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Haight, Sarah M. "American Art Lending, 1895-1975." Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/344.
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This paper documents the range of art lending in the United States to individuals by libraries, museums, and other cultural institutions from roughly 1895-1975. The historical analysis includes the reasons and motivations behind the creation of each kind of lending scheme and what its proponents hoped to accomplish, as well as how these collections fit into the broader goals of each type of institution. Loans of originals and reproductions are discussed.
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Brogan, Devin. "Art in Wichita instruction, collection and innovation /." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t024.pdf.
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Summerfield, Angela. "Interventions : twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth-century British art in Britain." Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17420/.
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In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.
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Salmons, John Andrew. "Adopting an Orphaned Collection." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64789.
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"Architecture itself is linked not only to other arts but also to the broader context of life; it is only on that scale that we may understand its specific contribution to the formation of the communicative space of culture."*
- Dailbor Vesely 2004
Architects have explored Art Galleries as a medium throughout the ages. In 2014, the Corcoran was sold, dismantled and divided between the National Gallery of Art and George Washington University signaling the end of an era of art display in the Nation's Capital. This transformation of a major DC art collection was the impetus for this thesis: to mark the end of an era and to create a new home for the Corcoran Collection. To house this orphaned collection, I have studied similar elements that earlier architects have studied such as light, shadow, and reflection, taking into account the dawn of the next generation of art galleries. The role of this museum is to educate and facilitate information about the collection and the art. Contemporary art galleries that have been built recently included additional areas of services that were originally not part of the Corcoran Museum's building program, such as the role of conservation of historical objects including paintings and works on paper. Another area of my research was the relationship between the viewer and the building. The Corcoran has an extensive collection of American art and art directly from D.C. and it is important to allow direct access for the community and accommodate enough wall space to give context to the art.
With the setting of the contemporary art gallery framed, we return back to the research to really question how each of those elements were thought about moving forward. We need light to see, but what had been seen and depicted on great Master's canvases should be protected from light. Should natural light be brought into the gallery spaces even though it damages works on canvas and paper? Can gallery spaces change over time to mirror the objects that they hold? Can the building reflect the area around the gallery but also act as a space of meditation and self-reflection?
To adopt means to take another's child, but it can also mean to embrace an idea. In this case we are adopting the collection of William Corcoran and combining it with newer elements found in modern museums. On further evaluation of the gallery it has strong ties to historic D.C. because of its collection and its community outreach however its weakness was due in part of turning its back on the same community that made it strong. I propose moving the collection into the heart of Washington D.C. and combining it with newer ideas of light and gallery services. This process will allow the Corcoran to continue its evolution as a great American collection.
*Dailbor Vesely, "Architecture in the Age of Divided Representation." (Cambridge: The MIT Press, 2004), 88-89.<br>Master of Architecture
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Walker, Jessica E. "Unexpected Reflection Collection." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253634229.
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Quito, Anne. "Art at work potential contributions of an art collection to non-profit organizations /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/456296265/viewonline.
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Baker, Laura. "The New Orleans Museum of Art: Managing the Collection." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/173.
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An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.
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Wilson, Janelle. "Accessioning and Managing the Petersburg Area Art League Collection." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2296.
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Since the 1960s, the Petersburg Area Art League (PAAL) has obtained works of art for its permanent collection through purchases, private donations, and through the local art show, the Poplar Lawn Art Festival, later known as Artfest. Recently, however, the organization has decided to become a non-collecting institution in order to focus on its mission to promote the arts in Petersburg through gallery shows for local artists and educational programs. While PAAL’s staff members share a love of art and a dedication to the local community, they have not been trained in professional standards for handling museum collections as outlined by the American Association of Museums (AAM). Consequently, the PAAL collection had not been adequately documented or stored in a manner that protected the works from potential damage or degradation. This museums project was designed to help the Petersburg Area Art League meet AAM standards. During the summer of 2010, the collection of 150 artworks was accessioned; its storage facility was reorganized; a database was created; and a collections management policy that would ensure the continued care of the collection after the completion of this project was written and approved. This paper describes challenges encountered and resolved during the two-month project and provides a reference for those who wish to take on similar projects in the future.
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Lucas, Jean-Jacques. "Les territoires imaginés de la collection, récits individuels et collectifs : les collections et les collectionneurs d'oeuvres d'art, d'archéologie, d'arts décoratifs et appliqués dans le Centre-Ouest Atlantique entre 1870 et 1983." Poitiers, 2010. http://www.theses.fr/2010POIT5007.
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Le collectionnisme d'œuvres d'art depuis le milieu du XIXème siècle , lisible tout au long de cette période au travers des expositions régionales, des dons et legs aux musées locaux, inscrit des valeurs de repères. Ces situations supposent l'enchâssement de plusieurs territoires imaginaires, temporels et spatiaux. L'objet pouvant prétendre à une durée que le corps n'atteindra pas, la collection le présente à une admiration durable. Elle est monument marquant l'appropriation de son assembleur, par une fonction ligamentaire, avec son territoire généalogique réel ou reconstruit. La translation dans la collection publique garantit à perpétuité le dépassement de soi et la pérennisation d'un modèle social fondateur et édifiant. La nature des collections d'œuvres d'art, issues aussi de l'archéologie, des arts décoratifs ou d'ethnographie, questionne sur les systèmes de références du monde poitevin. Le temps et l'espace géographique les concernant relèvent de territoires mythogènes rendus visitables dans l'espace du musée. Ces constructions circonscrivent ici des contours spatio-temporels imaginés ou vécus. L'étude de ces collections, de leur mouvance et mouvements renvoie aux valeurs identitaires de leurs auteurs et à celles assurant la cohérence d'un groupe. L'espace géographique de l'étude correspond à trois départements actuels : Vienne, Deux-Sèvres, et la Vendée, historiquement associée au Bas-Poitou pour sa plus grande partie. Le cadre chronologique est fixé entre l'entrée du legs Charbonnel au musée de Poitiers en 1870 et l'arrivée d'un nouvel acteur institutionnel missionné pour collectionner l'art de son temps, le Fonds Régional d'Art Contemporain<br>Art collecting since the mid-nineteenth century, understandable throughout this period through regional exhibitions, donations and legacies to local museums, recorded landmark values. These situations involve the embedding of several imaginary, temporal and spatial fields. The object aspiring a duration which the body will not reach, will be presented to lasting admiration in a collection. It is a monument marking the ownership of its collector, by a ligamentary function, with its real or reconstructed genealogical territory. The transfer to the public collection guarantees everlasting self surpassing and the perpetuation of a founding and edifying social. The nature of the collections of works of art, also from archaeology, decorative arts, or ethnography questions about the reference systems of the world from Poitou. Their time and geographical space come from mythogène territories for visitors to see in the space of the museum. These constructions define imagined or experienced contours in time and space. The study of these collections, their movement and sphere of influence refers to the identity values of their authors and to those ensuring the coherence of a group. The geographical area of study corresponds to three existing departments : Vienne, Deux-Sevres, and Vendee, for the most part historically associated with the Bas Poitou. The chronological frame is set between the entrance of the Charbonnel legacy to the Poitiers museum in 1870 and the arrival of a new institutional actor commissioned to collect the art of its time, le Fonds Régional d’Art Contemporain
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Donkor, Kimathi. "Africana unmasked : fugitive signs of Africa in Tate's British Collection." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12019/.
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Through painting, drawing, photography and digital design, I have investigated the relationship between, on the one hand, my fine art practice—with its interest in postcolonial African and diaspora identities (or, ‘Africana’)—and on the other hand, works at The Tate Gallery—with its remit to hold the National Collection of British Art. By interrogating iconological ‘conditions of existence’ for works by Fehr, Sargent and Brock, I created new artworks that indicated hidden (or, ‘fugitive’) African connections with the intention of disrupting complacent assumptions and reimagining unacknowledged (or, ‘masked’) themes. I considered concepts of Africa: described by Mudimbe as ‘discursive formations’ (after Foucault) and embodying postcolonial, transracial identities; in addition, I addressed the problematics of Tate’s British Art collection as a post-imperial brand of ‘cultural capital’. Unmasking fugitive Africana was a practical methodology designed to produce artworks. So,while aware of many theoretical interlocutors, I pursued a convoluted, sometimes intuitive path through the creative process by making drawings, digital designs, photographs and paintings. Nonetheless, Stuart Hall’s framework of an ‘oppositional code’ was key and so I suggest that, as practiced by artists, ‘unmasking Africana’ might be an inherently counter-hegemonic,critical project. My investigation embodied technical and conceptual problematics of critical enquiry as a mode of studio practice. I explored unmasking methodologies through reading, observation,reflection and painterly, synthesised appropriations—also witnessing an evolution in my imagery, from iconographically layered compositions to works in which identities and motifs seemed to fuse. As well as the studio investigation and writing, my project had a pedagogic element. In a series of seminars, I taught MA students at C.C.W. Graduate School the preliminary findings of my research. My interviews with students produced evaluations about their learning, which I later disseminated as part of UAL’s programme to reduce disparities between white and B.A.M.E. British undergraduate students.
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Noual, Pierre. "L'être et l'avoir de la collection : essai sur l'avenir juridique des corpus artistiques." Thesis, Toulouse 1, 2016. http://www.theses.fr/2016TOU10043.
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La collection demeure un puissant moteur de curiosité en perpétuelle effervescence. Elle relève de la sphère artistique et participe de l’indicible. Elle échappe à la logique et à la rationalité. Elle nous dépasse et ne relève que de l’ordre du sensible. C’est pourquoi en parlant des relations entre l’art et la société, la collection occupe une place singulière. Pourtant, si les études juridiques consacrées aux œuvres d’art sont nombreuses, il en irait autrement pour les collections, alors même qu'elles sont heurtées depuis plusieurs décennies par de nombreux bouleversements économiques et artistiques peu étudiés par le droit. Un tel constat conduit à ramener les collections dans le champ d’une analyse juridique. Celui-ci n’est pas seulement académique et il implique de réelles conséquences pratiques. Comment la collection est-elle appréhendée par le droit ? Quel est son avenir juridique ? Telles sont les interrogations qui vont permettre de remonter aux sources de ce corpus pour mieux envisager son devenir. Pour ce faire, il convient d’appréhender la consistance même de la collection par le prisme de la propriété et ses régimes de protection. Puis, il sera permis d'envisager la gestion et la transmission juridique de ces patrimoines artistiques qui s’enracinent dans le cadre d’une activité culturelle des collectionneurs publics et privés. Dans une approche pluridisciplinaire, l’étude présente de façon à la fois globale et cohérente l’appréhension de la collection par le droit. Il s’agit de contribuer à une compréhension accrue des instruments permettant le fonctionnement de cet ensemble dans la relation qu’il entretient avec le droit, son marché et ses divers protagonistes. En mettant en évidence la contradiction entre la volonté du législateur d’encourager le développement des collections et les restrictions qu’il impose, l’étude participe, à sa mesure, à la connaissance juridique de cet objet, à sa valorisation et à sa conservation sur le territoire afin de déployer une nouvelle « culture de la collection ». C’est ainsi que l’on peut vérifier une nouvelle fois que le droit est un outil d’intelligence de réalité sociale pour la collection et un matériau directement expérimentable par le collectionneur pour aller au-delà du droit<br>The collection remains a powerful engine of curiosity in perpetual effervescence. It concerns the artistic sphere and takes part of the inexpressible one. She escapes from logic and rationality. She’s beyond us and raises only about the sensitive one. Therefore, speaking of the relationship between art and society, the collection occupies a singular place. However, if the legal studies devoted to artworks are numerous, it would be different for collections, while at the same time they have been run up against for several decades by many economic and artistic upheavals, little studied by the law. Such a report led to bring back the collections in the field of a legal analysis. It’s not only academic and involves real practical consequences. How is the collection apprehended by the law? Which is its legal future? These are the questions that will help to go back to the sources of these corpus to better consider their destiny. With this intention, it’s advisable to appreciate the consistency of the through the prism of the property and its protection schemes. Then it’ll be possible to consider the management and the legal transmission of such artistic heritage which roots in the context of a cultural activity of public and private art collectors. In a multidisciplinary approach, the study presents so both comprehensive and coherent apprehension of the collection by the law. This is to contribute to an increased understanding of the instruments allowing the operation of this set in its relationship with law, its market and its various protagonists. By highlighting the contradiction between legislator’s desire to encourage the development of collections and the restrictions it imposes, the study involved in its extent, the legal knowledge of this subject, its valorization, and its conservation on the territory in order to deploy a new "collection’s culture". Thus one can verify once again that the law is a tool of intelligence of social reality for the collection and a material directly usable by the art collector to go beyond the law
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Couette, Déborah. "L'Aracine, de l'association au musée : histoire d'une collection d'art brut (1982-2010)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H043.
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L’Aracine est une association loi de 1901 créée en 1982 à l’initiative de Madeleine Lommel en collaboration avec Michel Nedjar et Claire Teller dans le but de rassembler, de conserver et d’exposer une collection d’art brut publique en France. Conçue comme un hommage aux recherches de l’artiste Jean Dubuffet, cette collection – offerte en 1999 au musée d’Art moderne de Villeneuve-d’Ascq – constitue un rare essai de légitimation et de patrimonialisation de l’art brut. Cette thèse, histoire d’une association, d’une collecte et d’une collection, propose de revenir aux origines et aux développements de l’association L’Aracine, en mettant en lumière le rôle joué par des non-professionnels de l’art dans la constitution d’un patrimoine du XXe siècle<br>L’Aracine is a non-profit association founded in 1982 by Madeleine Lommel with Michel Nedjar and Claire Teller, to collect, preserve and exhibit a public collection of art brut in France. Conceived in tribute to the research of artist Jean Dubuffet, the collection – which was given to the Modern Art Museum of Villeneuve-d’Ascq in 1999 ― is a rare attempt to establish art brut’s legitimization and legacy. This PhD – story of an association, a collection process and a collection – reconsiders the origin and development of the L’Aracine project and casts a light on the amateurs whose role was to establish this 20th century patrimony
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McDermott, Hiroko T. "A history of the Imperial Art Collection in modern Japan." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399439.
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Toropov, Stephen William. "Interpretation As Art: A Collection and Examination of Ekphrastic Poetry." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429877149.
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Sarti, Susanna. "Giampietro Campana (1808-1880) : the man and his collection." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390392.
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Brod, Heather Christine. "Colorist art, contemporary Russian art, and Neue Slowenische Kunst in the collection of Neil K. Rector." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210265694.
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SEYMOUR, BRIAN. "ART COLLECTING AND SHAPING PUBLICS AROUND THE TURN OF THE TWENTIETH CENTURY: A PHILADELPHIA STORY." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/476618.
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Art History<br>Ph.D.<br>This dissertation traces the rhetoric of two Philadelphians, attorney John G. Johnson and Dr. Albert C. Barnes, as they collected art with a specific public in mind, namely working Philadelphians around the turn of the twentieth century. The individual bequests and resulting legacy institutions of Johnson and Barnes serve as rich case studies to assess the efforts of collectors to control the reception of their respective collections by the public. These particular histories, exceptional in their own ways, are juxtaposed to offer an objective view onto previously understudied challenges to the status quo, mounted by a few collectors by way of unique discursive practices and the establishment of distinctive single collection institutions, in the formative period for American art museums around the turn of the twentieth century in Philadelphia. The focus is on the two men’s often shared, but eventually divergent, ideas pertaining to art and the public, which can be tracked to relevant discourses that informed those views. At stake in this investigation is the relative tension between the agency of the collectors and the repurposing of their individual collections by future publics. More plainly, the goal is to study the interrelated narratives of collectors, Johnson and Barnes, as they unfolded over the course of the long twentieth century with an eye to what is gained or lost from the unraveling of the deliberate plans left by the collectors, which in both of these cases, included relocating the art work from the original site, leading to coincident shifts in the manner of display and targeted audience. It is not the point of this study to weigh-in on matters of justice regarding the individual cases, rather the goal is to probe the limits of an art collector’s vision held against the dynamic needs of publics, and evaluate what this might mean for the twenty first century.<br>Temple University--Theses
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Lipschitz, Michael Roy. "The Charles Davidson Bell Heritage Trust collection : a catalogue and critical study." Thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/23586.
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This thesis comprises two parts. Part One is a biography of the life of Charles Davidson Bell (1813-1882), who was the Surveyor General at the Cape from 1848 to 1872. Part Two consists of an illustrated catalogue and critical study of the the pictures by Charles Davidson Bell in the Bell Heritage Trust Collection at U.C.T. The Biography of Charles Davidson Bell has been researched from unpublished sources and from secondary published sources. The chronology of his life is placed in relationship with his versatile accomplishments as an artist and his achievements in other diverse fields. In the Catalogue, the history, formation and restoration of the Bell Heritage Trust collection is reviewed. The criteria used in cataloguing and attribution of pictures is discussed. The cataloguing terminology that has been employed, is defined. The various collections of sketchbooks are introduced and discussed in terms of the ordering and arrangement of the pictures. The pictures are catalogued and placed in their historical context. The inter-relationship between pictures in the Bell Heritage Trust and in other collections is considered.
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Ren, Josephine. "Islamic Ceramics, Indelible Creations: Assessing and Preserving the Scripps Collection." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1353.
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This research project examines and documents the collection of Islamic ceramics at Scripps College from an art conservation standpoint. The main objectives were to establish provenance for these objects, assess their current conditions, propose recommendations for future preservation, and discuss the importance of preventive conservation and general collections care methods. Based on my survey and research, I demonstrated which objects in particular should be prioritized due to their states of conservation and significant educational value. Such objects raise further points of departure regarding authenticity and conservation ethics.
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Massey, Ivor Nikolas. "Awakening The Muse: A Museum for the Fisher Family Art Collection." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/36034.
