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Dissertations / Theses on the topic 'Museum of Contemporary Art'
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Berry, Jessica. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365478.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.
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Cass, Nicholas. "Contemporary art and heritage : interventions at the Brontë Parsonage Museum." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12608/.
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In this thesis I examine the Contemporary Arts Programme at the Brontë Parsonage Museum, with a particular focus on the commissioning and installation of artwork in the period interior of the museum. Reading the work of Paula Rego, Cornelia Parker, Su Blackwell, Charlotte Cory and Catherine Bertola through the literature of heritage and dialogical aesthetics, I seek to map the unexplored liminal territory between the Brontë Parsonage Museum as 'shrine' and the contemporary art installations as 'intervention'. The purpose, through following a trajectory which has its origin in what Malinowski described as 'foreshadowed problems', has been to produce a rich account of the ways in which art and heritage practices intersect. A reflexive ethnographic stance, in which the process has developed through and in, rather than prior to, the research process, acknowledges my own position as artist, museum educator and academic, engaged with a particular site where I have used visitor comment books and semi structured interviews with artists, staff and visitors to produce this account. This stance acknowledges that writing about art is itself a creative practice and should not be seen as existing as an independent, external addition; to be so, it would remain a 'shadow' of that which it describes. Instead, it is my purpose to map the complexity of these installations as points of reference in the broader topology of heritage practice and contemporary art to demonstrate that they are not reducible to the paradigmatic arguments which are used to describe their existence within the museum space. Often characterised as 'social outreach, public relations, economic development and art tourism', I argue it is more productive to consider these 'interventions' as dialogic heritage, both in order to understand their 'affective' role in the process of interpreting the legacy of the Brontës, and to understand ways in which they address visitor experience.
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Moser, Susan. "K-12 Educational Programs in Contemporary Art Museums: An Examination of University and Non-University Non-Collecting Institutions of Contemporary Art." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4031.
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This museum thesis project will provide an overview of kindergarten through 12th-grade (K-12) educational programs at six non-collecting art institutions within the United States, contextualized within a selected historiography of art museum education. This project is designed to aid the Virginia Commonwealth University Institute for Contemporary Art (ICA). The ICA is a non-collecting institution that will be located on VCU’s Monroe Park campus. As the ICA staff sets out to articulate a vision and scope for its K-12 education programs, it will benefit from the information offered in this thesis project, especially given that there is no existing literature specifically about K-12 programs at non-collecting museums of contemporary art.
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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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Soltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.
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In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.
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Seiler, Jena M. "Sensing Security through Contemporary Art and Ethnographic Encounters." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou151022822064186.
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MENDES, PATRICIA STEINTHAL DE ANDRADE. "THE INTERLACE OF ART AND ARCHITECTURE IN THE CONTEMPORARY MUSEUM SCENE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25576@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO intenso movimento em torno da construção, ampliação e reforma dos museus de arte em todo o mundo aponta para uma valorização do papel da arquitetura na circulação da arte, como evento midiático ou como geradora de novas centralidades urbanas, e na adequação dos museus às importantes transformações que ocorrem no campo da arte desde os anos 1960. O trabalho apresenta três abordagens do tema, contempladas uma em cada capítulo. O primeiro examina a participação da arquitetura nas estratégias de representação e de comunicação no ato da exposição, o segundo trata da arquitetura icônica que transforma o museu em imagem e símbolo que circula na mídia a serviço da instituição, uma terceira abordagem coloca o foco na arquitetura efêmera e trabalha com a ideia do museu como espaço contingencial que não se ancora em uma estrutura fixa, mas num sistema de conexões sociais e espaciais.
The intense movement revolving around the construction, expansion and remodeling of art museums throughout the world signals the growing importance of the role of architecture in the circulation of art, whether as a media even or as a generator of new urban centralities, and in the adaptation of museums to the important transformations that have occurred in the field of art since the 1960s. The paper presents three approaches to the theme, each contemplated in a chapter. The first examines the participation of architecture in the communication and representation strategies in the act of exhibition, the second addresses iconic architecture that transforms the museum into image and symbol that appears in the media at the institution s service, the third chapter focuses on ephemeral architecture in the context of art, working with the idea of the museum as an undetermined space that is not anchored to a fixed structure, but to a system of social and spatial connections.
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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.
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Hannon, Brian. "Arts Administration internship report : the New Museum of Contemporary Art : a report." ScholarWorks@UNO, 1992. http://scholarworks.uno.edu/aa_rpts/79.
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Stephen Weil writes in his collection of essays, Rethinking the Museum and Other Meditations," .. we must never forget that ideas--and not just things alone--also lie at the heart of the museum enterprise. Reality is neither objects alone nor simply ideas about objects (2). Weil's insight into the matter of museums prompted me to search out a particular type of organization in which to work for this internship. No doubt any number of respected and successful institutions in New York City could have offered me an extraordinary internship in arts administration, but I was drawn to The New Museum of Contemporary Art in SoHo for the way it sought to explore ideas about the nature of art, the way it defied standard institutional practice, and the way it brazenly undermined conventional expectations of the museum experience. The New Museum confronted the common assumptions about what art is and the way arts organizations relate to our culture. Here was a museum that took risks, that did not claim to know all the answers, but was willing to systematically open itself to criticism as part of its mission. The New Museum provided me the opportunity to explore the possibilities not described in the textbooks. I knew this organization would inevitably pose a new set of problems, but I was sure it was just as likely to set forth new solutions as well. As it turned out, my original semester-long internship became a year-long adventure that provided me the chance to work closely with the influential director of a major New York art museum, the responsibility of overseeing an installation in one of its smaller galleries, and, ultimately, the opportunity to assume the position of coordinator of an exhibition that encompassed the entire museum. Were it not for this museum's willingness to take a chance on an unproven quantity, to trust, to try the untried, I would not have gained so soon the experience and confidence that this institution so freely granted.
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Savic, Ivana <1995>. "Museum of Contemporary Art in Belgrade: communication strategies with the public 1965-2021." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20935.
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Art in Serbia is increasingly encountering misunderstanding and lack of interest, especially among the younger generations, which mostly come from ignorance. The ignorance is contributed by the lack of communication strategies, which serve to inform and educate. This problem in terms of art in Serbia is perhaps most related to contemporary art. For this reason, the Museum of Contemporary Art in Belgrade was chosen for this thesis.
The thesis is divided in three chapters, which describe communication strategies adopted in three different periods: in the past, with an overview of the history of the museum since its opening in 1965, during its closures in 1999, between 2007 and 2017 and in 2019 and in the COVID-19 period. Communication strategies are presented through Museum’s programs, exhibitions, collections and its work in general.
The hypothesis that goes through this thesis is that the insufficient knowledge of students about the Museum of Contemporary Art can be improved by modernizing communication strategies, applying modern technologies in the direction of personalized communications and improving general education within the school system.
The aim of the thesis is to present the communication strategies adopted between 1965 and 2021 to fill the gaps in the knowledge of the target group of my thesis: – students aged between 18 and 30. In order to find those gaps the method of questionnaire was chosen. After publishing the questionnaire in the student’s group on Facebook (“Studenti Beogradskog Univerziteta”), the results showed the students initial knowledge of the museum. This was the starting point for supplementation of that knowledge and ignorance through communicational strategies.
Because of the situation with COVID 19, questionnaires were filled on-line.
Sources used for the thesis include books, articles and papers, online questionnaires and online interviews.
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Sharma, Arjun. "Contemporary Arts Museum in Roanoke: an Entrance to the City." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/35953.
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Roanoke, as a city, needs to redefine itself and to constantly respond to what new should come to the city. Society and culture become an important factors in design. The insertion into an existing fabric requires a careful dialogue between past, present and future. The proposed building sets in contrast to the existing structures in the neighborhood of the site, establishing its own response to time. Although contrasting the existing buildings the proposition is responsive to context in terms of scale and materials. The context is important to continue the harmony and rhythm of the urban fabric.
The site is located at one of the main entrances to downtown Roanoke and market square and hence the proposed building acts as a gateway to the future of the city. Due to its location the building will project the first image of the city. Therefore the proposed building should enhance and adapt to the social and cultural roots of the city. My thesis is a reaction to the existing conditions at the site for what I believe to be a lack of sensitivty to the context and the needs of the people of Roanoke. A museum is a public institution to provide insight into the attitudes and values of the local community. Through design the building is intended to symbolize the gateway to the future of the city.
The basic shape of the building is curved in response to the plan of the site while allowing for an urban plaza in front. Cantilevered masses which radiate from Market square are inserted into the primary building mass providing a connection to a larger context. The cantilevered masses(which hosts art galleries)hover over and project into the urban plaza providing Roanoke city with a public space downtown. Thus the two most important elements i) Cantilevered masses and ii) The Urban Plaza are means to weave the thesis project into the existing urban fabric of the Roanoke.Master of Architecture
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Granell, Querol Andrea. "The effect of contemporary art perception: Study of younger and older adults' art appreciation in museum experiences." Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/386510.
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La Psicologia de l'Art estudia les experiències estètiques i les preferències dels individus mentre miren l'art. L'objectiu d'aquesta investigació és analitzar l'apreciació de l'art contemporani en joves i gent gran al MFA de Boston. Es van dur a terme anàlisis quantitatives i qualitatives. L’estudi 1 va mostrar que els joves, més que la gent gran, van trobar que les cartel·les i les converses van contribuir a apreciar l'art contemporani, i més en el context del museu que en el del laboratori. L’estudi 2 va mostrar que el context del museu va contribuir a apreciar l’art, també, en els grups de discussió els joves comentaven que les cartel·les i les converses eren un punt de partida per entendre i apreciar l'art, per la gent gran no van ser tan útils. L'estudi 3 va mostrar que no només hi havia diferències entre la sala d’art contemporani i tradicional -la comprensió de l'art contemporani va ser major en la galeria d'art contemporani-, sinó també entre els grups d'edat -els joves van declarar que els agradava més l'art contemporani i la gent gran van gaudir més de l’experiència de visitar el museu-. Vam arribar a la conclusió que no només les diferències d'edat, sinó també les diferències relacionades amb l'educació i la freqüentació de les visites als museus contribueixen a l'apreciació de l'art. Aquesta investigació és important per demostrar com la gent aprecia i entén l'art contemporani. Per tant, aquests resultats tenen implicacions rellevants per dissenyar programes d’activitats en els museus que involucrin diferents grups de visitants.La Psicología del Arte estudia las experiencias estéticas y las preferencias de los individuos mientras miran el arte. El objetivo de esta investigación es analizar la apreciación del arte contemporáneo de jóvenes y gente mayor en el MFA de Boston. Se llevaron a cabo análisis cuantitativos y cualitativos. El estudio 1 mostró que los jóvenes, más que la gente mayor, encontraron que las cartelas y conversaciones contribuyeron a apreciar el arte contemporáneo, y más en el contexto del museo que en el del laboratorio. El estudio 2 mostró que el contexto del museo contribuyó a la apreciación del arte. También, las discusiones en el grupo de jóvenes confirmaron que las cartelas y las conversaciones forman un punto de partida para entender y apreciar el arte, para la gente mayor no eran tan útiles. El estudio 3 mostró que no sólo existían diferencias entre la sala de arte contemporáneo y tradicional -la comprensión del arte contemporáneo fue mayor en la sala de arte contemporáneo-, sino también entre los grupos de edad -los jóvenes declararon que les gustaba más el arte contemporáneo y la gente mayor disfrutó más de la experiencia en el museo-. Llegamos a la conclusión de que no sólo las diferencias de edad, sino también las diferencias relacionadas con la educación y la frecuentación de visitas contribuyeron a la apreciación del arte. Esta investigación es importante para demostrar cómo la gente aprecia y entiende el arte contemporáneo. Por lo tanto, estos resultados tienen implicaciones relevantes para diseñar programas en los museos que involucren diferentes grupos.
Psychology of Art studies aesthetic experiences and individuals’ preferences while looking at art. The aim of this research is to analyze contemporary art appreciation in younger and older adults at the Museum of Fine Arts, Boston. Quantitative and qualitative analyses were conducted. