ and references to government documents characterises this exegesis as preparatory work towards a much larger body of research yet to be undertaken.

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Francis, Andrew M. "belt melon grass." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3885.

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This essay was written largely after the completion of my thesis exhibition which shares its title. An integral aspect of the work was the after-hours maintenance it required. Below I describe the unforeseen personal significance that labor came to hold and the way in which it functioned as a healing ritual. Through this work, and those leading up to it, I have a reinvigorated awareness of the importance of therapy as an aspect of my artmaking, of which this thesis is a testament.

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Palmer, Daniel. "Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.

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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable category of 'Conceptual art,' but played an active role in the construction of that category. Through individual case studies, this thesis analyses the processes through which the history of this relatively recent art 'movement' has been elaborated. It seeks to understand how works of art can be accommodated to a museum-based art history and how they can be called upon to support particular curatorial narratives. At the same time, it considers to what extent they may be able to resist the conditions of display imposed upon them and may, instead, continue to signify independently of curatorial intention. In so doing, this thesis re-emphasizes the notion of critical practice, as well as the performative and discursive dimensions of Conceptual art that have often been passed over in historical exhibitions. It rejects the "oppositional" model of radical artists pitted against conservative institutions and argues for an understanding of Conceptual art based upon the recognition that claims for its independence from the institutional art world were made within the available rhetorics of a discourse that sustains the self-identities of both artists and institutions. Ultimately, this thesis reflects the understanding that to continue to regard artist and institution, artwork and exhibition, in their isolated functions is to fail to attend to the ways in which art, as a social practice, may support broader ideological structures.

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Meigh-Andrews, Chris. "Mapping the image : an investigation into the relationship of video art in the UK and the USA to changes in moving image technology, with emphasis on the development of my fine art practice, including an exploration of its context and an analysis of influential and seminal works, and the production, exhibition and analysis of three new video installations." Thesis, Royal College of Art, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565983.

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This thesis presents evidence of an extended period of research which has both a practical and a written outcome. Being primarily practice-based research, its principal outcome is the production and exhibition of three new video installations featuring the use of digital imaging techniques in their production, combined with the utilisation of sculptural display structures in their presentation and exhibition. The three works under consideration are Mind's Eye (exhibited July-Aug. 1997); Mothlight (exhibited April 1998, April 1999 and May 1999); and Merging/Emerging (exhibited June-July 1999). The thesis contains an extended discussion of the concepts and concerns behind these works, as well as an analysis of the interrelationships between them and my previous video installation work produced in the period between 1990 and 1995. (The appendix to this thesis contains the original proposals for these three new works, as well as a CD Rom with documentation of the exhibited works.) The other main component of this research is an exploration and discussion of the influence of significant changes in video imaging techniques on the development of video art in the United States and the United Kingdom. in the period between 1960 and 1990. This evolving relationship between video technology and video art is explored predominantly through an examination of art works and statements made by particular video artists who's work is relevant to my concerns, but also includes observations and statements by critics, writers and curators who are concerned with the development of the medium within a fine art context. Section One examines and discusses the historical and cultural context, tracing the evolution of video as an art form in relation to significant developments in the technology, including its origins, discussing in some detail the emergence of the genre in its early formative period, with particular attention to the contributions of individual artists. There is a significant section which discusses the work of artists who have experimented with and built special video imaging tools in both the US and the UK. Section Two examines specific works by artists operating in the United States and the United Kingdom under four main headings, acknowledging the impact of the most significant technological developments identified in the first section. Specific video art works are discussed under the following categories: 'Non-broadcast' video, frame- accurate editing, electronic image manipulation techniques and video display equipment for installation. section Three traces the development of my own fine art practice in video during the period between 1978 and 1995, examining the influence of video technology on the work and discussing issues related to the accessibility of image production facilities, as well as the impact of this technology on the development of formal innovation and its interrelationship to content. This section also discusses and examines the influence of artists working in related areas such as experimental film and music, with a special emphasis on the influence of the avant-garde film movement of the 1970's. This section is to a certain extent cross-referenced with the previous section, as many of the artists and works cited were important to the evolution of my own fine art practice. The final section examines in detail the ideas, concepts and development of the three new video installations that form the core of this research: Mind's Eye (1997), Mothlight (1998-99) and MerginglEmerging (1999). Each installation is described in detail and discussed in relation to its ideas and themes, as well as with reference to the technical processes employed and the formal concerns of the work. This section also includes a discussion of issues in relation to notions of site-specificity.

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Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.

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Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.

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Thorne, Jessica Louise. "The choreography of display : experiential exhibitions in the context of museum practice and theory." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/22063.

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Bibliography: pages 118-123. In this project I examine curatorial processes and the experience of constructing and viewing museum exhibitions. Specifically I have been interested in the way in which certain exhibits facilitate powerful emotional responses from their viewers. I suggest that the curators of these kinds of exhibitions employ strategies which not only choreograph the displays but the viewers' bodies themselves as they move through them. As a case study of an experiential exhibition I focus on the District Six Museum where I have been part of its curatorial team since 1999. The work of curatorship that I have done at the Museum during the period of my registration for this degree constitutes part of this submission.

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

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This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of non-art-historical conceptual and alternative curatorial models: Afro Modern (Tate Liverpool), Action (The Bluecoat), and a retrospective of works by Chris Ofili (Tate Britain). Comparative exhibitions of the past were typically premised on concepts of difference that ultimately resulted in the notional separation of black artists from mainstream discourses on contemporary art and histories of British art. Through a close and critical textual analysis of these three recent exhibitions, which is informed by J.L. Austin’s theory of speech acts (1955), the study considers whether, and to what extent the delimiting curatorial practices of the past have been successfully abandoned by public art museums and galleries, and furthermore, whether it has been possible for British art institutions to reject the entrenched, exclusive conceptions of British culture that negated black contributions to the canon and narratives of British art in the first place. The exhibition case studies are complemented and contextualised by an in-depth history of the Bluecoat’s engagement with black creativity between 1976 and 2012, which provides a particular insight into the ways that debates about representation, difference and separatism have impacted the policies and practices of one culturally significant art gallery that is frequently overlooked in histories of black British art. With reference to the notion of legitimate coercion as defined by Zygmunt Bauman (2000), the study determines that long-standing hegemonic structures continue to inform the modes through which public art museums and galleries in Britain curate and control black creativity.

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Pryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice." Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.

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The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.

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Spaid, Susan Elizabeth. "Work and World: On the Philosophy of Curatorial Practice." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/219943.

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Philosophy Ph.D. Even though viewers typically experience multiple artworks at a time, philosophers have tended to parse visual art experiences into individuated experiences with singular objects, rather than incorporate the role exhibitions play in contextualizing objects over time. Since visual art experiences typically occur in the context of exhibitions featuring multiple artworks, whether in a museum, commercial gallery, or artist's studio, there are numerous problems associated with considering visual art experiences individuated experiences with single objects. I aim to show how this approach not only produces problems for the philosophy of art, but also perpetuates misunderstandings regarding the visual artist's practice, as well as its reception. My focus on reception poses problems for curators who relish curatorial authority. I prefer practices to products, since it establishes a relationship between each contributor's actions and his/her outcomes, which gain meaning over time, unlike products that arrive ready upon delivery, independent of directed consciousness. Rather than convey an activity particular to sight, the term "visual art experience" distinguishes this type of art experience from types such as theater, film, or musical performances. Such multi-sensorial perceptual experiences, whether indoors or outdoors, accompany one's experiencing artworks, monuments and buildings alike. The philosophical convention of treating artworks as singular objects has led philosophers to exaggerate: 1) the artist's intention (Arthur Danto), 2) artworks' atemporal features (Nelson Goodman), and 3) artworks' expressive/symbolic capacities (Robin Collingwood, Danto, Goodman, and Roger Scruton) inviting aestheticians to treat artworks like texts, penned by a lone author. One consequence of the "lone-author" view is that book reading is the prevailing analogy for visual art experiences, eschewing obviously coauthored analogies such as walking in the park, attending a sporting event, or dining with friends. Books whose advance readers and editor(s) influence their contents before being published are no less coauthored than typical nonart experiences. That exhibitions are coauthored has multiple implications for aesthetics, since it acknowledges the way visual art experiences involve multiple inputs: some combination of curator, spectators, exhibition, milieu, environment, and the facility. The curator typically works with other producer(s), whether artists or exhibition staff, to create some environment, a temporal surrounding comprised of thematically arranged artworks, specifically designed for spectators inhabiting a particular milieu, housed in some facility, which includes the physical surroundings, such as the gallery's conditions, its wall colors, lighting, and scale. This text explores all aspects of curatorial practice from exploration to reception. In differentiating curated exhibitions from non-curated exhibitions, I aim to explain how curators generate frames that visibilize each artwork's nonexhibited features, which seems so obvious in hindsight that particular frames later appear embodied from the onset. Temple University--Theses

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Manzano, Raul. "Language, Community, and Translations| An Analysis of Current Multilingual Exhibition Practices among Art Museums in New York City." Thesis, Union Institute and University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10060087.

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This dissertation provides an analysis of current multilingual practices among art museums in New York City. This study is located within the current theoretical analysis of 1) museums as sites of cultural production and 2) the politics of language, interpretative material, and technology. This study demonstrates how new roles for museums embracing multilingual exhibitions and technology may signal new ways of learning and inclusion. The first part is a theoretical-based approach. The second part consists of a mixed-method research design using qualitative and quantitative methods to create three different surveys: of museum staff, of the general public, and finally my observations of museum facilities and human subjects. Multilingual exhibitions are complex and require changes at all levels in a museum's organizational structure. Access to museum resources can provide more specific data about language usage. The survey responses from 175 adults provides statistics on multilingual settings and its complexity. The survey responses from 5 museums reveals the difficulty, and benefits, of dealing with this topic. Visual observations at 36 museums indicate that visitors pay attention to interpretative material, while production cost, space, and qualified linguistic staff are concerns for museums. Technology is a breakthrough in multilingual offerings, for it can help democratize a museum's culture to build stronger cultural community connections.

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Ziganshina, Madina. "Art-Map: concept of moving curatorial project and its practical realization in Aveiro." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15905.

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Mestrado em Criação Artística Contemporânea In this dissertation, I present the results of a project which aim was to find out and try an effective model of independent curatorial project executable in small and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP is a result of theoretical research and reflection about municipal exhibition spaces and possibility of presentation of the contemporary art in these spaces. To test if this curatorial project is realizable and if there are conditions to continue it, a first trial was implemented in Aveiro. A curated international exhibition, entitled “A Poética do Visual" occupied two municipal and two private gallery spaces and brought together 111 artists from 25 different countries. The art event was carried out in collaboration with the Municipality of Aveiro and the University of Aveiro, and involved several private cultural spaces in the city. This first experience showed that there are all conditions for the presentation of contemporary art in small and medium size locations in Portugal, and for this project to be replicated in other regions of the country. Nesta dissertação, apresento os resultados de um projecto cujo objectivo era desenvolver e experimentar um modelo eficaz e executável de projecto de curadoria em cidades de pequena e média dimensão em Portugal. O conceito de ART-MAP (Moving Curatorial Project) é resultado de pesquisa teórica e reflexão sobre os espaços municipais de exposição e sobre a possibilidade da apresentação de arte contemporânea nesses lugares. Para testar se esse projecto de curadoria é realizável e se existem condições para continuá-lo, a primeira experiência foi desenvolvida em Aveiro. A exposição internacional, intitulada "A Poética do Visual” ocupou dois espaços municipais e dois espaços culturais privados na cidade, e reuniu 111 artistas de 25 países diferentes. O evento de arte foi realizado em colaboração com a Câmara Municipal de Aveiro e a Universidade de Aveiro. Esta primeira experiência mostrou que existem todas as condições para a apresentação de arte contemporânea nas cidades de Portugal, e que este projecto pode ser replicado em outras regiões do país.

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Davies, Veronica. "A comparative study of state art policies : institutional practices and exhibition organisation in Britain and Germany c.1945-51 with particular attention to the cultural policies of the British-occupied zone of North West Germany during these years." Thesis, University of East London, 2005. http://roar.uel.ac.uk/1300/.

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This thesis is a comparative study of state policies and institutional practices relating to art in Britain and Germany in the period from 1945-5 1. This study examines the context for the production of visual art and considers its dissemination through art exhibitions and criticism in this important transitional period. It also assesses the contribution of the visual arts towards the process of cultural reconstruction and to the re-negotiation of national identities in both countries. Significantly, the cultural history of this period has been relatively under-examined and has not been the subject of extensive nor detailed research. Until now, mainstream art-historical accounts have tended to focus on the Paris-New York axis during these years, rendering Anglo-German art developments relatively peripheral. It is this marginalisation that this thesis seeks to counter. This study is divided into two main sections. The first focuses on the British Zone of occupation in postwar Germany. My research draws on a wide range of British and German archival and other sources to compare the experiences and perceptions of the British occupying forces with the different approaches adopted by German artists and arts administrators involved in reconstruction. The second section offers a detailed comparative case study of two regional art museums, Leeds City Art Gallery and the Kaiser Wilhelm Museum in Krefeld. A particular feature of this comparison is the detailed investigation of these museums' exhibition and acquisition policies, and how these relate to the wider political issues and cultural imperatives identified in the first section. My conclusion reinforces the broader view that the years 1945-51 form a turbulent transitional period in the cultural histories of both Germany and Britain. What is underlined is the often provisional and contingent nature of arts policies as they were aligned with and incorporated into wider aims of cultural reconstruction. What also emerges are the complex ways in which the visual arts contributed towards, and were subject to, the fluctuating and evolving political and cultural circumstances of both countries in the years leading up to the Cold War.

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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 accueillir une nouvelle génération de critiques et d’artistes, - des centres d’art mais aussi de nouvelles galeries d’art symptomatiques d’un héritage culturel de décentralisation. Nous dégageons la spécificité de Blocnotes : le rejet des années 1980 et les repères historiques conceptuels des années 1960-1970, les rapports de l’art et du féminisme, la collaboration centrale des artistes, la réflexion sur l’exposition, l’objet fini, l’in situ et l’installation, le cinéma comme modèle. Loin d’une vision univoque de la décennie, nous redéployons des pratiques artistiques et leurs enjeux en nous plongeant dans les textes des nombreux contributeurs de Blocnotes tout en prolongeant par des entretiens des échanges entre critiques et artistes The study we are developing here wants to provide historical precisions about 90's artistic scene from an art critic's point of view. By questioning ourselves about the place of this type of writing in a context which widely mediates a contemporary art crisis in the public space, we would like to analyze how the questioning of modernity will be propitious for the creation of three new periodicals : Documents sur l'art contemporain, Blocnotes and Purple Prose. Our research leads us to study the existing structures that will welcome a new generation of critics and artists in which evolve various protagonists working in the field of art – art centers but also new art galleries symptomatic of a decentralized cultural heritage. We particularly enhance the specificities of Blocnotes : the rejection of the 80's and historico-conceptual markers of 60's and 70's, the relationships between art and feminism, the central collaboration of artists, the reflection about exhibition, finished object, the in situ and the installation, the cinema as a model.Remaining far off an unequivocal vision of the decade, we redeploy artistic practices and their issues by plunging ourselves in the texts of Blocnotes' numerous contributors while extending by interviews and exchanges between critics and artists

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Martinetti, Sara. "« I never Write, I Just Do » : pratiques de l’écrit et enjeux théoriques du travail de Seth Siegelaub dans l’art conceptuel, le militantisme et l’érudition." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0051.

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Seth Siegelaub (1941, New York-2013, Bâle) est une figure majeure, connue des historiens de l’art pour avoir de manière séminale renouvelé les modalités d’exposition, de présentation et de distribution des œuvres conceptuelles. La carrière de celui qui a été considéré comme l’impresario zélé de quatre artistes (Robert Barry, Joseph Kosuth, Douglas Huebler [1924-1997], Lawrence Weiner) ne s’arrête pas en 1972, date qui marque son départ de l’art et qui aurait confirmé l’« échec » des luttes politiques d’une génération. Le dropout de Siegelaub – se revendiquant comme « not an artist » mais opérant au cœur du dispositif – serait-il une reconversion des savoir-agir conceptuels ?L’approche anthropologique de l’écrit dans lequel Siegelaub est puissamment investi permet de suivre un parcours de vie séquencé en trois « sphères d’activité » : l’art, le militantisme et l’érudition. Des entretiens avec notre personnage principal ainsi qu’avec ses collaborateurs, la consultation de l’ensemble de son fonds et des projets de valorisation nous ont permis d’en analyser les enjeux respectifs. La première sphère nous amène à découvrir l’art conceptuel comme une littératie qui étend de manière inédite les usages quotidiens de l’écrit. La deuxième fait émerger le centre de documentation militant comme forme politique de résistance au capitalisme et de transformation sociale. La troisième, par un intérêt parallèle pour le textile, révèle une appropriation personnelle de la bibliographie. Siegelaub ne change pas du tout au tout d’activité mais se déplace entre différents mondes sociaux polarisés en mettant en résonance des pratiques et en construisant des réseaux grâce à l’écrit. En 1969, Siegelaub affirme : « Je ne suis pas un écrivain – je n’écris jamais, j’agis ». Son rapport à l’écrit est complexe, alors même qu’il n’a presque rien « écrit », au sens littéraire, théorique ou journalistique où on l’entend généralement. Qu’a fait Siegelaub avec l’écrit ? Dans quelle mesure les écrits ont-ils permis à cet editor, publisher, documentaliste, bibliographe et collectionneur d’agir ? Il a multiplié les écrits typiques comme le catalogue-exposition, le contrat ainsi que la bibliographie et, dans certains cas, en a renversé les usages à 180 degrés. Le parcours de Siegelaub touche à des enjeux théoriques puisque chaque domaine où il a été actif a produit un point de vue « local ». Les artistes conceptuels se sont intéressés au langage et ont utilisé le document pour tenir des positions critiques par rapport aux œuvres ; Armand Mattelart, chercheur critique ayant collaboré avec Siegelaub, a montré que les médias jouent un rôle essentiel dans la lutte des classes ; le savant graphomane François-Xavier Michel (1809-1897) a été précurseur d’une approche sociale de l’histoire des textiles. Le parcours de Siegelaub permet de considérer ensemble des idées sur l’écrit qui s’élaborent dans différentes disciplines et qui n’ont jamais été pensées dans leurs articulations Seth Siegelaub (1941, New York–2013, Basel) is a major figure in the history of art known to scholars for his seminal role in the exhibition, presentation and distribution of Conceptual Art. Often described as the shrewd impresario of four artists (Robert Barry, Joseph Kosuth, Douglas Huebler and Lawrence Weiner), his career seems to stop in 1972 when he turns his back on the art world, thereby seemingly confirming the failure of the political struggle of a whole generation. But what if this dropout—by a man who claimed he was “not an artist,” yet operated at the heart of the system—coincided with a translation of the conceptual methodology into other fields?An anthropological approach of Siegelaub’s expansive and varied writing activities allows us to retrace his career according to three “spheres of activity”: art, activism, and erudition. By conducting numerous interviews with the main protagonist and his collaborators, and consulting his extensive archives, we have been able to explore the key issues respective to each of these spheres. Siegelaub’s first sphere of activity encourages us to consider Conceptual Art as a literacy that expanded the everyday uses of writing in a hitherto unprecedented way. The second sphere shows the documentation center as a means of political resistance to capitalism and social transformation, and the third, via its parallel interest in textiles, reveals Siegelaub’s personal appropriation of the bibliography. Siegelaub does not so much change activities as move between polarized social worlds, whose practices and networks he interconnects via his writing.In 1969, he stated: “I am not a writer—I never write, I just do.” His relationship to writing is complex, all the more so as he has hardly “written” in the literal, theoretical, or journalistic sense. What did Siegelaub do with writing? To what extent did it enable the editor, publisher, documentalist, bibliographer and collector to act? Siegelaub experimented with various kinds of writings such as the exhibition-as-catalogue, the contract, or the bibliography, in some cases even reversing their purpose or function. His career touched on numerous theoretical problems, each domain in which he was active producing a “local” point of view: the Conceptual artists were interested in language and used documents to critique the work of art; Armand Mattelart, a leading sociologist who collaborated with Siegelaub, clarified the role of mass media in class struggles; and the nineteenth-century erudite scholar François-Xavier Michel pioneered a social approach to the history of textiles. Siegelaub’s career makes it possible to bring together various conceptions of writing developed across different disciplines, which had never been considered in terms of their reciprocal influences

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Fetnan, Rime. "La fabrique des imaginaires de l’altérité dans les biennales internationales d’art contemporain depuis 1989." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30013.

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Cette thèse vise à interroger la façon dont les biennales internationales d’art contemporain, en tant qu’événements culturels et premiers temps d’historicisation des oeuvres et des artistes, contribuent à la fabrique des imaginaires de l’altérité. Le cadrage chronologique de notre recherche s’ancre à partir de 1989, date qui correspond à un « tournant global », un changement de paradigme qui aurait eu pour effet de repenser les rapports de domination et les logiques de centre/périphérie, notamment dans le champ de l’art contemporain. L’internationalisation de l’art contemporain et le renouvellement des cadres de pensées que l’on rattache au « tournant global » ont donné lieu à l’émergence d’un processus de labellisation de la différence, dont témoignent des catégories artistiques et esthétiques telles que « art non-occidental » ou « art global », porteuses d’imaginaires renouvelés que ce travail de recherche entend analyser. Notre démarche, qui s’appuie sur un corpus de six expositions ayant marqué le champ des événements culturels internationaux, est volontairement pluridisciplinaire et vise à considérer l’hétérogénéité du matériel qui compose ces expositions. En premier lieu, la mise en lumière des discours expographique résulte de l’analyse conjointe de trois composantes : les écrits, à partir desquels nous proposons une typologie spécifique qui considère la fois les intentions qui président à leur production et les usages qui en sont faits ; les pratiques artistiques, qui dans le cadre des biennales sont au service du discours expographique ; et les gestes de mise en exposition qui sont propres au dispositif médiatique spécifique des biennales. En deuxième lieu, la réalisation d’entretiens et la collecte d’archives ont permis de circonscrire le contexte d’énonciation et l’intentionnalité des événements. En tant que dispositif médiatique à part entière, le catalogue d’exposition a également donné lieu à une méthodologie adaptée à l’ensemble des éléments (discursifs et non discursifs) qui le caractérise. Plus particulièrement, les écrits de connaissances que l’on y trouve ont fait l’objet d’une analyse sémiolinguistique permettant de mettre en lumière les processus de concrétisation des concepts, et donc de saisir les imaginaires et valeurs qui sont attachés. L’approche privilégiée pour analyser ce corpus permet ainsi d’articuler à la fois les spécificités de chaque exposition (c'est-à-dire leur individuation à travers l’articulation de leur concept et de leur dispositif) et leur inscription dans un réseau (en tant que résultat d’un processus de réécriture), vis-à-vis du thème de l’altérité This research aims to examine how contemporary international art biennials, considered as cultural events and as first step in the historicization process of works and artists, contribute to the making of « otherness » as an imagined community. The chronologic frame of our research is anchored in 1989, which correspond to the « global turn », a shift of paradigm that would have led to the rethinking of domination relationship and the logic center/periphery, especially in the field of contemporary art. The internationalization of contemporary art and the renewal of the frameworks of thought that are often connected with the global turn have led to a process of labeling the difference, as evidenced by artistic and aesthetic categories such as « non-western art » or « global art » that carry renewed representations that this research intends to analyze. Our approach, which is based on a corpus of six exhibitions that have marked the field of international cultural events, is deliberately multidisciplinary and aims to consider the heterogeneity of the material that composes these exhibitions. First, we highlight the expographic discourses from the analysis of three components : the writings, from which we propose a specific typology that considers both the intentions that preside over their production and the uses that are made of them ; artistic practices, which in the context of biennials are at the service of the expographic discourse ; and the gestures of exhibitions which are characteristics of the specific media device of the biennials. Secondly, interviews and the collect of archival documents have led us to circumscribe the context of enunciation and the intentionality of the events. As a media device in its own right, the exhibition catalog also gave rise to a metholody adapted to all the elements (discursive and non-discursive) that characterize it. More particularly, the writings of knowledge have been the subject of semiolinguistic analysis to highlight the processes of concretization of concepts, and thus have led us to grasp the artistic values that are attached to the imagined otherness. The preferred approach to analyze this corpus thus makes it possible to articulate the specificities of each exhibition (i.e their individuation through the articulation of their concept and their device), and their inscription in a network (as a result of a process of rewriting) at the same time

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Miller, Gwenneth. "Modelling an innovative approach to intermediality within visual art practice in South Africa." Thesis, 2015. http://hdl.handle.net/10500/22002.

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The study is practice-led in visual art and it explores the impact of intermediality to validate that new knowledge emerges via processes that lead to possibilities of transformative hybridity. Intermediality was established and generated through a productive reciprocity between practice and theory as well as between analogue and digital art. The research created a community of enquiry through an exhibition entitled TRANSCODE: dialogues around intermedia practice (2011) in order to model innovative approaches towards improvement of transmedial artistic practice. The diversity of work by artists involved in this exhibition allowed exploration of a range of creative processes to investigate and understand characteristics of productive intermediality. The concept of transcoding in this study was derived from Deleuze and Guattari, which describes how one milieu functions as a foundation for another, implying an intermedial tension. TRANSCODE alludes to the mediation that transcribes meanings across boundaries and within complexity. Selected characteristics of narratives, space, embodiment and visual systems were researched through the lens of mediamatic thinking, which refers to thinking via media. The study proposes that intermediality is best seen as a construct of the tensional differences that become enriched within the grey areas. In applying Deleuze and Guattari‘s metaphor of the rhizome and Tim Ingold‘s concept of the mycelial mesh, the research project not only prompted structured collective thinking through practice, but also captured various case studies relevant to practice-led methodology. Art History, Visual Arts and Musicology D. Litt. et Phil. (Art History)

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Zhe-Zheng, Jun, and 鄭濬哲. "The Moving-Image Ambience in Time and SpaceA Critical Review on Digital Video-Art Practice and Exhibition by Jun Zhe-Zheng." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/h5ms7y.

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碩士 國立高雄師範大學 美術學系 97 The critical review is an investigation for my digital moving-image practice from 2005 through to 2008. The discussion focuses on the ‘ambience’ of the moving image as its core issue. For further clarifying the influence and relationship of the ‘ambience’ in the video image and the ‘spatial atmosphere’ in gallery space, I experiment with related artistic theories, literatures, creative ideas and processes. This review comprises the four chapters with a conclusion. It reflects on my previous creative methodologies and current work-in-progress research as a whole. In the Chapter I, I introduce that how and why the two-dimensional painting in the period of my undergraduate study influences my digital video-art practice at the NKNU Postgraduate School of Fine Art. This has raised the two aspects of ‘motif’ and ‘medium’ that are discussed in the review. The analyses of the two aspects suggest that my creative notion is a transformation from ‘close’ to ‘open’ in a sense of creative psychology. This has influenced my later concepts and material applications in studio practice. In the Chapter II, I discuss the core issue (motif, subject, material transformation and digital montage) of the moving image through the three aspects - ‘time in colour’, ‘colour of time’ and ‘atmosphere in time and colour’. Following on the discussion, I try to clarify that the relationships between the uncertain aura and the spatial atmosphere in ‘the image in movement’, and also investigate the physical feelings of the viewers within the ambience. In the Chapter III, I take my works from 2005 to 2008 for example. In terms of the curatorial exercise in various gallery spaces, I explore the ways of display and the generations of atmosphere in depth. Based on the professional practice, I conclude a series of creative methodology as a result. In the Chapter IV, I exam the ‘flowing’ ambience that is interacted among the space, the audiences and other fields through the professional practice and related events. This also extends creative possibilities of video art and potential developments of digital-imaging technology. Finally, I understand that how to involve unexpected ideas and new thinking by the studio research. As a firm basis, the practice-based study has stimulated me to obtain more notions and discover more possibilities for my digital moving-image (video art) research.

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Shing-ling, Tasi, and 蔡幸伶. "Theory and Practice of the Interaction between Elementary School Teachers and Art Museum Exhibition Guiding:A Case Study of the Kaohsiung Museum of Fine Arts." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/53232026981277854890.

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Balla, Paola. "Disrupting Artistic Terra Nullius: The Ways that First Nations Women in Art & Community Speak Blak to the Colony & Patriarchy." Thesis, 2020. https://vuir.vu.edu.au/42147/.

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The concept of ‘artistic terra nullius’ refers to the violent erasure of First Nations peoples in colony Australia and highlights their absence – particularly Aboriginal Women – in the white-dominated arts world. This doctoral research by creative project and exegesis sets out to document and respond to the work of Aboriginal women in art and community. I have used practice-led inquiry as the main methodology, informed by my own roles as artist, writer, curator, community researcher and as a Wemba-Wemba & Gunditjmara, matriarchal and sovereign woman. Practising community ways of 'being, knowing and doing' to witness, participate and respond to Aboriginal women's art making and activism, I developed a new body of visual works and a series of essays, together with an exegesis relating to the project as a whole. The exhibition in December 2019 at Footscray Community Arts Centre held two bodies of work in two spaces. The ontological (or Being) space was a healing space of unconditional love, one of memory, timelessness, and respite. It has been created as 'daily acts of repair' in collaboration with other Aboriginal women and family members in a new process of bush dyeing fabrics, clothing and rags to become 'healing cloths”, dyed with gathered gum leaves, bush flowers, plants and Wemba-Wemba family bush medicine gifted to me from my Aunties. As a three-dimensional space, it makes visible trauma trails and stains and visualises what respite and healing could look and feel like. Under the 1961 flickering Super-8 image of my great-grandmother, this space also recreates ‘home’, particularly resonating with Aboriginal women’s curation of ‘home’ even in Mission housing. The second space, an epistemological (or Knowing) space, was an active studio of photographic based works drawn from matriarchal family stories, both past, present and future, and archival research. It included scholarly and other literature on Blak art and representation, in a recreation of my home studio and office. These bodies of work were made over a four-year project, drawing on concepts of de-colonising, Aboriginal feminist standpoint theory (Moreton- Robinson) and sovereignty. In emphasising making art as both research and artistic outcomes, I demonstrate art as a sovereign act, based in cultural practice and sovereign values. Both the exhibition spaces and the exegesis weave across past, present and future, across research in family, community and the Aboriginal women’s arts-work, across multiple creative media and stories – in the process here called ‘Ghost Weaving’. Responding to various modes of oppression, patriarchy and racism, Blak women’s art is not only a form of resistance to colonising, to violence, to academia and the white art world. It is also an ethical foregrounding of other forms of knowing and being. The exegesis is in two main parts: the written, thesis-element and a series of appendices which include a pictorial record of the exhibition, links and lists of related works, including relevant essays.

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Serban, Sara. "Exhibition related to ephemeral art practices : philosophical and practical issues presented by organic-based works of art." Thesis, 2008. http://spectrum.library.concordia.ca/976178/1/MR45328.pdf.

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Postwar artists have been using ephemeral materials such as food, bodily fluids, and contemporary, yet constantly changing technological devices previously not intended for artistic use. What are curators and conservators to do when faced with a work that is meant to decay and deteriorate, or that has been destined to be consumed and constantly remade? At the time of her death in 1970, many of Eva Hesse's latex sculptures had already started to deteriorate, and at present many cannot be exhibited. While aware that the latex was not a stable material, she continued to incorporate it into many of her works. Questions remain as to her intent for these sculptures. Zoe Leonard's installation piece Strange Fruit (for David) (1992-97) did not begin as a deteriorating piece, but upon its completion, the artist decided that she did not wish to have it preserved, and the slow decay of the organic elements are central to the idea of the work. Situated within the artistic practices current at the time that Hesse and Leonard created these works, this thesis will present a discussion on works of art that represent both planned and unplanned impermanence, and the options available to curators and conservators when making decisions about preservation and exhibition.

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Monteiro, Joana Maria Nunes de Carvalho d'Oliva. "Um modelo operativo de avaliação de exposições. Estudo de caso: Museu Nacional de Arte Antiga." Doctoral thesis, 2017. http://hdl.handle.net/10362/22406.

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Esta tese inscreve-se numa matriz cuja base de investigação privilegia uma combinação de adquiridos de índole teórica e prática que envolve os domínios da exposição e respectiva avaliação. Parte-se do princípio que se verifica sempre um desfasamento entre o discurso teórico e a actuação prática, configurando-se, nesse sentido, como uma tentativa de abreviar tal distanciamento. Dadas as características do objecto em estudo, esta tese foi delineada numa organização tripartida. A Parte I tem o propósito de contextualizar, teórica e conceptualmente, a temática da exposição. A Parte II incide sobre o estudo de caso nuclear, o Museu Nacional de Arte Antiga, sendo aqui operado um ensaio de síntese que toma como paradigma de actuação museográfica a sua obra mais emblemática, os Painéis de S. Vicente de Fora. Procurou-se definir os fundamentos, objectivos e limites de análise adequados a um ‘real’ apuramento das práticas de exposição implementadas actualmente no Museu e observadas nas suas múltiplas manifestações. Para complementar a nossa abordagem, apelou-se à experiência levada a cabo pelo Museu Nacional do Prado, centrada nas ‘Meninas’ de Velázquez. Por último, na Parte III, visa-se entender a complexidade inerente ao acto de avaliar, procedendo-se, para o efeito, à identificação das problemáticas associadas a essa prática. É feito um ponto de situação relativamente aos estudos e às premissas teóricas que nos parecem ser mais relevantes para a sua estruturação. Pretende-se, com esta investigação, estabelecer uma ponte produtiva entre os domínios da exposição e sua avaliação, numa perspectiva ampla e crítica, fornecendo uma base que se julga vantajosa para a escolha adequada de caminhos que possam dar resposta fundamentada sobre a possibilidade da implementação de uma cultura avaliativa no universo das exposições de arte. This thesis is enrolled in a matrix whose research base privileges a combination of acquired of theoretical and practical nature that involves the domains of the exhibition and the respective evaluation. It is hereby understood that it is always registered a disparity between the theoretical speech and the practical performance, constituting this, in that way, as an attempt to shorten such disparity. Considering the characteristics of the object in study, this thesis was drawn up in a threefold organization. Part I has the goal of contextualize, in a theoretical and conceptual way, the thematic of the exhibition. Part II has its focus in the study of nuclear case, the National Museum of Ancient Art, here it is performed a synthesis essay that takes as paradigm of museum performance its more emblematic workmanship, the Panels of S. Vicente de Fora. We worked to define the fundaments, objectives and limits of analysis appropriated to a “real” establishment of the performances of the exhibitions implemented today in the Museum and seen in its multiple manifestations. To complement our approach, we called the experience taken by the Prado National Museum focused in ‘Meninas' of Velázquez. Finally, in Part III, it is aimed to understand the complexity inherent to the act of evaluate, proceeding to that effect, to the identification of the issues connected with that performance. It is developed a progress report in what concerns the studies and the theoretical premises that seemed to be more relevant to its structuring. With this investigation it is intended, to establish a productive bridge between the domains of the exhibition and its evaluation in a wide and critical perspective providing a base that we think has advantages to the right choice of ways that could give a reasoned answer about the possibility of implementation of an evaluative culture in the universe of art exhibitions.

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Kuo, Chih-Wei, and 郭芷維. "Exhibition Strategies and Practices for Small Art Museums: A Case Study of the Museum of Contemporary Art,Taipei." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/9d8yt9.

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碩士 國立臺北藝術大學 博物館研究所碩士班 99 This study probed into the history of Museum of Contemporary Art, Taipei (MOCA Taipei) to understand each director’s strategy and practice of art exhibitions. Besides, this study also reflected upon the resource limitations of MOCA Taipei to analyze how each director has managed to dominate, develop, and integrate available resources under limited conditions to facilitate implementation of art exhibitions. The methodology was based on document analysis, participant observation, and interview. The subject interviewed included the incumbent director Jui-Jen Shih and two former directors, including Su-Jhen Sie and Siang-Ling Lai. The external constructs of MOCA Taipei were explored using document analysis and participant observation, and the internal viewpoints about the strategy and practice of art exhibitions were extracted through interview. By exploring these directors’ ideas and practical experiences, this study attempted to identify problems that this small museum has encountered in exhibition production and analyze its practice of art exhibitions to construct a feasible system of art exhibitions production and implementation for small museums. In addition, this study also reflected upon the resource limitations of MOCA Taipei to find how each director has managed to dominate, develop, and integrate available resources and facilitate implementation of art exhibitions. The focus was placed on pursuit of cooperation and sponsorship, team organization, and promotion of independent curators’ participation in exhibition production. Based on the practical experiences of directors of MOCA Taipei, this study identified problems the museum has encountered in exhibition production, discussed feasible solutions, and also proposed suggestions with regard to pursuit and development of exhibition resources. The suggestions could be a reference for small museums subject to insufficiency of human, space, and financial resources in production of exhibitions.

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Khatchadourian, Annie. "Raven's reprise : a significant juncture in the developing exhibition practices of Canadian museums with regard to First Nations art." Thesis, 2006. http://spectrum.library.concordia.ca/9179/1/Khatchadourian_A_2006.pdf.

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This thesis deals with exhibition practices of Canadian cultural establishments regarding First Nations art at the turn of the twenty-first century. I consider Raven's Reprise , which was held at the Museum of Anthropology at the University of British Columbia from January 26th 2000 to January 14th 2001, as a case study for discussing the juxtaposition of historical Northwest Coast objects and contemporary art. The thesis describes the Northwest Coast area and discusses the different peoples and their culture and it examines the history and development of their artistic production. It also deals with the formation of the Task Force on Museums and First Peoples, including its report and recommendations from 1992. This thesis also discusses contemporary First Nations art from 1960 until 2000, and demonstrates that Raven's Reprise was representative of work being done by contemporary artists at the time it was shown. Furthermore, this thesis focuses on one of the central issues of Raven's Reprise : exhibiting contemporary work in an ethnological environment. It is my premise throughout this thesis that Raven's Reprise was a significant effort to educate the museum-going public about the continuing presence of contemporary Northwest Coast art and artists, and that it was an influential and groundbreaking exhibition because of its attempts to educate and its success in creating lasting dialogue and debate.

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Dodd, Sue. "Gossip pop: A performative investigation of the role of pop in contemporary art practice." Thesis, 2013. https://vuir.vu.edu.au/24837/.

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By broadening and redefining “pop,” this thesis intends to demonstrate pop’s potential to be considered in a manner that is productive for and applicable to contemporary art theory and practice. The research will be presented as a final survey or diachronic exhibition that will demonstrate the development of the series of Gossip Pop performances and exhibitions, together with a written exegesis. The practical component of this research will consist of writing, producing, performing and exhibiting a series of interdisciplinary visual artworks in a range of gallery contexts under the pseudonym or label Gossip Pop. These works, utilising visual and linguistic appropriation, repetition and performative methodologies, are constructed within the confines of their own self-contained Gossip Pop genre, which mimics the tropes of capitalist production and consumption, taking “pop” as an antecedent. “Pop” is broadly defined for the purposes of this project and will be considered in the exegesis in three ways. Firstly, pop will be considered through aspects of the contemporary understanding of popular culture, as this pertains to ideas of mass media communication, specifically celebrity culture and gossip, drawing on the context of late capitalism and the intensification of the form of the commodity. Secondly, pop will be contemplated in relation to the theory and practice of the art historical movement “pop art,” with a particular reference to the work, life and philosophy of Andy Warhol. Finally, the notion of “pop music” as the subject (and methodology) of visual art will be examined, with a focus on two major international exhibitions, Sympathy for the Devil: Art and Rock and Roll since 1967, curated by Dominic Molon for the Museum of Contemporary Art, Chicago, September 29, 2007 to January 6, 2008, and Rock-Paper-Scissors, curated by Diederich Diederichson for iii the Kunsthaus Graz, Vienna, 30 June to 30 August, 2009. These notions of pop provide the framework for speculation regarding the role of pop in respect to the epistemological, communicative and socio-political potential for contemporary art practice, including: the productive implications or effects of the “performative” visual artwork, the connotations for (and) ideologies of spectatorship, and conjecture regarding the highly contingent role or position of the artist. This speculation is supported by examples of contemporary art practice that explicate or illuminate aspects of my own work.

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Sylvestre, Laurence. "Analyse des pratiques de cinq enseignantes spécialisées en arts plastiques au primaire favorisant l'action de l'élève dans le travail de l'exposition d'art en milieu scolaire." Thèse, 2008. http://hdl.handle.net/1866/6484.

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Scarpa, Mariana Castelo dos Reis Lopez. "Cedência temporária de bens culturais móveis: reciprocidade implícita na relação entre museus?" Master's thesis, 2021. http://hdl.handle.net/10071/24916.

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É comummente aceite que o intercâmbio de obras de arte entre museus, sob forma de emprés- timo, subsiste com o intuito de aumentar a divulgação, o valor e a fruição das obras. Por outro lado, é (também) por via da mobilidade das suas coleções que se fortalece e valoriza grande parte do património cultural de uma coleção, de um museu, de um país. Contudo, a mobilidade de obras de arte gera elevados encargos e difíceis desafios, para quem tem responsabilidades acrescidas na salvaguarda do património cultural. O estudo que aqui se desenvolve tem como objetivos: clarificar as metodologias instituídas nos procedimentos de cedência de obras entre instituições; identificar as condições subjacentes que, maioritariamente, têm de ser cumpridas por forma a que um pedido de empréstimo seja aceite pela entidade requerida; diagnosticar os permanentes desafios que se colocam aos res- ponsáveis pela viabilização deste Processo de Empréstimo; e, por fim, detetar a existência de permutas sob os quais assentam os Processos de Empréstimos. Assim, partimos de um quadro teórico assente na sistematização das linhas estratégicas necessárias para a circulação das obras entre museus. Em consequência da pesquisa realizada, apresenta-se uma descrição sumária dos procedimentos habituais para a concretização do Pro- cesso de Empréstimo, através da identificação e partilha das suas práticas. O plano de investigação traçado teve em conta os testemunhos de pessoas com poder de influência direta na estratégia de algumas das instituições portuguesas com maior relevo no panorama cultural português e, consequentemente, no meio das cedências e empréstimos. It is widely accepted that the aim of increasing the knowledge, the value and the fruition of works of art is one the driving forces of the exchange of works of art between museums. On the other hand, it is (also) through the mobility of their collections that much of the cultural heritage of a collection, a museum, a country is strengthened and valued. However, the mobility of works of art generates high burdens and difficult challenges for those who have increased re- sponsibilities in safeguarding cultural heritage. This dissertation’s objectives are the following: clarify the methodologies used in the procedures of lending works between institutions; identify the conditions that, in most cases, must be met in order for a loan request to be accepted by the borrowing entity; diagnose the permanent challenges faced by those responsible for making this lending process viable; and, finally, detect the existence of exchanges under which the lending processes are based. Thus, we started from a theoretical framework based on the systematization of the stra- tegic lines necessary for the circulation of works between museums. As a result of the research carried out, we present a summary description of the usual procedures for the implementation of the Loan Process, through the identification and sharing of its practices. The research plan outlined took into account the testimonies of people with direct influence on the strategy of some of the Portuguese institutions with greater relevance in the Portuguese cultural panorama and, consequently, in the lending and borrowing environment.

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Dissertations / Theses on the topic 'Art exhibition practice'

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