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This thesis is a proposal for a large contemporary art museum on the Presidio Parade Grounds in San Francisco, California. The site is small and historic, thus my solution was to build primarily underground. Through my exploration of designing a subterranean art museum I addressed the challenges of natural lighting, circulation, and curation. The following images document the result of my studies.<br>Master of Architecture
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VanWagoner, Rachel. "DAY JAW BOO, a re-collection." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2714.
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For my MFA thesis exhibition, I have collected ideas surrounding events that happened in the past and combined them with the ceramic work I have made in the three years of my master's program at Brigham Young University. I have grouped visual elements from Buck Rogers and other Futro (retro-future) pop-culture with ideas surrounding the Voyager Interstellar Mission and the compiling of the Golden Record. Combining these elements in an installation, will create an environment where people can reflect on things they have "already seen" and envision a brighter future. For that reason I playfully call the show Day Jaw Boo, a re-collection and allow the viewers to enter a dream-like-reality-stage of déjà vu.
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Davila, Victor. "THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.
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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.<br>M.F.A.<br>Department of Art<br>Arts and Humanities<br>Studio Art and the Computer MFA
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Burrowes, Adjoa J. "The South Side Community Art Center| How Its Art Collection Can Be Used as an Education Resource." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1602513.
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<p> This study examines the South Side Community Art Center in Chicago, its history, educational mission, and the ways in which its collection of primarily African American art can be used as an art education resource. The data collection for this qualitative case study included questionnaires focusing on the collection and the Center’s history and mission, in-depth interviews with three Center administrators and one visual artist, informal personal communication, and observational notes. All data was examined using content analysis. Respondents indications concluded that the mission and goals of the Center grew out of its WPA beginnings and was primarily to support the artists and to educate the community about the value of African American art; that the Center’s education mission revolved around its educational programming; that the art collection had been used in the past to teach about the Black Power Movement and makes references to important events in history; and that the Center’s relationship to the community was multi-faceted and included outreach to local schools in after-school art programs. </p><p> The center’s art collection, because of the themes inherent in many of the works, make important connections to key events in American history such as the WPA, WWII, the Great Depression and the Black migration that facilitates meaning making across the life span. The study’s results provided evidence of the South Side Community Art Center’s role as not only a repository for regional and national African American art and artists, but also as an educational hub for visual culture, art study and relevance for contemporary life themes.</p>
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César, Flore. "Collectionnisme et curiosité à Montpellier, de la renaissance à l'aube de la révolution." Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30105.
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A partir de l'exemple montpelliérain, la présente étude s'intéresse au phénomène culturel ducollectionnisme, en appréhendant de manière conjointe collectionneurs et collections entre leXVIe siècle et le XVIIIe siècle. Considérée comme capitale scientifique durant l'époquemoderne, la ville s'offre comme un exemple privilégié pour aborder une approche croiséeentre histoire de l'art et sociologie de la culture savante.Face à une très grande diversité de sources, ce travail propose d'abord une réflexion sur lesdéfinitions mêmes de collectionneur et de collection, avant d'en présenter une analysetypologique. Le travail s'attache en second lieu à comprendre la dialectique entre lecollectionnisme et la curiosité, entendu comme désir de voir, d'avoir et de savoir. Cettedémarche ambitionne de mettre au jour les différents usages des collections et de leuréconomie, tout en abordant les différentes figures de collectionneurs, entre curieux, amateurs,connaisseurs et savants. Par ailleurs, le travail tente de rendre compte de la manière dont ceshommes, quelle que soit la nature des collections, mettent en oeuvre leur capacité de jugementen privilégiant l'expérience sensible. Lieu voué à la perception, la collection s'offre aussicomme lieu de célébration de la mémoire. Aussi l'étude s'attache-t-elle à comprendrecomment le collectionnisme contribue à la fabrique du regard<br>From the city of Montpellier example, the present study focuses on the cultural phenomenonof collectionism, by approaching in a joint process, collectors and collections within theXVIth century and the XVIIIth century span. The city, recognized as a scientific capitalduring the modern period, offers a privileged example to undertake a crossed approachbetween art history and sociology of savant culture.Faced with a huge diversity of sources, the first proposal of this work is a reflexion on thecollector and the collection's very definition before presenting them in a typological analysis.In a second step, this work aims at understanding dialectics between collectionism andcuriosity, understood as desire of seeing, possessing and knowledge.This process aspires tounveil the various uses of collections and their economy, approaching jointly the differentcharacters of collectors, among curieux, amateurs, connoisseurships and savants. Moreover,attention is payed on giving account on the manner these persons, whichever the nature oftheir collection, make use of their judgement capacity while prioritizing sensitive experience.As a place dedicated to perception, the collection also offers itself a place of memorycelebration. Therefore, the study works toward understanding how collectionism contributesto the fabric of vision
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Brown, Jessica Natasha. "Ethics of the dust: on the care of a university art collection." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13651.
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Includes bibliography.<br>This thesis examines the University of Cape Town (UCT) Permanent Works of Art Collection in order to determine its relevance to, and status within, the university. The text traces the historical and current roles of the university art collection in general, before focusing specifically on the UCT art collection’s history, including the contexts, events and personalities which shaped its development, from its embryonic beginnings in 1911, to the present. In an era which demands clear correlations between the allocation of resources and relevance to institutional goals, the contemporary university collection is under pressure to demonstrate its potential as a useful educational and interpretive tool within the university (the so-called ‘triple mission’ of collections: teaching, research and public display), or risk being consigned to obsolescence, even destruction. Based on a survey of the UCT art collection’s holdings, interviews, and a combination of bibliographic and archival research, undertaken between 2011and 2014, the thesis establishes that, whereas most university collections were traditionally constituted for the purpose of teaching and research, or for the preservation and exhibition of historical artefacts pertaining to a university and/or a specific discipline, this collection does not precisely fulfill either function.
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Brun, Baptiste. "De l’homme du commun à l’art brut : « mise au pire » du primitivisme dans l’œuvre de Jean Dubuffet : Jean Dubuffet et le paradigme primitiviste dans l'immédiat après-guerre (1944-1951)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100084.
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L’œuvre de Jean Dubuffet dans l'immédiat après-guerre est le moment paradoxal d'un refus radical du peintre de toute critique primitiviste à l'endroit de son œuvre. Or d'un point de vue formel, il pousse à l'excès des moyens jugés alors comme caractéristiques de l'art primitif et d'un point de vue conceptuel, il se réclame d'une forme d'animisme qui trahit une conception agissante de la matière. Enfin, il emprunte largement aux procédures propres à la science ethnographique alors en plein développement dans le cadre des prospections relevant de ce qu'il nomme, à l'été 1945, l'Art Brut. Afin de dépasser ce paradoxe, en considérant tour à tour sa pratique picturale, les écrits qui relaient sa pensée et son travail autour de l'Art Brut, nous montrons comment Dubuffet, en procédant à un déplacement systématique d'un regard a priori primitiviste, engage à une critique systématique de ce dernier.L'Art Brut, envisagé comme un opérateur critique dérivant de l'informe bataillien, se constitue alors comme le levier d'une remise en cause des manières consensuelles de penser l'art. Il lui permet de dépasser l'esthétique pour ouvrir le champ d'une interrogation proprement anthropologique de ce qu'il nomme l'opération artistique<br>Immediately following the conclusion of the Second World War, Jean Dubuffet categorically refused the qualification of his work as part of Primitivism. But Paradoxically, the means by which this painter expressed himself were none other than those identified in so-called primitive art, and he often claimed himself as an animist what in a way betrayed an active conception of matter. Furthermore, Dubuffet drew from ethnographic research processes to finetune his method which would be baptized as Art Brut in the summer of 1945. In order to move beyond this paradox, and by using Dubuffet's paintings, writings and other work, this paper will demonstrate how Art Brut shifted the original perception of primitive art, and in thus doing so, became its unconditional critic. Art Brut, which was considered to be a means of critique as a derivative of George Bataille's « informe », emerged as a concept leading to think art differently. Esthetics could finally be pushed aside to make way for an anthropological interrogation of what the painter named the « artistic operation »
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Coeyman, Daniel. "Likeness: Empathy in Art." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/749.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf<br>B.F.A<br>Bachelors<br>Arts and Sciences<br>Art
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Didier, Jon. "Art, avoidism, and automation." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1400.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Fine Art
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
Full textAbstract:
By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Full Text
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Harris, Adam Duncan. "Extra credits : the history and collection of Pacific Title and Art Studio /." ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2000. http://www.lib.umn.edu/articles/proquest.phtml.
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Farmer, Brooke Michael. "Wake Forest University Art Collection: Current State and Recommendations for Future Use." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/19.
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The Wake Forest University Art Collection consists of nearly 1300 works of art of various media dating from the fifteenth century to today that are divided into nine distinct collections. Assessing the current state of the Collection, this thesis project evaluates the art historical significance of the Collection using select museum quality works of art and then proceeds with a discussion of collections management, including the topics of acquisition, accession, and risk management. Environmental conditions in Collection facilities are measured against widely accepted museum standards. Use of the Collection as an educational resource by the University and surrounding community is compromised by a variety of factors, including issues of accessibility and security. General recommendations to improve the current state of the Collection include adapting collections management policies and procedures to standard museum practices and the creation of a permanent museum space and staff.
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Cardassilaris, Nicole Ruth. "Bringing cultures together Elma Pratt, her international school of art, and her collection of international folk art at the Miami University Art Museum /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.
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Thesis (M.A.)--University of Cincinnati, 2008.<br>Advisor: Theresa Leininger-Miller, PhD (Committee Chair); Mikiko Hirayama, PhD (Committee Member); Anne Timpano, MA (Committee Member). Title from electronic thesis title page (viewed May 8, 2008). Includes abstract. Keywords: Elma Pratt; International School of Art; Zakopane, Poland; Miami University Art Museum; folk art; material culture; art education; museum collections; Polish folk art; women in art education; Brooklyn Museum; Franz Cizek. Includes bibliographical references.
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CARDASSILARIS, NICOLE RUTH. "Bringing Cultures Together: Elma Pratt, Her International School of Art, and Her Collection of International Folk Art at the Miami University Art Museum." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204738152.
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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
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Solano, Maria Schelle. "Art, Commerce, and Social Transformation: Public Art And the Marketing of Philadelphia." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/184817.
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Anthropology<br>Ph.D.<br>The field site for this US-based ethnography is the city of Philadelphia, Pennsylvania. The overwhelming presence of murals in the urban landscape calls into question how these figurative wall-sized paintings improve the lives and neighborhoods in which these paintings are found. With Philadelphia suffering the consequences of deindustrialization and neoliberal globalization, characterized by high poverty and inequality, and consistently low rankings in quality of life indicators by the national media, what role do murals play in change? Do murals mask urban problems by literally painting over blight, and, therefore distract from vital issues? Alternately, are murals a beacon of hope in an aging post-industrialized city? How do these murals contribute to the city - socially, culturally, and economically? This research study employs the following in its methodology: archival research, participant observation, interviews, visual and audio documentation, web site analysis of the Mural Arts Program's public transcript, and documentation of contemporary media coverage of the MAP and tourism related economic strategies. Over the course of its almost thirty-year history, the MAP has seen its mission shift from dealing with erasing graffiti, to helping transform (i.e. empower and motivate) communities and individuals, as a way to deal with poverty and increasing political and economic inequality. As globalization placed pressures on cities to compete in a global economy, new urban branding practices changed the scale of operations from place-based local communities (that focused on rehabilitating "at-risk" populations) to the city as a whole (city-wide murals and related projects/events), that increased local media coverage and brought the MAP to the attention of national media outlets - the kind of publicity necessary to advertise Philadelphia as an "urban brand," "The City of Murals." The promotion of Philadelphia as "The City of Murals" is premised on art having a "social life" by virtue of human interaction, and therefore, has the capacity to engage, captivate, and transform - its "value" is in being commodified and consumed. At the same time, the consumption of particular art objects and experiences demonstrates "taste" and marks social difference and maintains social hierarchies.<br>Temple University--Theses
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Perez, Elizabeth. "Art as a questioning process." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/605.
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The topic of this thesis is, broadly, the crisis of postmodernity and the solution that French rhetorician, Michel Meyer, presents in his theory “problematology.” Meyer looks to relocate the focus of philosophical attention on the question as opposed to the answer. Meyer calls preoccupation with answers “propositionalism.” Propositionalism can be likened to the looming scientism that threatens philosophy in general. Meyer shows, through an examination of questioning, how philosophy can be rescued from obsolescence without being detracted to scientism.
Although Meyer’s philosophy is promising, it could not be considered thorough if it did not address art. Using Gilles Deleuze and Felix Guattari’s definition of art as externalized experience, this thesis will explore whether or not Meyer has examined the important relationship between art and philosophy. Through analysis of his three main books in English along with multiple essays, this thesis shows that, although Meyer did not examine art to a great extent, his philosophy contains underlying themes that correspond to the art world.
If Meyer’s philosophy is shown to be thorough enough in every respect, it could serve as a new starting point for thought. Meyer’s philosophy has the potential to pioneer a new paradigm of thought that has not been previously explored.<br>B.A.<br>Bachelors<br>Arts and Humanities<br>Philosophy
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Lopes, Pedro Zasciurinskis. "Redefining art as an experience." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1107.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Philosophy
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Tolley, Rebecca. "Review of Great Masters of Mexican Folk Art: From the Collection of Fomento Cultural Baname." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5711.
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Turner, Noele. "The National Art School - A Social History from 1833 to 1973 and a Catalogue of the Archival Art Collection." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366320.
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At the core of this thesis is a broad social history of the origin of the National Art School (NAS), dating from the earliest days of art history in NSW when the Mechanics Institute was formed. From 1833, after many incarnations and name changes, this organisation evolved into the National Art School. Since 1922 it has been located in the old Darlinghurst Gaol in East Sydney. I have detailed the growth of the School until 1973 when it was absorbed into the Alexander Mackie College of Advanced Education. The documentary material used in the construction of the NAS history is examined in relation to the social and political forces that operated in Sydney and Australia during the period under examination.
The thesis began as a project to catalogue the extensive collection of student paintings held by the NAS. The lack of documentation, at the most basic level of student and staff names, extended the necessary scope of the research. The photographic record of the collection of student paintings is included as an appendix, as is the catalogue of these works. My thesis also includes, as appendices, the definitive (although incomplete) list of over 4,000 past student names, dating from the beginning of the twentieth century to 1973, and an incomplete, although comprehensive list of teachers names covering the same period. It has taken some years of research to compile these listings from a variety of official, published
and press sources.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Gretarsdottir, Tinna. ""ART IS IN OUR HEART": TRANSNATIONAL COMPLEXITIES OF ART PROJECTS AND NEOLIBERAL GOVERNMENTALITY." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/67865.
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Anthropology<br>Ph.D.<br>In this dissertation I argue that art projects are sites of interconnected social spaces where the work of transnational practices, neoliberal politics and identity construction take place. At the same time, art projects are "nodal points" that provide entry and linkages between communities across the Atlantic. In this study, based on multi-sited ethnographic fieldwork in Canada and Iceland, I explore this argument by examining ethnic networking between Icelandic-Canadians and the Icelandic state, which adopted neoliberal economic policies between 1991 and 2008. The neoliberal restructuring in Iceland was manifested in the implementation of programs of privatization and deregulation. The tidal wave of free trade, market rationality and expansions across national borders required re-imagined, nationalized accounts of Icelandic identity and society and reconfigurations of the margins of the Icelandic state. Through programs and a range of technologies, discourses, and practices, the Icelandic state worked to create enterprising, empowered, and creative subjects appropriate to the neoliberal project. At the same time these processes and practices served as tools for reawakening and revitalizing ethnic networking on a transnational scale. As enactments of programs initiated by the Icelandic state, the art projects studied here are approached in relation to neoliberal governmentality in a transnational context in order to explore how the operations of states and the new global economy are translated into local cultural practices, such as visual displays. This is a study of cultural circuits and transnational networking where art projects are the formative "nodes"-local sites of cultural production, neoliberal politics, multiple threads of truth claims in battles of cultural politics, identity formation, and conflicted notions of the value of art and the idea of creativity.<br>Temple University--Theses
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Williams, Stephanie Danielle. "ART AT THE AIRPORT AND THE INTERSECTION OF PUBLIC ART AND PUBLIC HISTORY." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/448628.
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History<br>M.A.<br>This thesis is a study of the intersection of public art and public history in Philadelphia. This project looks at Philadelphia based case studies to see how the intersection of public art and public history can bring in new audiences, act as a form of advertisement, and shape interactive experiences for visitors. Connecting to a body of literature that deals with the power of place, I ask in this study how public history in unexpected places has the power to bring in new audiences that may not have the chance or even want to visit a traditional history museum or historic site. How do these projects and programs serve a community? The study features the history of Art at the Airport, an international series of art exhibits and programs at major airports. Among these, the Philadelphia International Airport’s Art at the Airport program exhibits traditional and innovative art and regularly features historic content. Any airport today is a place of high stress, but surveys of airport visitors indicate that for some art has the ability to relieve anxieties. So what happens when public art and public history collide in this space? While studying Art at the Airport as an intern, I witnessed people who stopped, learned, and gained knowledge of history in a public setting without a book, a teacher, or tour guide. This study allows me to show the power of public history and public art.<br>Temple University--Theses
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Levy, Tatiana. "Le collectionneur d'art moderne et contemporain et la "publicisation" de sa collection privée : un "concept" dans l'espace de médiation." Avignon, 2009. http://www.theses.fr/2009AVIG1068.
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Cette thèse propose une réflexion sur la « publicisation » de la collection privée d’art moderne et contemporain, par l’intermédiaire du collectionneur. La première partie répertorie les formes de cette publicisation en France à partir de 4 études de lieux : Donation Jardot à Belfort, Collection Lambert à Avignon, Fondation Salomon à Alex et Fondation Galbert à Paris, et 2 études de cas : expositions Passions privées, Musée d’Art Moderne à Paris et L’intime, Fondation Antoine de Galbert à Paris. Dans la deuxième partie, nous soumettons à l’analyse chacune des sphères (privée et publique) qu’inclut la publicisation. Ainsi est établi de façon empirique le processus de publicisation de la collection privée, en permettant une définition et révélant du même coup la succession et la combinaison de choix et d’acteurs présents dans celle-ci. Dans une troisième partie, l’étude des connexions et la mise en réseau du collectionneur dans une « action collective » au sein du monde de l’art contemporain, montre comment il abolit les frontières entre les sphères privée et publique. Par la publicisation de sa collection, il circule de l’une à l’autre et instaure un espace intermédiaire permettant une forme différente de médiation de l’oeuvre d’art que celle proposée par les musées dits classiques. Resituer le collectionneur dans le réseau de l’art contemporain nous autorise à tenter de déterminer la position de médiateur qu’il occupe dans cet espace de médiation qu’il créé en publicisant sa collection. Au terme de l’analyse, nous proposons la prise en compte du collectionneur amateur d’art moderne et contemporain et la publicisation de sa collection privée comme un modèle de médiation culturelle, dans lequel est diffusé, à la fois l’œuvre d’art et une pratique culturelle de celle-ci<br>This thesis submits a reflexion on the « publicisation » of the private collection of modern andcontemporary art, by the main of the collector. The first part lists the different ways it work, with the « publicisation » in France from 4 studies of art arens: Donation Jardot in Belfort, Collection Lambert in Avignon, Salomon Foundation to Alex and Galbert Foundation in Paris, and 2 case studies: exhibitions Passions privées, at Museum of Modern Art in Paris and L’intime, at the Antoine de Galbert Foundation in Paris. In the second part, we subject each of the two spheres (private and public) to the analysis that the « publicisation » includes. So is established in a empirical manner process of « publicisation » of the private collection, allowing a definition of itself and revealing succession and the combined of choice and of present actors in this one. In a third part, the study of connections and the networking of the collector in a « collective action » in the contemporary art’s world, shows how he abolishes borders between the public and private spheres. By the « publicisation » of his collection, he circulates from one to another and introduces a intermediary space allowing a different form of mediation of the work of art than that proposed by the museums so-called conventional. Resituate the collector in the network of contemporary art allows us to determine mediator’s position that he occupies in this space of mediation that he created in publicizing its collection. At the end of the analysis, we propose the taking account of the collector amateur of modern and contemporary art and the publicisation of his private collection as a model of cultural mediation, in which is issued, both the work of art and a cultural practice of the latter
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Hansson, Amanda. "Jon Rafman at Zabludowicz Collection : A study in Reception aesthetics." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274993.
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In this study, I will be applying Art historian Wolfgang Kemp’s theory of the aesthetics of reception as described in the article The Work of Art and Its Beholder: The Methodology of the Aesthetic of Reception (1998) to the Jon Rafman solo exhibition at Zabludowicz Collection in London (2015). A close study has been carried out on a selection of exhibition objects, as well as the exhibition space, to investigate how they address and interact with the beholder. An examination of Rafman’s art practice will also be disclosed. Throughout the study I will answer the following questions; How are the influences that inspired the exhibition, presented in the exhibition?, How do Jon Rafman’s installations at Zabludowicz Collection engage the beholder? And, how can the composition of the exhibition space be described?
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Pottmeyer, Ollie W. "Illustrations from the CD collection of Ollie W. Pottmeyer." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1952.
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Thesis (M.F.A.)--West Virginia University, 2001.<br>Title from document title page. Document formatted into pages; contains iii, 17, [19] p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).
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Floriant, Sonia. "La collection de musée comme objet sémiotique : La Réunion, la collection du Musée Léon Dierx." Besançon, 2002. http://www.theses.fr/2002BESA1036.
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En histoire de l'Art, la collection de musée n'est pas en soi un ensemble cohérent et signifiant. Simple contenant, le musée accueille l'œuvre, objet unique forcément unitaire. Les parentés stylistiques et courants d'influence qui peuvent être convoqués implicitement sont les seuls réseaux de sens possibles. Il n'y aurait d'évidence formelle que pour ce spectateur-expert culturellement, socialement déterminé, muni des clés de lecture du lieu et des œuvres en place. Poser un autre regard sur la collection de musée implique de dépasser ces grilles de lecture en usage pour fonder l'existence même de l'objet et rendre possible la lecture profane. Seule l'approche sémiotique ouvre le champ des possibles avant toute analyse. Le concept opératoire et hjelmslévien de texte traduit, en sa qualité de champ théorique et méthodologique, l'ensemble des préoccupations. Aboutir ainsi sur un nouveau système d'accrochage - plus évident formellement pour le lecteur profane devenu acteur de ses propres trajets car placé en situation de Coprésence interactive avec des œuvres rendues accessibles en direct - suppose le rétablissement de la fonction cognitive et sociale de l'art
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Greenan, Althea. "Feminist Net-work : digitization and performances of the Women's Art Library slide collection." Thesis, University of Brighton, 2018. https://research.brighton.ac.uk/en/studentTheses/6a0cfad7-569b-4ab6-badf-d22b934128e6.
Full textAbstract:
The Women’s Art Library (WAL) slide collection embodies a singular culturally important feminist achievement that began with artists collecting their slides of artwork to form a public resource in the 1970s. Today it is the historical core of the WAL, a heavily consulted resource in the Special Collections of the Library at Goldsmiths, University of London. However, 35mm slides have become a challenging material to use and as in other art archives, the slides are seen as less useful and potentially replaceable by a digital image collection. This practice-based research explored the production of digital records from slides in order to expand on how digitization can capture a wide range of data from the slide, its production, and labelling. Beginning with a digital photography project ‘walking’ through sections of the WAL slide collection, I reproduced slides experimentally through print, video and 3D objects to discover the performativity of the slides in different analogue and digital environments of public exchange. These diverse visualizations work with the whole slide object and draw attention to the artist-inscribed mount that frames the film transparency depicting artwork. The research thus reveals the important material of the artists’ slide collection that is excluded from the final images representing digitized slide collections created using standard scanning procedures. This methodology reactivates the artists’ slides from the stasis of archive to recall their primary function as distributable images and reconsiders how the slides currently represent the artists who made them. This follows a detailed review of how slide collections and cultural heritage materials are digitized to support international studio, critical and historical art scholarship and engage with digital network culture. Recovering the slide mount and the women artists’ inscriptions is shown to endow the WAL slide collection with a cultural importance that is independent of what the slides’ images represent. The artists’ slides collectively produce a distinct syntax that expresses the complexity and individuality of individual artists’ practices in the context of and transformed by the feminist project. The research reframes the legacy of the WAL slide collection from its images to its performativity, showing how the slides are communicative tools for women artists’ participation in a political project raising the visibility of all women’s art. This re-presents the WAL slide collection as a performative site of ongoing feminist intervention and participation in culture unbound by fixed standards of value set by the dominant canon, digital or otherwise.
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Erickson, Bonnie. "ART THERAPY TREATMENT WITH INCARCERATED WOMEN." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2615.
Full textAbstract:
This study examined the effectiveness of art therapy in decreasing symptoms of trauma and psychological distress in women who were incarcerated in county jails in the Southeastern United States. In order to protect the integrity of the study, control subjects were in different dormitories from the treatment subjects. While the dormitories were randomly assigned to treatment or control, the subjects were not. The dependent measures were paper and pencil tests, the Outcome Questionnaire (OQ-45.2) and the Trauma Symptom Inventory (TSI) given at pretest and posttest. A demographic questionnaire was completed in the first session to better characterize the participants. In addition, a post study evaluation with open ended questions was completed at the end of the study that allowed participants to share their feelings about the treatment experience. Additional qualitative information was obtained through observation data collected by the investigator who served as the provider of treatment. Art therapy group participants attended six sessions of art therapy over a three week period which was administered using six standard art projects. Like treatment subjects, control participants had access to the treatment available in the jail to all inmates, and were offered art therapy treatment after final data were obtained. Though the statistical data gathered in this study did not provide empirical evidence that the group art therapy treatment was effective in reducing symptomatology, the qualitative responses indicated that the treatment was rated very positively by the participants. No statistically significant changes were found in overall scores, however, some significance was found on some individual treatment scales. Scores measuring psychological distress and trauma symptoms generally decreased over time for all study participants, however, treatment participant scores improved at a greater rate. The study was limited due to small sample size (N=26). Nearly half of the original participants were lost to attrition associated with administrative actions in the county jail system. The measurement instruments used were not specifically adapted to incarcerated individuals and may not have provided adequate measurement for this population. Responses from the participants were overwhelmingly positive. Inmates responses to the post study evaluation indicated that they had enjoyed the experience and would recommend the group to others. More than 75% stated that they felt that the treatment had helped them deal with difficult experiences in their past. The most frequent suggestion for the future was that the groups needed to be continued, and should be longer and more frequent.<br>Ph.D.<br>Department of Child, Family and Community Sciences<br>Education<br>Education PhD
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Betz, Jennifer. "ASSESSMENT PRACTICES INELEMENTARY VISUAL ART CLASSROOMS." Doctoral diss., University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2625.
Full textAbstract:
The purpose of this research study was to investigate the attitudes and usages of assessment methods by elementary visual art teachers in two southeastern school districts. Data consisted of responses to a mailed survey instrument that included relevant demographic information pertaining to respondent’s educational preparation experiences, tabulation of classroom activities, assessment usage, and a construct set of questions which addressed an attitudinal scale about the effectiveness of evaluation and measurement within their visual art classrooms. The primary focus of attitudinal orientation toward assessment centered upon the types of role models respondents encountered regarding assessment during initial teacher preparation and the resulting paradigm of belief concerning measurement art teachers experienced in varied educational settings. Results indicate that study respondents had a strong positive response to the construct attitudinal statements about accepting evaluation as a normative practice in their classrooms. The survey item "multiple choice tests are appropriate to use in visual art classrooms" had a strong relationship to the total reliability and had the greatest impact on the factor analysis. Further relationships were identified in the use of newly adopted textbook curricula to the acceptance of the statement "learning could be measured in visual art," suggesting that if art teachers embraced a textbook curriculum (developed through an outside, expert entity) they were more likely to accept the possibility that learning in elementary visual art classrooms was possible to be measured.
The relationship between the statements regarding the acceptance of multiple choice tests as a valid method of assessment and the recentness of either graduation from teacher preparation coursework or specific in-service professional development about assessment also suggests that pedagogy at the university and district level after The No Child Left Behind Act of 2001 was more likely to include instruction or role models in the practical use of assessment techniques for respondents.<br>Ed.D.<br>Department of Educational Studies<br>Education<br>Curriculum and Instruction EdD
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Gonzalez, Gabriel. "Hidden Scars: The Art of PTSD." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5636.
Full textAbstract:
Through the use of mixed media, I explore imagery that reveals the trauma of returning combat veterans, of which I am one, as we try to reintegrate into a society that does not understand the war that still lingers within us. In my work, I depict emotional disturbances that are related to my personal encounters with war. My working process starts by referencing mainstream media imagery, which I juxtapose against harsh images inspired by veterans' drug and alcohol use, trauma and death. My black-and-white pixelated paintings feature the fragmented memories of a hostile combat environment, and although “Out of My Mind” depicts the chaotic emotions associated with PTSD, my whimsical style of illustration suggests a detachment from reality. Whether we call it shell shock, battle fatigue or PTSD, the war-related disorder is real. I want society to be aware of the hidden scars that our veterans carry with them. I do not anticipate my subject matter changing any time soon.<br>M.F.A.<br>Masters<br>Visual Arts and Design<br>Arts and Humanities<br>Emerging Media; Studio Art and the Computer