Dissertations / Theses: 'Kongo Art'

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Tshiluila, Shaje'a. "A la mémoire des ancêtres: le grand art funéraire Kongo, son contexte social et historique." Doctoral thesis, Universite Libre de Bruxelles, 1986. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213572.

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McCurnin, Mary. "From the Old to the New World: The Transformation of Kongo Minkisi in African American Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/78.

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Minkisi (sing. nkisi) were sacred objects that housed ancestral spirits and were used for divination, healing and social justice by the Kongo people of Central Africa. When the Kongo were brought as slaves to the New World, they contributed significantly to the development of African American artistic and spiritual culture. In the Caribbean, aspects of minkisi have been retained in the creolized spiritual beliefs of Haitian Vodou, Cuban Palo Monte Mayombe and Brazilian Candomble. In North America, evidence of Kongo influence is apparent in examples of folk art and culture, including quilts, mojo hands, Afro-Carolinian face vessels, memory jugs and burial sites. In the twentieth and twenty-first centuries, artists appear to have recontextualized elements of minkisi within their work, among these James “Son Ford” Thomas, James Van Der Zee, Betye and Alison Saar, Willie Cole and Renee Stout, creating a link between the Kongo past and the American present.

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Waite, Renée B. "African Concepts of Energy and Their Manifestations Through Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469715071.

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Heimlich, Geoffroy. "L'art rupestre du massif de Lovo (République Démocratique du Congo)." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209300.

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À la différence des arts rupestres du Sahara ou d’Afrique australe, richement documentés, ceux d’Afrique centrale restent encore aujourd’hui largement méconnus. L’art rupestre du Bas-Congo s’étend de Kinshasa à la côte atlantique et du nord de l’Angola au sud du Congo-Brazzaville. Bien que signalé dès le XIXe siècle par James Tuckey, lors de sa reconnaissance du fleuve Congo, il n’a jamais fait l’objet d’une recherche de grande ampleur et son âge reste toujours incertain.

Peuplé par les Ndibu, un des sous-groupes kongo, le massif de Lovo se trouve au nord du royaume de Kongo. Bien que ce royaume soit l’un des mieux documentés de toute l’Afrique, tant par les sources historiques à partir de 1500 que par les sources ethnographiques et anthropologiques pour les périodes plus récentes, son archéologie reste méconnue. Avec 102 sites (dont 16 grottes ornées), le massif de Lovo contient la plus importante concentration de sites rupestres de toute la région, ce qui représente plus de 5000 images rupestres. Sur environ 400 km2 se dressent des centaines de massifs calcaires au relief ruiniforme, percés de nombreuses grottes et abris sous roche.

Par mon étude qui tente de croiser les points de vue ethnologique, historique, archéologique et mythologique, j’ai pu montrer que l’art rupestre a bel et bien une part importante dans la culture kongo. Au même titre que les sources historiques ou les traditions orales, il peut apporter aux historiens une documentation de premier plan et contribuer à reconstruire le passé de l’Afrique.

In contrast with the Sahara and Southern Africa, Central Africa is superficially presented and largely overlooked in general publications and compilations regarding rock art research. The rock art of Lower Congo is concentrated in a region that stretches from Kinshasa to the Atlantic coast and from Northern Angola to Southern Congo-Brazzaville. Although already reported in the nineteenth century by James Tuckey during his exploration of the Congo River, it had never been a subject of thorough investigation. As a result, its age has long remained uncertain.

Presently inhabited by the Ndibu, one of the Kongo subgroups, the Lovo Massif is situated north of the ancient Kongo kingdom. Although Kongo has been, since the end of the fifteenth century, one of the best-documented kingdoms of Africa, both through historical records and through ethnographic and anthropological studies in more recent times, in archaeological terms it remains largely unknown. With 102 sites (including 16 decorated caves), the Lovo Massif has the largest concentration of rock art in the entire region. Hundreds of limestone outcrops with carved surfaces, punctuated by numerous caves and rocky overhangs, rise up over an area of about 400 square kilometers.

Through the research I have undertaken, it has been possible to determine for the first time direct dates for the rock art of Lower Congo. The study of the previously unknown decorated caves of Tovo and Nkamba, in particular, has allowed me to ascertain the chronology and the interpretation of these rock images.

Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Cheung, Wai-ting Stephanie, and 張慧婷. "Public art in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29521749.

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To, Yick-yam Percy, and 杜亦蔭. "A public art crossover: the art asteroid in San Po Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B3198728X.

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To, Yick-yam Percy. "A public art crossover the art asteroid in San Po Kong /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B3198728X.

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Lam, Sai-kit Ed, and 林世傑. "Interweaving between art & city: Hong Kong Academy of Musical Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986560.

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Lam, Sai-kit Ed. "Interweaving between art & city : Hong Kong Academy of Musical Art /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946717.

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Thesis (M. Arch.)--University of Hong Kong, 2002.
Includes special reports studies entitled :[1] Conservation works on Marine Police Headquater building.--[2] Space in mediation. Includes bibliographical references.

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Cheng, Christina Miu Bing. "Postmodernism art and architecture in Hong Kong /." Click to view the E-thesis via HKUTO, 1991. http://sunzi.lib.hku.hk/hkuto/record/B31949861.

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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.

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Cheng, Miu-bing Christina. "Postmodernism : art and architecture in Hong Kong /." [Hong Kong] : University of Hong Kong, 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13031351.

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Lam, Yui-yim Margaret, and 林睿艷. "Realm of media art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985221.

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Hoebarth, Juergen. "Art organisations in the age of social media : how Hong Kong's non-profit art organisations are dealing with the use of social media to address their audiences." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1492.

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Li, Tam Soi-cheng Mary. "A case study of expert art teachers in Hong Kong." Click to view the E-thesis via HKUTO, 1990. http://sunzi.lib.hku.hk/HKUTO/record/B38626858.

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Ang, Bing-hun Fanny, and 洪彬芬. "Art communities: around the flyover." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986274.

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Geiger, Erik William. "Graffiti in Hong Kong : transgressive signs, inscriptions, art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192983.

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The primary focus of this dissertation is to examine how graffiti is emplaced in Hong Kong. Artifactual and contextual photographs have been collected of examples of graffiti and will be considered according to their place in the semiotic aggregate, the facets and foci of thirteen styles of graffiti, and as they represent the inscription site. Geosemiotics, defined as ‘signs in place’, will be utilized to analyze the transgressive nature of graffiti. Gestural routines are also studied as they relate to the body of the graffiti writer acting in space, inscribing place. The subsets of graffiti as it relates to urban and street art is weighed as well as the tools and means at its disposal. An understanding of Hong Kong’s situated cultural experience in negotiating meaning and contesting perception through inhabiting public space made cultural space will be sought in this dissertation. The way in which previous cultural understandings of rock-carving and inscription, as well as a study of the terms as used in Hong Kong can help to illuminate the background of graffiti as it has occurred within Hong Kong and China. Finally, a purposeful look at the active sight of the individual in coming to terms with the language systems in urban spaces can give a nuanced perception of how the material placement of graffiti challenges planned space and provides a ‘street-wise’ aesthetic.
published_or_final_version
English Studies
Master
Master of Arts

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LIU, Nga Ying. "Red-white-blue and Hong Kong Installation Art." Digital Commons @ Lingnan University, 2011. https://commons.ln.edu.hk/vs_etd/2.

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The purpose of this study is to analyse the interaction between art and contested notions of Hong Kong identity by examining recent installations that employ the red, white and blue-striped plastic fabric, locally known in Hong Kong as red-white-blue (紅白藍). The red-white-blue fabric has, in recent years, become a signifier of the collective identity of Hong Kong people and of the ‘Hong Kong spirit’, with specific reference to the traits of the working class in the 1960s. The repeated articulations of this material in artworks show that there are certain qualities in this material with which local people identify. This study examines how installation works that employ this material question and revise notions of Hong Kong identity, and suggest its plurality and mutability. Works of local artists including Stanley Wong (a.k.a. Anothermountainman), Kith Tsang, Doris Wong, Siu King Chung and Tim Li are discussed in detail. Accounts of installations that employ red-white-blue often offer a limited interpretation of such works, paying insufficient attention to formal qualities and assuming a fixed and unitary notion of Hong Kong identity. The thesis argues that this paradigmatic cliché about Hong Kong identity is also expressed in the red-white-blue works of Stanley Wong to the extent that they evoke nostalgia and neglect contemporary social reality. The prevalence of such readings of red-white-blue-inspired works of art has veiled the complexity of works that interrogate Hong Kong identity from a diversity of perspectives. The contribution of this thesis is to remedy that situation, and provide a comprehensive account of key red-white-blue installation works.

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Kwok, Lai-yip Jerry, and 郭禮業. "Children Art Centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984617.

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Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.

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Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.

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Ma, So Mui. "Post-colonial identities and art education in Hong Kong." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10007431/.

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This thesis is an inquiry into art educators and art curricula within the context of the reunification of Hong Kong and China. Theoretically it draws specifically on post-colonial theories. Additionally, issues of personal identities and aesthetic preferences were examined by means of questionnaires given to pre-service art teachers. The design of the instruments was inspired by 'border pedagogy' and 'critical theory', as outlined by Henry Giroux (Giroux, 2005: 24). Reflections on the research design were offered. The thesis seeks to uncover the impact of colonialism and post-colonialism on art education and on participants' perceptions of their own identities. This includes participants' reflections on cultural and gender stereotypes; their responses to conceptions associated with modernist, postmodernist and feminist art; and the impact of modernist progressive thought on their values towards contemporary and traditional life-styles. The impact of colonialism on art curricula in Hong Kong schools prior to 1997 was investigated through analysis of historic documents and archives. Perceptions of participants of their prior art training were also examined. An overview ofliterature related to Art and culture; post-colonial and identity theories were discussed at the outset. Literature related to the relevant data was analysed qualitatively to provide additional insights. The results suggest that post-colonial Hong Kong continues III the colonial condition with the persistence of Western influences on art education. With the shift to China, the subordination of Hong Kong identity remains, and established stereotypes were still evident amongst participants. However the growing influence of globalisation has increased the complexity of the hybrid, East-West Hong Kong identity. Implications and recommendations suggest ways forward for visual arts education in Hong Kong.

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Sin, Ka-ki, and 冼家琪. "Narrator-public art landscape regeneration strategy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45009661.

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Ng, Victor, and 伍達文. "Art ropolis: redefining the museum of (new) art, TST." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986717.

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Fong, Ching-to Solomon, and 方正道. "Metamorphosis of city: art space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B3198387X.

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Jim, Alice Ming Wai 1970. "Urban metaphors in Hong Kong media art : reimagining place identity." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84516.

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This dissertation examines representations of the city and media art in Hong Kong from the late 1980s to the present to establish a link between the ways in which the city's place identity is re-imag(in)ed. Charting the course of media art in Hong Kong in relation to the parallel development of contemporary art in the region, it provides critical analyses of dominant urban metaphors that play a significant role, both locally and internationally, in the current representation of Hong Kong and its artistic practices. Specifically, the study explores how media artists have been dealing with four central urban metaphors that frequently arise in discussions of Hong Kong in relation to its place identity: City in Transition, Panoramic City, Compact City, and Mobile City. The hypothesis of this essay concerns the ways in which both the selected media artists and their works negotiate central urban metaphors in their search for Hong Kong's place identity. I designate each of these negotiations as a 'spatial portrait': a space of representation in which social experiences and relations are reconstructed and investigated. Through the critical analysis of these spatial portraits, I consider the development, shifts and imbrications of urban metaphors for Hong Kong and their contributions to, as well as their limitations for, understandings of artistic representations of urban space. Recognizing the local-global nexus from which these works emerge through considerations of the imaging of Hong Kong in the media and tourism industries, I propose an interpretation of the metaphor of the Mobile City as an updated version of the City of Transition. Ultimately, this dissertation offers an understanding of urban metaphors in Hong Kong media art in relation to the re-imag(in)ing of place identity situated between globalization discourse and the cultural politics of urban space, location and representation. It concludes that contemporary art's contribution to t

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Wong, Kit Mei. "Early childhood art education in Hong Kong : a phenomenographic study." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16334/.

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This study was a phenomenographic inquiry into arts education in early childhood. Through the use of this interpretative approach, the study was an inquiry into the internal relationship between human experience and the world environment, based on the core assumption that there is variation in the ways in which people experience the same phenomenon. Drawing on the work of Pramling and other phenomenographers, the study identified and compared the conceptions of art in young children and their teachers. Twenty-seven young children, aged 5 to 6, studying in the same class in a Hong Kong preschool participated in this study with their two class teachers. Semi-structured interviews were used and the children were asked to describe art experiences in their preschool learning environment. The two teachers working with this group of children were interviewed separately, for their views on their art teaching practices. Through a process of comparing and contrasting themes emergent in the transcriptions, children's conceptions of their art experiences fell into five categories: (1) Art is Human Nature, (2) Art is a Task, (3) Art is a Process, (4) Art is a Product, and (5) Art is Mystery. Teachers' responses fell into two categories: (1) Art is Human Nature, and (2) Art is a Task. A conclusion of the study was that the conceptions of art in children formed at an early age are broad and complex. Comparison of the conceptions between the young children and their teachers indicated that there were some similarities but also mismatches. The children had a broader perspective than their teachers and they were sensitive to the teachers' conceptions. The teachers and the children shared the conceptions of art as being part of human nature and art as a task, although their variations differed. In addition, the children demonstrated that they had further conceptions of art -- that it was a social process, and that the product was important and valued. Finally, analysis of the data also showed that the children had a conception of art as a mystery, holding contradictory elements together in a tension, where art was important but also a chore. Research studies into how young children understand and conceive their early experiences with art learning, and how their teachers perceive preschool art education and its practice, are limited. In documenting the views of both the teachers and the children, this study contributes to an understanding of arts education in a preschool context, by exposing the young children's perspectives. Possibilities for improving arts pedagogy are considered, and new questions are emerged. The study also illustrated how a phenomenographic approach could be used in the field of art education and early childhood education. Recommendations for further research arising from the study include: using phenomenography to study young children's conceptions of other arts experiences (e.g. music, dance, drama); replication of the study with young children of different age groups and cultural backgrounds; longitudinal studies of children's conceptions of art throughout their schooling programme; and detailed examination of the conceptions of art in early childhood student teachers before, during and after their training.

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Ma, Guoming, and 馬國明. "Hong Kong martial art novels: the case of Louis Cha." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212566.

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Lai, Mei-lin, and 黎美蓮. "Words and images in contemporary Hong Kong art: 1984-1997." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222808.

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Li, Tam Soi-cheng Mary, and 譚瑞菁. "A case study of expert art teachers in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B38626858.

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Lai, Mei-lin. "Words and images in contemporary Hong Kong art : 1984-1997 /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21982211.

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Wear, Eric Otto. "Patterns in the collecting and connoisseurship of Chinese art in Hong Kong and Taiwan." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21734653.

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Liu, Mankun. "The production of differential spaces through participatory art in Hong Kong 2000-2019." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/853.

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Since the preservation campaigns at Lee Tung Street, the Star Ferry Pier and the Queen's Pier that erupted in early to mid-2000s, Hong Kong participatory art has undertaken an increasingly proactive role in local spatial movements, which marks the organizational and strategical evolvements of this artistic category that differentiate it from earlier public and community art. While research initiatives after 2010 have identified regional geospatial politics as one major concern for local participatory art today, existing studies tend to take a contextual approach with main emphases on why art becomes involved in urban spatial struggles while rarely proceeding to investigate what strategies or modes of spatial practices have emerged from relevant projects and what implications they have on the material-social spaces of the city. This hesitation to forward an interpretive evaluation of the focused phenomenon stems from the absence of epistemological concreteness in participatory art theories and criticisms, which necessitates the introduction of new analytical tools in research on the subject. To answer the pending questions, this research employs Henry Lefebvre's theories of the social production of space to examine three representative projects selected from a preliminary survey of local participatory art programs/groups which involve spatial practices. In exploring the contents, strategies, and socio-spatial implications of these cases, it presents three models of spatially oriented participatory art. On this basis, a cross-case analysis is conducted to explore how participatory art in general offers counterforces against the neoliberalist social-material and aesthetic reprogramming of the city while laying the social foundation for the anticipated production of differential spaces. As more urban renewal and land resumption plans are anticipated to storm through the city in the coming decades, this research hopes to provide for practitioners, researchers, and local communities the discursive and conceptual tools to understand the role of art in preceding and future spatial contestations

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Ng, Lai-ki. "Synergic atelier : the Hong Kong Academy for Arts and Design /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948945.

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Cheung, Ngar-wing Anita, and 張雅穎. "Children culture of the visual: to what extent can the HK art curriculum address the intercultural diversityin art acquisition?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35329634.

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Ho, Louis Kin Chung. "Musing new museology : politics of the Hong Kong Museum of Art." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_ra/1502.

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Wong, Ngai-leung Aman, and 黃毅樑. "Museum of Guangdong folk art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198552X.

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Tse, Ching-kan Curry, and 謝正勤. "School of Chinese Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984836.

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Hoon, Cho Ji. "Public Art in Korea and Hong Kong : The Formation of National Identities." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503253.

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Law, Nga Wing. "Performing identities: performative practices in post-handover Hong Kong art & activism." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/518.

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This is an autoethnographic account of the performative practices in the Umbrella Movement (2014, Hong Kong), a struggle that I myself and some fellow artists participated in. Instead of making a discursive analysis of postcolonial identity, this thesis focuses on performative practices and the performativity of artists and their activist counterparts in the Umbrella Movement. This thesis starts with an overview of the political situation in Hong Kong before relating it to the social turn in contemporary art practice and the performative turn in art and research practices. Instead of using performance as a metaphor for understanding cultural phenomena, I persevere with the notion of performance per se, of artists taking part in activism and examining the performativity involved in the process. As an artist/researcher, I have been seeking a research methodology that is compatible with the means and ends of activism being studied and can nourish a reflexive account on the performative practices of resistance in postcolonial Hong Kong. I propose a methodology of 'performative autoethnography' which accentuates the co-performative and intersubjective process as well as the non-textual aspects of embodied experience and of performing struggle in activism. Reviewing the performative practices on macro- and micro-levels, I borrow the term 'microutopia' to depict the imaginary space created by micro-performances used to cope with the discrepancies between utopian ideals and reality. Specifically, I examine the transformative power of some performative tactics employed in the Umbrella Movement: parodic performance of 'over-identification,' improvisation accomplished by collective connectivity and kinetic responsiveness of the performers, and the artist as an intersubjective mediator. Among these tactics, there are recurring claims and recurring forms that add up to a repertoire of protest. Through microutopian interventions staged at the site of protest, the identities of the multitude are constructed through critical engagement. I suggest that we use the concept of 'critical identities' to study how identities are constructed within an open-ended network of social relations, using a critical reflexive lens of performance studies at a precarious moment in which Hong Kong finds itself at a crossroads.

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李欣欣 and Yan-yan Linda Li. "Media Art for the Mid-Levels Escalator, Central." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986651.

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Lai, Siu-lun Francis, and 黎兆麟. "Vanishing puppets: the demise of a Chinese traditional art form." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31972445.

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Lee, Mei-yan Jacqueline, and 李美茵. "A folk art street in Pottinger Street." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985890.

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Lopes, Andreia Sofia Simões Monteiro. "A arte como investimento : a arte contemporânea em Hong Kong." Master's thesis, Instituto Superior de Economia e Gestão, 2017. http://hdl.handle.net/10400.5/14462.

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Mestrado em Gestão e Estratégia Industrial
O mercado chinês de arte contemporânea experienciou um crescimento exponencial nestes últimos anos, com cada vez mais investidores individuais e institucionais que diversificam as suas carteiras de investimentos com arte. Hong Kong emergiu como art hub nos últimos anos, devido aos esforços destes investidores, curadores e galerias de renome em preservar as suas bases e defender a arte contemporânea local e internacional. Assim, o presente trabalho de investigação estuda o comportamento das variáveis que mais afetam o mercado de arte contemporânea de Hong Kong, tendo por base os índices da ArtPrice e Artnet. Os resultados sugerem que vale a pena investir em arte. Apesar de o ano de 2016 não ter sido um ano motivador, segundo o relatório TEFAF da Artnet respeitante ao primeiro semestre de 2017, o ganho com a arte em Hong Kong é constante.
The Chinese contemporary art market has experienced exponential growth in recent years, with more and more individual and institutional investors diversifying their art investment portfolios. Hong Kong has emerged as an art hub in recent years due to the efforts of these investors, curators and renowned galleries in preserving their foundations and defending contemporary local and international art. Thus, the present study investigates the behavior of the variables that most affect the Hong Kong contemporary art market, based on the ArtPrice and Artnet indices. The results suggest that it is worth investing in art. Although 2016 was not a motivating year, according to Artnet's TEFAF report for the first half of 2017, Hong Kong's art gain is steady.
info:eu-repo/semantics/publishedVersion

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Lau, Pui-chuen Lisa, and 劉佩荃. "A place for art: dissolution of boundaries." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985853.

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梁學敏 and Hok-man Josephine Leung. "[Art] on transit: transportation interchange at Middle Road, TST." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986596.

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Ngai, Sum-yee. "The vanishing link art deco architecture in Hong Kong between 1920 to 1960 /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31474214.

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Ngai, Sum-yee, and 魏深儀. "The vanishing link: art deco architecture in Hong Kong between 1920 to 1960." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31474214.

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ZHU, Yi. "Collaboration between art museums and universities in Hong Kong : benefits, difficulties and methods." Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/vs_etd/9.

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Abstract:

Museums have the responsibility to meet the needs and expectations of audiences with different backgrounds, including families, students, adults and the elderly. However, the needs of higher education students can easily be overlooked in Hong Kong art museums because their age and educational background fall into different target segments. By the late twentieth century, learning opportunities for higher education students, especially those who were majoring in fine arts, art history and museum studies were inadequate in Hong Kong. In view of the increasing arts programmes offered by tertiary institutions in 2000s Hong Kong, art museums play an important role in developing higher education students’ creativity and critical thinking by making use of their resources and expertise. Collaboration between art museums and universities through curricula is one effective method for strengthening art education at tertiary level in twenty-first century Hong Kong. Based on local and overseas scholarships on museum studies and archival materials in different museums, this dissertation examines both past and current education services provided by art museums in Hong Kong in order to reveal the benefits and difficulties of developing museum-university collaboration. Having interviewed with museum directors, curators and professors, I will present both qualitative and quantitive analyses of the education services provided by four focused institutions, including the University Museum and Art Gallery of the University of Hong Kong, the Art Museum of the Chinese University of Hong Kong, the Hong Kong Museum of Art, and M+. While reviewing learning models and pedagogical methods for higher education in a museum context, successful case studies of museum-university collaboration in overseas institutions, such as the Victoria and Albert Museum in London and the Metropolitan Museum of Art in New York, will also be discussed. I will propose effective methods for strengthening collaboration between art museums and universities in Hong Kong. The research finding of this dissertation will provide feasible plans for museum practitioners, professors and policy makers to enhance the quality of higher education in art-related disciplines and museum services with insightful ideas.

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Deschka, Anne. "Artistic dribblings cultural relocation of Hong Kong's contemporary visual art scene ten years after the handover /." Thesis, Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38762432.

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Lee, Mei-yan Jacqueline. "A folk art street in Pottinger Street." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953229.

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Dissertations / Theses on the topic 'Kongo Art'

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