Dissertations / Theses on the topic 'Catalogs and exhibitions'

nÃo hÃ<br>Este trabalho busca compreender o processo de circulaÃÃo da obra do pintor, desenhista e gravador Raymundo BrandÃo Cela (1890-1954), desde seu perÃodo de formaÃÃo na Escola Nacional de Belas Artes (ENBA), no inicio do sÃculo XX, atà exposiÃÃes realizadas nos dias de hoje. Por meio da reproduÃÃo das obras do artista, impressas em catÃlogos de exposiÃÃo, procuro construir uma sociologia do objeto artÃstico, ou seja, o modo como determinadas convenÃÃes sÃo acionadas para classificÃ-las e como tal classificaÃÃo recebe camadas de significados. Portanto, nÃo apenas a ordem discursiva sobre as obras terà lugar de destaque, mas tambÃm o suporte no qual elas circulam: exposiÃÃes, catÃlogos, livros-catÃlogo, folhetos e jornais. No caso dos catÃlogos de exposiÃÃo, estes tÃm lugar de destaque, pois trazem à tona a maneira pela qual os mundos da arte atuam, ou seja, como fomentam um sistema de enunciados sobre exposiÃÃes, artistas e obras, a partir de uma rede de interdependÃncia presente nas instituiÃÃes da arte. Tal abordagem contribuirà para os debates â ainda iniciais â sobre a histÃria dos impressos nos mundos da arte, alÃm de levantar questÃes sobre a arte brasileira por intermÃdio das exposiÃÃes e coleÃÃes de arte.

As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry as I look towards the intergenerational narratives of my grandmother, mother, and I. As I employ the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography, as I draw on works which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal g(hosts) in spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise.

The aim of the essay is to examine how the student exhibitions of the Royal University college of Fine Arts in Stockholm has changed between 1962-2011, and what these changes can depend on. The questions are: What are the changes in the choice of examination work for the students of the Royal University college of Fine Arts, and what can they depend on? Is the school adjusting their education to the surrounding art world, and in what way is that noticeable? By studying the catalogs from the exhibitions, newspaper reviews and other literature, a shorter conclusion is given concerning the art world, the study situation and the student’s choices of examination works the affected years. The works has gone from being a submission of the study fields during the year, to becoming free projects where stories about important subjects are told. Pressures on the school from students and teachers to be able to keep up with the surrounding view of art in the society that is constantly changing, together with reforms and investigation has led to these changes.

Comment les formes et les figures d’un catalogue d’exposition numérique ou d’un récit de fiction enrichi pour tablette, cadrées dans des pages-écrans et ancrées dans un dispositif numérique, modélisent-elles des lecteurs et des pratiques de réception ? Comment les concepteurs imaginent-ils ces modélisations de pratiques et comment celles-ci s’actualisent-elles de diverses manières dans une situation de réception précise en fonction des attentes des lecteurs ? Il n’existe pas encore de travaux sur le livre numérique enrichi confrontant les pratiques réelles ou imaginées de communautés de producteurs et de récepteurs aux pratiques modélisées par l’artefact, ses formes graphiques, ses signes alphabétiques et ses relations rhétoriques entre pages-écrans. Cette thèse retrace la genèse d’une méthodologie d’analyse socio-sémiotique, alliant en profondeur l’étude empirique des contextes de production et de réception du livre numérique enrichi avec l’analyse des stratégies sémiotiques et rhétoriques de ses interfaces. Souhaitant favoriser l’émergence d’une culture critique du design numérique, la méthodologie propose d’identifier les rapports de pouvoir qui traversent les pratiques en conception pour se loger dans la matérialité des artefacts. À travers un croisement expérimental d’approches sémiotique, sociologique et économique, nous faisons émerger un vocabulaire original des « figures de la lecture » du livre numérique enrichi. Indexé sur les pratiques des concepteurs, celui-ci met en avant le rôle des représentations, habitudes et normes sociales dans la sémiose. Il est enrichi par une étude en réception sur l’un des artefacts du corpus<br>How will an exhibition catalog or a fictional story, enhanced for digital tablets, translate the visitor’s reading habits and expectations into pages-screens? How do the e-books’ designers understand and conceive these reading practices? How will concrete readers’ expectations meet the implicit reader of the text? This thesis is based on a social semiotic methodology, deeply intertwining the empirical study of the current e-books creative and consumption practices with a methodical analysis of the semiotic and rhetorical strategies of their editorial interfaces. Empirically merging semiotic, sociological and economical research, we bring to light a new original vocabulary of “reading features” of enhanced e-books. Combining it with the designers’ practices, this vocabulary exhibits the role played by usages and social standards in semiosis. It is also enriched with a reception study on a specific artifact

Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentes<br>This thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training

Einführung: Mit dem Einmarsch der Roten Armee endete am 8. Mai 1945 der Zweite Weltkrieg auch in Dresden. Die nationalsozialistische Dresdner Tageszeitung „Der Freiheitskampf“ agitierte an diesem letzten Tag des alten Regimes noch einmal seine Leser: „Vergeßt niemals daß, solange wir die Waffen nicht aus der Hand legen, uns kein Feind schlagen und wir unser Schicksal selbst gestalten können!“. Diese Ausgabe der Zeitung vom 8. Mai wurde jedoch nicht mehr ausgeliefert, das nationalsozialistische Deutschland war am Ende. Nur zwei Wochen später, am 22. Mai 1945, erschien eine neue Dresdner Zeitung, die „Tageszeitung für die deutsche Bevölkerung“, jetzt herausgegeben von der sowjetischen Verwaltung. Als einziges Nachrichtenmedium der Nachkriegsmonate ist die Zeitung eines der wichtigsten Zeitzeugnisse und zugleich eine Chronik des ideologischen Wandels unter der kommunistischen Besatzung. Die Ausstellung zeigt die seltenen, auf schlechtem Papier gedruckten und kaum mehr benutzbaren originalen Zeitungen. Auf Vergrößerungstafeln können die Seiten gut lesbar präsentiert, ausgewählte Artikel näher vorgestellt und durch zeitgenössische Fotografien anschaulich ergänzt werden. Die frühesten Beiträge rechnen mit der alten Elite und den Verbrechen des Nationalsozialismus ab und nehmen eine neue Führungsformation und ihr Wertesystem in den Blick, während die Bevölkerung versucht, sich im Alltag der weitgehend zerstörten Stadt zurechtzufinden. Zeitungen sind erstrangige Quellen, „Sekundenzeiger der Geschichte“ (Schopenhauer), in denen über Weltgeschichtliches und Alltägliches fortlaufend berichtet wird. Eine Stunde Null hat es nicht gegeben. Auch die Dresdner „Tageszeitung“ offenbart neben dem Wandel des Neubeginns Kontinuitäten des Denkens und der Sprache, verdeutlicht Verdrängung durch neue ideologische Überlagerung. Eine Karikatur vom 31. Juli 1945 fängt die Stimmung inmitten des ideologischen Umbruchs ein: „Als Pimpf (Mitglied des nationalsozialistischen Jungvolks) warst du doch immer krank, wenn Dienst war?“ „Klar, Mensch, das war doch das Gesündeste!“ Die SLUB bewahrt historische Tageszeitungen als wertvolle Geschichtsquellen. Durch ihre Digitalisierung können sie für die Öffentlichkeit, für Kultur und Wissenschaft frei zugänglich gemacht werden.

Cette recherche propose d’analyser l’exposition Pittura francese d’oggi inaugurée à la galleria nazionale d’Arte moderna de Rome le 12 octobre 1946. Cette exposition, organisée par les services de l’A.F.A.A (association française d’action artistique) et de la D.G.R.C. (direction générale des relations culturelles) du ministère des Affaires étrangères présente au public italien pour la première fois depuis la fin de la seconde guerre mondiale, des œuvres de jeunes peintres français contemporains.Les documents d’archive ont permis de déterminer que l’exposition italienne est en fait une version corrigée et modifiée d’une précédente exposition qui s’est tenue à Berne en mars 1946 et intitulée « Ecole de Paris ». Après de nombreuses négociations avec l’ambassade d’Autriche, au lieu de se rendre à Vienne, l’exposition est finalement présentée à Prague l’été 1946.Son transfert en Italie a été possible grâce à un climat culturel favorable envers la France qui incitera les organisateurs à la transférer dans six villes italiennes : Venise, où elle est présentée en avant-première, Rome où elle est inaugurée officiellement, puis Naples, Florence, Milan et Turin où elle ferme définitivement en janvier 1947.La seconde partie de cette thèse propose la reconstruction du catalogue et la reproduction de la centaine d’ œuvres présente à cette exposition<br>This thesis aims to analyze the exhibition " Pittura francese d’oggi " opened at the " Modern Art Gallery " in Rome October 12, 1946. This exhibition, organized by the services of the ' " AFAA " and " D.G.R.C. " the French Ministry of Public Affairs , submits to the Italian public, for the first time after the end of the World War, works of contemporary young French painters. Archival documents have identified that the Italian exhibition is actually a revised and corrected version of a previous exhibition held in Bern in March 1946, entitled " Ecole de Paris " . After numerous negotiations with the Embassy of Austria, instead of moving to Vienna , the exhibition was presented in Prague last summer 1946. Its transfer to Italy, due to a favorable cultural climate with France , urged the organizers to show it in six Italian cities. First of all, as a preview, in Venice ; in Rome where he officially opened , and then Naples Florence, Milan and Turin, where finally closed in January 1947.the second part of the thesis consists in the reconstruction of the catalog, with the reproduction of the works in this exhibition

En 1865, seulement un an après sa fondation, l’Union Centrale des Beaux-Arts Appliqués à l’Industrie organise sa première exposition, intitulée Musée Rétrospectif. Environ 250 collectionneurs y participent en prêtant une sélection de leurs objets d'art. À l'époque des premières expositions universelles et au moment d'une nouvelle phase de développement industriel, commercial et social, l'État français avait compris que seuls les arts pouvaient garantir à la France le plus grand succès international. En fait, le but des collectionneurs à l’exposition de 1865 était, avant tout, d’instruire les industriels français. Ceux-ci devaient, afin de gagner des prix aux expositions universelles, prendre inspiration des œuvres d’art pour réaliser leurs produits industriels. Mais puisque l’exposition était publique, le but était aussi d’éduquer le plus large public à l’art, de proposer un modèle esthétique et de canaliser les choix esthétiques des visiteurs qui étaient également des consommateurs de la gamme supérieure et qui auraient pu donc ensuite acheter les objets produits sous base industrielle inspirés des œuvres qu’ils avaient admirées à l’exposition. Les collectionneurs du « Musée Rétrospectif » ont été des acteurs sociaux dominants à cette époque, grâce au fait d’avoir compris et représenté la vocation didactique, pédagogique et éducative du Second Empire et du XIXème siècle<br>In 1865, just one year after its foundation, the Union Centrale des Beaux-Arts Appliqués à l’Industrie organized its first exhibition called Musée Rétrospectif. About 250 collectors took part in it with a selection of their art objects. At the times of the first universal exhibitions, during a new phase of industrial, commercial, and social development, the State understood that only arts could offer a guarantee for France to achieve the highest international success. In fact, the declared aim of the collectors involved in the exhibition was suggesting the French industrialists that winning a prize at the universal exhibitions was possible only if they could inspire their products from the art works. However, since the exhibition was public, there were also some other aims: educating the public to arts, proposing an aesthetic paradigm, and channelling the aesthetic choices of the visitors. Actually, most of them were also among the consumers of high-end products, who could later be interested in buying industrial and light manufacture products inspired by the art works they had admired at the art exhibition. The collectors of the Museé Rétrospectif have been not only among the most important social actors of their times, but they could be considered those who interpreted in the best way the pedagogical and educational vocation of the Second French Empire and the 19th century

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<br>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

This thesis explores changing perceptions, theory, structure and policy within art exhibit and collection catalogues of First Peoples' objects from the Pacific Northwest Coast. This work looks at emerging viewpoints on material culture and its display over forty years as they present themselves in catalogue entries, textual content and labeling of Native groups and individuals. Early concepts based on salvage anthropology such as Native cultural demise and the degeneration of remaining people weakened as scholarship changed from a predominantly anthropological understanding of the objects to an aesthetic understanding based in art history. Political actions by Native groups have demanded policy changes within Canadian museum structure that includes the Native voice in curatorial decisions and textual discussions on both old and new objects. These very policy changes bring with them increased responsibility for the museum as well as new challenges of representation of the objects and their makers. The theme explored in this thesis is the changing role and responsibility of academia in the representation of the Other.

A presente dissertação centra-se na problemática da curadoria, a sua presença nos catálogos de exposições temporárias e as noções de obra e autor (inserida no ramo de gestão cultural, devido à temática artística patente na figura curatorial e com tónica no reconhecimento do ser obra). O estudo incide sobre 92 catálogos de exposições em arte contemporânea publicados em Lisboa. Procurando compreender de que modo podem ser identificados como obras do curador. Deste ponto de partida, realiza-se inicialmente um percurso sucinto pelo entendimento do papel e funções do curador desde o aparecimento dos objetos-obras. Estabelecendo relações com as atividades atualmente ditas curatoriais e as primeiras atividades realizadas em prol da proteção e conservação destes objetos-obras. De seguida procura-se uma compreensão da exposição e do catálogo como obras pelo seu contraste a referências e noções da arte contemporânea. A dissertação elabora uma análise dos catálogos, verificando como é possível reconhecer a existência do curador e o modo como seu discurso o denuncia como autor. Contempla-se ainda a perceção da relação entre a exposição e o catálogo, no sentido de contribuir para a reflexão sobre a curadoria. Deste estudo resulta um conjunto de considerações sobre a autoria do curador perante o catálogo, considerando as tipologias de catálogo, curador e espaço definidas a partir das quais se conclui no sentido da consideração do catálogo como um prolongamento da exposição e obra do curador.<br>This dissertation focuses on curatorial issues of the temporary exhibition catalogs and the concept of art work and the author (comprised in the cultural management field, due to the existing artistic theme in curatorial figure and emphasizing the recognition of the art work). This project focuses on 92 contemporary art exhibition catalogs that were published in Lisbon, seeking to understand how they can be recognized as curators work. Through this starting point takes place a brief tour over the understanding of the role and tasks of the curator since the advent of art-object, establishing interactions with current activities stated as curatorial and the first conducted activities to promote the protection and conservation of these art–objects. Thereafter starts the understanding of the exhibition and the catalog as art works through divergences to references and notions of contemporary art. In this sense, this dissertation performs a small analysis of the catalogs confirming that it is possible to recognize the existence of a curator and the way its speech discloses him as an author. It also studies the established relation between the exhibit and the catalog, and through this analyses and theoretical reflections intends to contribute to the increase of the perception of the role of the curator. From this study outcomes some interpretations on authorship of the curator over the catalog, that vary according to the catalog types, curator and space

O presente Relatório de Estágio descreve o trabalho desenvolvido no Mosteiro dos Jerónimos tendo por objecto de estudo a documentação de natureza fotográfica relativa ao monumento. Desde o advento da fotografia no século XIX, o Mosteiro dos Jerónimos tem sido uma das mais notáveis construções portuguesas que encantam os fotógrafos. Como tal, a produção de capturas deste monumento foi crescendo e está hoje dispersa por inúmeras instituições nacionais. O projecto incitado pela valência da fotografia enquanto documento resultou na recolha de informação à guarda de instituições de naturezas orgânicas distintas – museus, bibliotecas, arquivos e outras. Para a correcta reunião do levantamento fotográfico, foi desenvolvido um instrumento de descrição documental – Catálogo fotográfico digital – para utilização interna como ferramenta de trabalho. De maneira a sensibilizar o papel da fotografia na construção da memória e da história do monumento, foi projectada uma exposição utilizando a informação recolhida.<br>This Placement Report describes the work developed in Mosteiro do Jerónimos having by study subject the documentation of a photographic nature relating to the monument. Ever since the advent of photography in the 19th Century, the Mosteiro dos Jerónimos has been one of the most remarkable portuguese buildings which have delighted the photographers. Therefore, the production of snapshots of this monument has been increasing and is presently disseminated over many national institutions. The project, prompted by the relevance of photography as a document, resulted in the gathering of information which was under the care of institutions very distinct in nature – museums, libraries, archives and others. To ensure the correct assembly of the photographic collection, an instrument f document description was developed – the digital photographic catalogue – to use within the project as an investigation tool. To raise awareness towards the role of photography in building the memory and the history of the monument, an exhibition using the information collect was planned.

La cinématographie-attraction a longtemps été considérée comme les débuts du cinéma, jusqu’à ce qu’une controverse, en 1978, marque une rupture historiographique et la considère comme un objet d’études à part entière, distinct du cinéma institutionnel. Nous l’analysons ici dans le contexte de Montréal, entre la présentation du Cinématographe Lumière en 1896 et l’entrée en fonction du Bureau de censure des vues animées de la province du Québec en 1913. Plus précisément, nous interrogeons son institutionnalisation à la lumière de la législation ; les représentants du gouvernement canadien donnent un statut juridique aux vues animées en modifiant et en votant des textes légaux. Cette étude définit le contexte cinématographique, historique et géographique. Elle aborde ensuite trois domaines de la cinématographie-attraction qui ne sont pas les mêmes que ceux du cinéma : la fabrication (le financement, le tournage et la modification des œuvres cinématographiques), l’exhibition (les séances de projections payantes d’images animées) et la réception (les jugements portés sur les vues animées). Nous montrons comment la cinématographie-attraction est d’abord contrôlée par de nombreuses personnes (celles qui financent, celles qui tournent les vues animées, les propriétaires de lieux d’amusements, le policier ou le pompier présent au cours des projections), puis par des institutions reconnues et les représentants du gouvernement. En nous appuyant sur la presse montréalaise, les discours officiels, les discours diocésains, les textes légaux, les catalogues publiés par les compagnies de fabrication et sur les vues animées, nous montrons quels sont les enjeux de l’institutionnalisation pour les différents groupes sociaux.<br>Cinématographie-attraction / kine-attractography has for a long time been associated with the origins of cinema. But in 1978, an academic controversy created a rift in cinematic historiography and these works were subsequently deemed to be a separate object of study, one distinct from institutional cinema. This thesis will focus on kine-attractography in the setting of Montreal from the use of the Lumière Cinematograph projector in 1896 to the founding of the Quebec Board of Censorship in 1913. The legislative context surrounding these new forms of ‘amusement’ will be discussed (bills were modified or created to address legal questions). This thesis will investigate these events within the relevant historical, geographical and cinematographic contexts. It will then consider three aspects of kine-attractography that differ from those in cinema: manufacturing (which includes the way cinematic works were financed, shot and later modified), exhibition (the matter of where and how these works were shown) and reception (the ways these works were evaluated or judged). We will discuss how kine-attractography was initially overseen by diverse groups of people (from those who financed or shot the moving pictures, to the owners of ‘amusement’ theatres, to the policeman or fireman who was present at each projection), and then subsequently overseen by recognized institutions, government representatives included. We will explore the issues which accompanied its institutionalisation relative to these various groups by studying articles and ads in Montreal’s newspapers, legal texts, official pronouncements, diocese speeches, catalogues published by manufacturing companies, and the moving pictures themselves.

The thesis focuses on the contacts between Czechoslovakia and the Soviet Union, specifically in the area of the 1930s fine arts. This topic has been mapped from 1930 to 1938 (before the Munich Agreement). The first part of the text deals with the historical-political background of that period and cultural relations between the two countries with emphasis on fine arts. Specific manifestations of these relations can be found in the next part of the thesis, using analysis and comparison of the Czechoslovak printed periodicals and archival documents, especially political news and correspondence. This thesis focuses mainly on realized art exhibitions and their reflections. All of this has been set into the historical and political context, thus achieving a comprehensive description of the topic. Key words Czechoslovakia, Graphic Arts, Caricature, Catalogue, Contacts, Printed Periodical, Political News, the Soviet Union, 1930s, Fine Arts, Art Exhibition.

This dissertation analysed the information needs and information-seeking behaviour of visual artists. An empirical survey was conducted on a sample of the more informationliterate visual artists in South Africa. A model of the information environment of South African visual artists was developed. This model provides a basis for another model which represents the optimal service that should be rendered to meet the needs of this user group. It was found that the general information needs of South African artists are fairly adequately met, but that there are several shortfalls, especially in serving their more complex information needs. The most important problems are the lack of training in the use of information sources and services, inadequate marketing of services and inadequate coverage of South African art. It was also found that greater coordination between service providers is urgently required, especially in the provision of information about South African art.<br>M. (Information Science)