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Fitzherbert, Teresa. "Bal ami s Tabari : An illustrated manuscript of Bal ami s Tarjama-yi Tarikh-i Tabari in the Freer Gallery of Art, Washington." Thesis, University of Edinburgh, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506389.
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Ajlani, Tarek F. "Gallery For Art." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33977.
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For my thesis I explored the idea of the mask in relation to architecture. For my project I designed an art gallery located in Georgetown Washington DC which is composed of three layers: a structural layer, an environmental casing, and an outer layer. Theoretical parallels are drawn between the outer layer of the gallery and what is commonly referred to as a mask. Additionally, I explored the interaction between the layers of the gallery. The distinguishing characteristics of the building include the tri-facade mask, the unique spaces in between the gallery's layers, the glass system, the mask's ghost effect, and the floor system.Master of Architecture
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Wolters, Erika. "A mobile art gallery." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223739.
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Most art galleries around the world look the same; a large white room with a few artworks placed far apart. This standard way of designing art spaces together with locating them almost exclusively in the city centers makes them both physically and culturally distant for many people. This project aims to explore other ways of displaying art to make it accessible to more people through small architectural interventions. It is an exploration about the relation between space the body and the object. A prototype for a mobile art gallery has been built as a testing device.
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Bundalo, Mladen. "Cyber Gallery "Art Zeppelin"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232290.
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Špirić, Dajan. "Cyber gallery "Art Zeppelin"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232321.
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Bergman, John. "IMMERSIVE GALLERY OF DIGITAL ART." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.
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Tolley, Rebecca. "Review of Art Museum Image Gallery." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.
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Vicens, Rebeca. "Alley-Gallery." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9660.
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The site chosen for this thesis project is located in downtown Blacksburg, Virginia. It consists of a 30'x110' infill lot and an alley running parallel to it. An initial desire to blur the boundary between the alley and the proposed building led to a study of the potential of parallel planes overlapped along the shared border. Representation of these planes in two dimensions allowed almost simultaneous perceptions of multiple spatial and geometrical configurations among them. The architectural consequences of this phenomenon became the main subject of inquiry. Exploration through silkscreen prints and model studies culminated in the design of an outdoor art gallery.Master of Architecture
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Thomas, Catherine. "Trans, intersections of art, life and the art gallery." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42105.pdf.
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Eekelaar, Catherine. "Art gallery-based interventions in dementia care." Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10460/.
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Section A reviews whether arts-based activities for people with a dementia (PWD) have significant cognitive, social, and psychological benefits for this population. There is a variety of theoretical perspectives on dementia that encompass the biological, psychological, and social effects of the disease on the wellbeing of PWD. Visual arts may be an appropriate way of addressing some of the challenges that PWD face by providing a means of ameliorating some of their cognitive, social, and psychological difficulties. Literature from the field of arts-based activities with PWD suggests that there is no apparent theoretical conceptualisation in the area, as most studies have attempted to evaluate various art programmes with no clear rationale for expected findings; rather, they have taken a more exploratory stance. However, they indicate that arts-based activities can have social and psychological benefits by increasing confidence, enthusiasm, enjoyment, social contact, mood, quality of life, and ratings of depression. The review concludes with a rationale for why it is important to expand the current evidence base on arts-based activities for PWD. Section B: Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Arts and health interventions may be particularly valuable ways of improving the lives of PWD and their family carers. This exploratory study involved six people with mild to moderate dementia and six family carers attending an arts-based intervention at a major London art gallery for three sessions over three weeks, in which they engaged in art-viewing and art-making. Using audio recordings to record PWDs’ responses, rather than standardised measures, which are often problematic with this population, the study sought to explore possible changes in cognition of PWD during the intervention, namely episodic memory and verbal fluency. Using a mixed methods design, data were collected at five points and analysed using content and thematic analyses. The findings suggested that episodic memory and verbal fluency appeared to improve during the art gallery-based intervention. This was substantiated by family carers who also reported that PWD showed increased mood, confidence and social interaction, and that they valued the shared experience and learning opportunity. Whether these changes can be attributed to the intervention is a matter for further research beyond this exploratory study. Future research is proposed to further understand the implications of these preliminary findings. Section C presents a critical appraisal of the research. Research skills that have been learned and developed over the course of the process are discussed, such as increased awareness of the benefits of working within a wider research community. There is consideration of the need to communicate clearly and sensitively with other professionals from differing backgrounds and organisations, as well as the importance of building on a coherent evidence base when designing a research project. Better organisation relating to recruitment and investigation into recording during the art-viewing sessions at the gallery are identified as aspects that would be done differently, as well as consideration of using a case study approach. Clinical consequences of the research are discussed, such as utilising a community psychology approach and involving art and creativity in therapeutic sessions. Finally, further research in the area is considered, such as by expanding the study and using robust neuropsychological measures to detect cognitive change.
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Romano, Cara L. "Gallery 66 selling the Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.
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DEGRAAF, NATHAN MARK. "MILIEU, MEANING AND ARCHITECTURE: CONTEMPORARY INSTALLATION ART GALLERY DESIGN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.
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Kim, Joo-Hwan. "Ethos, art gallery, studio, and housing for artists." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ63531.pdf.
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Kim, Amy M. "Connections : the structural details of an art gallery." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/67437.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.Includes bibliographical references (leaves 34-35).
Connections describes the physical means by which the building transforms concept into reality. These connections link between user and building; site and building; program and building; art and public. This study uses as a starting point a previous design project where advances technology allowed and informed the complex geometry and overall composition of the building. This thesis investigates the assemblage of the major building components to demonstrate how the connections make the building. This model will show how these technologies best realize the intent of the program. This art gallery gives up-and-coming local and regional artists and designers the opportunity to exhibit their work. The combination of the building and program will increase the interaction between the general public and art. The building design distinguishes itself from the typical temple- or vault-like quality of the art museum and exhibits a more inviting form. These connections not only make the building; they connect art and public in a more dynamic relationship.
by Amy M. Kim.
M.Arch.
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Lyons, Shannon Jade. "Challenging Placelessness: Site-Specific Art within the Gallery." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/2172.
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This practice-led research project investigates ways of challenging contemporary notions of placelessness through the production and installation of site-specific artworks within art gallery spaces. By focusing on the material, architectural, atmospheric and institutional conditions specific to art gallery spaces, and producing artworks that may reveal, expose and illuminate these conditions, the project aims to explore alternatives to the production of artwork in one place and its exhibition in another, and to the use of the art gallery as a ‘non-place’.
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Sharp, Neil. "Modernity, art and art education in Britain, 1870-1940." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.
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Rovee, Christopher Kent. "Imagining the gallery : the social body of British Romanticism /." Stanford : Stanford university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40161689c.
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DeGraaf, Nathan Mark. "Milieu, meaning and architecture contemporary installation art gallery design /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1148191782.
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Thesis (Master of Architecture)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Art Museum; Art Display; Installation Art; Includes bibliographical references.
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Sharp, Arabella. "The engaged experience : visitor narratives in the art gallery." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/10021719/.
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Within contemporary cultural climates there has been a significant instrumentalised focus on the role of museums and galleries in the promotion of positive mental health and well-being. The emotional and psychological components embedded within such aspirations however present a number of fluid and intangible challenges that require in-‐depth research if deeper understanding of such processes and claims are to take place. My research addresses philosophies, strategies, and practicalities through searching for a better understanding of individual encounters with paintings in gallery settings. It provides a possible framework for evaluating affectivity and emotional engagement in cultural organisations. While acknowledging the intellectual and social impact of the visitor experience, this research focuses on the affective encounter of the individual, unaccompanied visitor. Both the successes and complications of evaluating the complexities of visitor experience have been addressed through multi-‐methodological research. The research demonstrates how art galleries are an important resource for inspiring emotionally engaged and affective experiences beyond the organised social activity predominantly used to promote positive mental health and well-‐ being. The focus on emotion and affectivity also provides an alternative to the emphasis on cultural organisations as a vehicle for narrowly defined learning. Through the collection, correlation, analysis and presentation of visitor’s experiential narratives I uncover a ‘rise of the visceral’ in the cultural sector and greater differentiation of audiences in Museum Visitor Studies. I achieve this through positioning the engagement with paintings as a form of memento mori and memento vitae, which provide an emotionally affective and engaged impact potentially conducive to an altered state of mental health and well-‐being.
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Robinson, Christine. "Paradoxical Performances of Subjectivities, Spaces and Art Gallery Postcards." The University of Waikato, 2007. http://hdl.handle.net/10289/2295.
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This thesis examines the relationship between art gallery postcards, subjectivities and domestic spaces. Feminist post-structuralist debates on memory, subjectivity and domestic spaces provide the theoretical framework for this research into taken-for-granted objects of the everyday. Empirical data came from interviewing nine women who buy, use and keep postcards and two New Zealand Art Gallery store managers. Some of the participants were interviewed more than once, while others extended their views by e-mail. Auto-ethnographic narrative is used to explore further the symbolic significance of an individual's postcard consumption. This research focuses attention on the production of gendered subjectivities and domestic spaces through an aesthetic artefact. There are three points to my analysis. Firstly, I argue paradoxically the under-noticed seemingly trivial gallery postcard becomes a memory holder and therefore a significant artefact of symbolic value. Memories are potent, elusive fragments that become attached to a sound, smell, touch or sight. Catching sight of a postcard can trigger a chain of memory associations, which in turn constructs a sense of self through the remembering. Secondly, I contend that subjectivity is understood as fluid and multiple, evolving out of experience and interpretation. Memories formed from experience and connections made with people, place and things become associated with gallery postcards and serve as a catalyst for personal narratives which in turn can operate as tools for constructing subjectivities. Finally I suggest that domestic spaces are a product of relations that can be understood as existing within and beyond the home. Stretched domestic space can be produced by the display of gallery postcards in office spaces. The exploration of the art gallery postcard adds to the knowledges of everyday objects and their role and significance in constructing gendered subjectivities and spaces.
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姚兆明 and Siu-ming Yiu. "Tight bound edge guard results on art gallery problems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31236418.
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Arnold, Colin Michael. "An architectural intervention to the Corcoran Gallery of Art." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/44436.
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Sowazi, Siyanga David. "Making cultural links : the case of an art gallery." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11272008-154318.
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Yiu, Siu-ming. "Tight bound edge guard results on art gallery problems /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18037276.
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Marzal, Jefri. "The three-dimensional art gallery problem and its solutions." Thesis, Marzal, Jefri (2012) The three-dimensional art gallery problem and its solutions. Professional Doctorate thesis, Murdoch University, 2012. https://researchrepository.murdoch.edu.au/id/eprint/13508/.
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This thesis addressed the three-dimensional Art Gallery Problem (3D-AGP), a version of the art gallery problem, which aims to determine the number of guards required to cover the interior of a pseudo-polyhedron as well as the placement of these guards. This study exclusively focused on the version of the 3D-AGP in which the art gallery is modelled by an orthogonal pseudo-polyhedron, instead of a pseudo-polyhedron. An orthogonal pseudopolyhedron provides a simple yet effective model for an art gallery because of the fact that most real-life buildings and art galleries are largely orthogonal in shape. Thus far, the existing solutions to the 3D-AGP employ mobile guards, in which each mobile guard is allowed to roam over an entire interior face or edge of a simple orthogonal polyhedron. In many realword applications including the monitoring an art gallery, mobile guards are not always adequate. For instance, surveillance cameras are usually installed at fixed locations.
The guard placement method proposed in this thesis addresses such limitations. It uses fixedpoint guards inside an orthogonal pseudo-polyhedron. This formulation of the art gallery problem is closer to that of the classical art gallery problem. The use of fixed-point guards also makes our method applicable to wider application areas. Furthermore, unlike the existing solutions which are only applicable to simple orthogonal polyhedra, our solution applies to orthogonal pseudo-polyhedra, which is a super-class of simple orthogonal polyhedron.
In this thesis, a general solution to the guard placement problem for 3D-AGP on any orthogonal pseudo-polyhedron has been presented. This method is the first solution known so far to fixed-point guard placement for orthogonal pseudo-polyhedron. Furthermore, it has been shown that the upper bound for the number of fixed-point guards required for covering any orthogonal polyhedron having n vertices is (n3/2), which is the lowest upper bound known so far for the number of fixed-point guards for any orthogonal polyhedron.
This thesis also provides a new way to characterise the type of a vertex in any orthogonal pseudo-polyhedron and has conjectured a quantitative relationship between the numbers of vertices with different vertex configurations in any orthogonal pseudo-polyhedron. This conjecture, if proved to be true, will be useful for gaining insight into the structure of any orthogonal pseudo-polyhedron involved in many 3-dimensional computational geometrical problems. Finally the thesis has also described a new method for splitting orthogonal polygon iv using a polyline and a new method for splitting an orthogonal polyhedron using a polyplane. These algorithms are useful in applications such as metal fabrication.
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Olausson, Annika. "Imprints : - The art gallery with a big red roof." Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-263058.
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How can modern architecture closely refer back to historical architecture without copying or making flat imitations? My thesis project idea is born out of the discussion on modernism versus traditionalism in architecture brought to the surface by the network Arkitekturupproret. I have investigated this through the proposition of an art gallery building with a big red roof. The red roof acts as a screen where imprints of 3-dimensional fragments from different historical eras are projected. The building has an extroverted outside that echoes of the architectural history of the city of Sundsvall, and the big red roof hides an inside that is introverted and focused on exhibiting art.
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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
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Suess, Adam E. "Instagram and the art gallery: Aesthetic experience, space, and sharing." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/397048.
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Since 2010, Instagram has grown to become one of the world’s most popular social media applications. Its popularity has shaped and affected the practices of many industries and institutions. An institution notably influenced by the expansion of Instagram use is art galleries. For art galleries, it is an important device for community engagement, education, promotion, interaction, participation, and the enhancing of the visitor experience. For gallery visitors, Instagram offers a social photography tool that may align with their experience objectives.
There is limited research about the use of Instagram by galleries. Knowledge of gallery visitor Instagram use and the role it plays in their experience is also limited. This research focuses on a study into the use of Instagram by visitors to the Gerhard Richter exhibition at the Queensland Gallery of Modern Art (14 October 2017 – 4 February 2018). To examine how visitors experienced art through the lens of Instagram, I drew upon interviews conducted with 17 visitors and four Gallery staff. In addition, ethnographic (visual)-grounded theory fieldwork was conducted during the exhibition. 550 exhibition images were observed through Instagram and analysed in a grounded theory framework, informing the research findings.
In this thesis, I explain how and why Instagram is used by art galleries and their visitors. Also, the impact that Instagram practices has on visitors and the gallery is examined. This research project was informed by theories of aesthetic experience, sharing, and space. The research findings revealed that the use of Instagram at the gallery engaged visitors in a manner that transcended the physical space and extended/evolved their aesthetic experience. It highlighted contemporary ways to experience art using technology and new ways to think about art appreciation. Further, the research revealed how sharing, sociality, and the social pedagogy of the gallery are impacted by Instagram use. This is particularly evident in the ways galleries and their visitors used Instagram to promote, raise awareness, and influence others to the experience of art. Recommendations are offered on how the knowledge presented in this thesis may impact upon the future practices of art galleries. The findings are significant for visitors, art galleries, and arts educators seeking to critically understand Instagram use and the opportunities for engagement.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School Educ & Professional St
Arts, Education and Law
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Jones, Christina. "The embodied and emotive role of the art gallery educator." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/56910.
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This self-study outlines the uncertainties and insecurities that art gallery and museum educators face as our roles are defined by shifting policies and mandates in education as well as within the museum. I collaborated with a classroom teacher who observed a tour I gave her grade three class. After an in depth dialogue and ongoing correspondence reflecting upon ways of engaging students, I led her class through another exhibition to see if our collaboration and dialogue shifted my thinking and practice as an art gallery educator. As I searched for a way to articulate my role, I found the roles of collaborator, audience evaluator, and emotive catalyst to be just as valuable as engaging school groups in verbal dialogue in the gallery. The dialogue that was transformative for my thinking was the one outside of the gallery with the teacher. This self-study tells the story of the shifts in my thinking and practice. I learned to hold back information rather than focus on verbal dialogue to allow students to have their own ‘emotive embodied experience’ of learning in the gallery.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Sifakakis, Spyros. "Constructing art : value and practice in a leading contemporary gallery." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438585.
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Perry, Lara Ann. "Facing femininities : women in the National Portrait Gallery, 1856-1899." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2479/.
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Grappin, Benjamin. "An internship with Arthur Roger Gallery, LLC." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/6.
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The following report is the analysis of a three-month internship within this organization, and will discuss topics as they relate to the cuniculum of the Arts Administration degree. The for-profit nature of this internship and its completion within a small-scale structure presented me with several not-so-clearly delineated tasks. In order to properly introduce the topics associated with the responsibilities of the assignment at Arthur Roger Gallery, the reader must first become familiar with the nature of the business, and its management structure. Chapter II is exclusively devoted to the purpose of the internship. By considering the role of the intern, who acted in the role of an assistant to the staff, this section will outline the importance of compiling an inventory, and the necessity of maintaining the gallery's website in the most accurate manner. The third chapter of the present report is an attempt to identify the reasons that separate the Arthur Roger Gallery from its competitors. This section will address several elements discussed through our cuniculum, particularly during the Visual Art and Marketing classes. Broadly speaking, it will show that Arthur Roger has fully understood the "who, what, where, why, when and how" of selling fine art in his market area. The final section of the discussion will involve several points dealing principally with management and technical concerns, for the most part related to the growing activity of the business and its recent evolutions.
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Berliner, Meghan. "The Role of the Viewer in the Gallery Space." Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/scripps_theses/12.
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My installation, "The Viewers", consists of three life-sized figures and a projected video feed. The figures are placed in and around the gallery space, and the video originates from a hidden camera installed in one of the figures eyes. The first figure that the viewer encounters upon entering the gallery space is hyper-realistic security guard. His position behind the gallery circulation desk, a space which is traditionally assumed not to be an 'art space' allows him to view those entering the gallery while remaining relatively unnoticed. A camera that is installed in his one of his eye sockets and hidden behind sunglasses feeds live images that "he perceives" to another part of the gallery where they are projected. The second figure is a male soldier, positioned covertly on a lighting ledge connected to the ceiling of the gallery. From his high-post, he can clearly view the gallery's occupants through his binoculars, while only being noticeable himself from particular angles. The third figure is a real person dressed as a gorilla. Throughout the evening, he will move through the gallery, viewing and contemplating the artworks and its viewers as well. The purpose of the gorilla is primarily to view the exhibit and the social interaction generated by the gallery setting, but inevitably, viewers will want to interact with him, drawing them into the playful drama of the piece as a whole. Together, and through their individual means of viewing, each figure alludes to the idea of playing a part: the security guard in his fulfillment of the role of a security guard, the soldier in the almost costume-like quality evoked by his camouflage attire, and the gorilla being fairly obviously a performer in costume. That each is in a sense playing a role, and that each has a particular means of viewing the people in the gallery, suggests the additional roles and importance of the fourth element, that of the viewers. My work aims to suggest that the viewers are always playing a part of sorts when viewing an exhibition: the part of the viewer. This references not only the integral nature that the viewer has in defining the meaning of an artwork, but also the role that the viewer agrees to take on – the set of assumptions and mode of viewing the art as ‘art’ – as soon as one enters the gallery space.
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Harley, James John, and james@jamesharley net au. "Online collaboration in the Victorian Regional Gallery Network." RMIT University. Property Construction and Project Management, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090714.134529.
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The research seeks to identify the opportunities online collaboration may deliver to the Victorian Regional Gallery Network (VRGN). The research further seeks to identify the Commonwealth and Victorian State Government policy context that contributes to realising these opportunities and the type of eBusiness models that could be applied to the online environment of the Victorian Regional Gallery Network. The problem statement of the research argues that in order for the Victorian Regional Gallery Network (VRGN) to remain sustainable in the long term, it must develop collaborations within and external to the gallery sector to deliver value adding solutions for income generation and to cultural product, while seeking new business opportunities offered by the use of Information Technology and the Internet. The range of products offered by the galleries and their geographical distribution encourages collaborations to be undertaken, and in doing so, serves the customers of the VRGN who are increasingly becoming users of the Internet and who are expecting content online. Failing to consider the changing factors that online technologies present for conducting business and communicating common issues across the sector as a whole, puts the VRGN at risk of becoming redundant to its consumers (audience/customers), and a liability to its stakeholders. The major research question is as follows: How can the Victorian Regional Gallery Network (VRGN), as a provider in the cultural and entertainment sector, deliver cultural product to its audiences (customers) through the use and application of collaborative online networks and their related e-business technologies? The research seeks to address this question by investigating the 14 regional galleries that comprise the Victorian Regional Gallery Network, by reviewing their operations and relationships with their stakeholders, and by suggesting a variety of electronic business models that may assist in engaging in collaborative online networks. The scope of the research has three broad objectives: 1. the analysis of the role, function and activity of the Victorian Government in supporting collaborative online networks 2. the identification of an appropriate collaboration model that uses eBusiness and that can be applied to the VRGN 3. the analysis of the typical operating environment of the VRGN and the minimum requirements that will enable the implementation of a collaborative online network At the heart of the research therefore is an understanding of the factors that contribute to a collaborative online network, so that the galleries and the VRGN can efficiently and competitively conduct business and communicate common issues amongst its members. The case study design was selected, as the researcher systematically gathered in-depth information on a single entity, i.e., the VRGN. The methodology deployed in the research needed to effectively gather and collect relevant information from a variety of sources within the VRGN and hence two main approaches were utilised. The first was a questionnaire using the Likert and Dichotomous scale to collect data regarding the operations of the gallery, and the second included a series of interviews which were developed to address specific questions to the key staff within the main target groups of the research. The conclusions that can be drawn out of the combined research include: i. The use of internet technology by the VRGN does not appear to be limited by technical issues. This provides a technological foundation on which to develop possible I.T. and collaborative online solutions for the VRGN ii. The technology required to develop collaboration in the first instance is not a barrier to implementation as it is common technology iii. Knowledge of the characteristics of collaboration including understanding the dynamics of trust, communication, equality, strategic alliances, knowledge distribution, negotiations and incentives are essential if it is to effectively and productively occur in the gallery network. The findings of the research indicate that collaboration currently occurs in the galleries, but it is also hampered by a culture that can sometimes work against the sector as a whole. The creation of strategic alliances amongst the galleries has also been found to be successful, but the advantages of these alliances are yet to be realised or tested across the VRGN iv. A Collaborative Online Network model has been proposed which may enable the gallery sector to share information, encourage communication, coordinate training and professional development opportunities and develop sector-wide research and development projects. The development of the collaborative online network would also assist in addressing the core issue of the research question concerning the provision of cultural product to state audiences through an online environment, and providing incentives to reduce cost and share resources v. The eBusiness model that will assist the VRGN in remaining competitive and active could use the Online Sales model, and will have the opportunity to exploit vertical aggregation of the Victorian arts industry to develop a portal or 'vortal' where the VRGN and its products and services can be marketed on a singular basis to the internet audience. The Online Sales Model also assists in developing a revenue stream for the galleries which may assist in its long term sustainability
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Dabney, Lucy. "Art for Recovery." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4806.
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This thesis explores the design of a space for opioid addicts in recovery that combines an art therapy studio with a gallery space. It would provide a new type of therapy available to the area, engage and educate the Richmond community and spread awareness of the disease of opiate addiction. It will also enable addicts to express themselves in a non-verbal, creative format that allows for them to create a legacy and leave an imprint on the community.
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Young, Rhea. "The cognitive impact of art-gallery interventions for people with dementia." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12791/.
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Dementia is a progressive disease characterised by a widespread impairment of mental functioning including cognitive skills. Research has suggested that arts and health interventions can have positive effects in terms of physical and mental health in people with a dementia. The current study evaluated the impact of two, eight week, art-gallery based interventions, including art-viewing and art-making, for 13 people with dementia and their carers. Audio recordings of these sessions were transcribed and analysed using content analysis. The study sought to identify the impact of the intervention on cognition, in particular, on verbal fluency and memory. The findings suggested that on the whole, the intervention promoted increases in verbal fluency and in memory stimulation, which is consistent with previous research. Despite the methodological limitations inherent in this pilot study, the findings provide rationale for further controlled research and implications for clinical practice in encouraging clinicians to seek out links with community art gallery resources in order to facilitate the development of further interventions of this kind.
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Pezzini, Barbara. "Making a market for art : Agnews and the National Gallery, 1855-1928." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/making-a-market-for-art-agnews-and-the-national-gallery-18551928(4f296d6c-997a-4eab-95ca-bace7b9c3596).html.
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The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.
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Havlik, Michele Lynne, and havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.
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Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
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Duthie, Lesley. "What it means to be a docent : narratives of art gallery experiences." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29670.
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It is widely acknowledged that without volunteer guides, or docents, most museums and galleries would find it impossible to offer education programmes as they are known today. Docents work in the critical interface between visitors and works of art, yet often they are viewed as being passive, and often ineffective, transmitters of the gallery's educational message. The literature on gallery education emphasizes docent "management", or the methods used to recruit, train, and supervise docents. But gallery staff must consider the docent’s beliefs, values, and viewpoints about art, and about education, for improvement of education programmes to occur.
This study describes, and analyzes, the docent’s perspective of gallery education programmes, and the extent to which docents are actively engaged in the ongoing process of learning to help others learn. In order to obtain their perspective, six docents in two art galleries were engaged in long, semi-structured, and repeated interviews. These interviews were audiotaped and transcribed. Categories derived from the teacher's practical knowledge, such as subject, curriculum, instruction, self, and milieu, were used as a framework to describe and analyze the docent's practical knowledge. It was found that though the docents did indeed hold a coherent body of knowledge that originates in their practice, their theoretical knowledge of art was often an inadequate base on which to build an interpretation of the gallery's exhibitions. Differences were found in the educational goals of the gallery, and between the institution, and the docent’s educational values and purposes.
Educators need to be aware or the shifting, complex, and sometimes paradoxical nature of the docent’s role. The docent’s perspective must be considered in the successful planning and implementation of education programmes.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Lim, Winston E. "Reassembling the rolling bridge : an art gallery at Fort Point Channel, Boston." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/68315.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.Includes bibliographical references (p. 114-115).
Spanning the Fort Point Channel for nearly a century, Boston's Rolling Bridge is a familiar landmark to many railway commuters and residents of the city. Its robust steel assembly, characterized by three anthropomorphic forms, demonstrates the principles of late nineteenth-century bridge design. As a symbol of the industrial age, it is also the last surviving drawbridge of its kind in the city. Unfortunately, this bridge will be demolished as part of the ongoing Central Artery / Third Harbor Tunnel project. Despite numerous efforts to salvage the structure for the arts community in the district, its re-utilization remains doubtful. The bridge's demolition exposes a prevalent problem in the post-industrial city: the annihilation of industrial artifacts by new infrastructural demands. Can one create a new future for an abandoned artifact such as the Rolling Bridge? This thesis suggests that the artifact evolves to dynamically engage its surrounding environment. It proposes that the bridge be dismantled and its parts reassembled into a building. By transplanting the new structure onto an adjacent site, a tension is created between the disappearance of the "ancestor" and the appearance of its "descendant". Recast as an art gallery for the Fort Point Arts Community, the transformed structure will present another chapter of the bridge's history. In re-utilizing the bridge components, the thesis will accomplish two tasks: one, preserve the memory of the original structure; and two, redefine the role of this artifact within the city. The mission is to provoke new ways of thinking about industrial relics by using the bridge as an instigator.
by Winston E. Lim.
M.Arch.
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Hahn, Catherine Neville. "The political house of art : the South African National Gallery, 1930-2009." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19314/.
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The thesis analyses modes of representation in the South African National Gallery (SANG) between 1930 and 2009. Built in 1930, for the larger part of its history SANG was situated in a white state that disenfranchised the black populace. Whiteness, as citizenship, was normalised and glorified in the state’s museums. Analysis of evidence collected from the archive, décor, art collection, exhibitions, attendance of walking tours and semi-structured interviews with staff demonstrates that SANG’s historic practice does not fit neatly within the dominant theoretical understanding of the art museum, namely a sacred space in which power has been obscured through the ‘art for art’s sake’ model. Instead, the thesis finds at SANG invisible symbolic capital resided alongside the more muscular capital of the colony, which derived its strength from an overt relationship with commerce, politics and race. The thesis further finds that SANG developed a close relationship with its white audience through its construction as a ‘homely space’. As a consequence, I argue SANG developed museological conventions that better fit the analogy of the political house than the temple. Taking new museum ethics into consideration, the thesis examines how SANG’s distinctive heritage impacted on its ability to be inclusive. My fieldwork on recent representational practice at SANG reveals strategies congruent with the post-museum, including performative political exhibitions, diversification of the collection and active dialogue with the communities it seeks to serve. At the same time embedded modes of white cultural representation were identified that restricted its capacity to ‘move-on’. The thesis contributes to the field of museum studies by drawing attention to the significance of the individual histories of art institutions in determining their ability to make change. The thesis also contributes to the field of visual sociology by presenting images and ‘map-making’ as an integral feature of the research design.
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Gillespie, Jethro D. "The Portable Art Gallery: Facilitating Student Autonomy and Ownership through Exhibiting Artwork." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2848.
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In an attempt to help a class of high school AP Studio Art students find a more authentic sense of autonomy and ownership with their own art projects, the author has constructed a portable art gallery space designated for the exhibition of student artwork. Through a theoretical framework of post-structuralism, as well as a hybrid methodological approach, including tenets of both action research and grounded theory, he was able to explore how de-centralizing traditional, pedagogical notions of power in the classroom and utilizing contemporary art education practices affected AP Studio Art students' experience in the art classroom. By placing an emphasis on student exhibitions, the author was able to foster an environment of greater student autonomy and meaningful art making in the classroom.
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Olidge, Kara Tucina. "Stella Jones Gallery: organizational analysis and suggested marketing plan." ScholarWorks@UNO, 2000. http://scholarworks.uno.edu/aa_rpts/36.
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Stella Jones Gallery: An Organizational Analysis and Suggested Marketing Plan is based on my internship as Managing Director of Stella Jones Gallery. The internship report will focus on 1. Analyzing the organizational structure and cultures of Stella Jones Gallery as it relates to the internship and 2. Creating a marketing plan to support, expose, and expand the mission of the organization. Because of the report's objectives, the internship report has been segmented into the following sections: Part I: Organizational Analysis Stella Jones Gallery's organizational structure and culture will be analyzed to determine the effectiveness and efficiency of its methods and practices. Through the analysis, a description and evaluation of my internship as Managing Director will be provided to discuss the overall effectiveness of the position. It will also discuss the position's contribution to the strengths and weaknesses of the organization. This section will be immediately followed by suggestions in management and staffing as well as ways in which the organization can redefine and strengthen its organizational culture. Part II: Suggested Marketing Plan At the time of the internship, Stella Jones Gallery had been in existence for three and a half years and is emerging as one of the leading African-American galleries in the southeast region of the United States. The gallery has been very fortunate to have reviews in highly regarded magazines such as Art Business News, Art and Antiques, and the International Review of African-American Art. It has not, however, established a strategic marketing plan to propel the gallery to the forefront of the commercial arts industry. The marketing plan created will suggest ways the gallery can capitalize on the medial attention it has received. Secondly, it will illustrate how the gallery can promote and establish its product within the commercial arts industry and non-profit sector of the visual arts. Finally, it offers ways in which the gallery can forge ahead of its competition by offering on-line as well as curatorial and educational services. The issues addressed and suggestions made are to help Stella Jones Gallery reach its potential as a leading art organization. In conclusion, this report will note any changes or improvements made in the gallery's management practices, staff, and marketing strategies as a result of the suggestions offered.
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Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.
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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.
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Buss, Julia Louise. "From homestead to roadside to gallery: The social life of late twentieth century and early twenty-first century Zulu ceramics." University of the Western Cape, 2018. http://hdl.handle.net/11394/6649.
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Magister Artium - MAMy research considers the vessels of select women ceramists in and from rural KwaZulu-Natal and reflects on the changing contexts in which their work is utilized, consumed and displayed. The emphasis of my research is on the significance of ceramics in cultural practices and how this has changed or been maintained due to altered social and political circumstances and the changing dynamics of research. Additionally, when ceramic vessels are purchased by tourists, collectors and patrons they are subjected to a range of dialogues between maker and buyer. Finally, vessels may be selected to be displayed in exhibitions or held in collections of museums and galleries; once again, then they will be spoken about and they will speak to us on different terms. Each one of these movements in the life of a pot is reflected in the artist’s consideration of form, pattern, balance, shape, colour and symmetry of the vessels. Similarly, each one of these steps in the process engages with a different type of audience in a dynamic and significant way. I investigate how the authors of these vessels become involved in and negotiate a dialogue between themselves, their work and an exterior context that always projects its own voice about the artists and their work.
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Lieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.
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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.
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Lilla, Qanita. ""The advancement of art" : policy and practice at the South African National Gallery, 1940-1962." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/18426.
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Includes bibliographical references (pages 125-138).This thesis is an enquiry into the policies and practices that shaped the South African National Gallery in the 1940s and 1950s. Drawing on newspaper reports, the South African National Gallery's exhibition catalogues, pamphlets and annual reports, records of parliamentary debate and the crucial report of the Stratford Commission of 1948 the study has reconstructed a detailed history of the South African National Gallery. Established in 1871 as a colonial museum catering for a small part of the settler population of British descent, the museum came under pressure to accommodate the Afrikaner community after 1948. This did not mean that the liberal ethos at the museum disappeared, however. The South African National Gallery was strongly influenced by public pressure in this period. Public outrage over controversial art sales in 1947 led to the appointment of a commission of enquiry into the workings of the museum. At the same time, the head of the Board of Trustees, Cecil Sibbett, engaged the public on matters of Modern art. The museum's conservative and controversial Director, Edward Roworth was replaced in 1949 by John Paris who ushered in a new phase of development and management, encouraged the reconceptualization of South African art and reorganized the permanent collection. This initiative took place despite decreased autonomy for the Director and increased government imposition of Afrikaner Nationalist ideology. Nevertheless, the South African National Gallery avoided becoming a political instrument of the Apartheid regime.
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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.Master of Architecture
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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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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.Master of Architecture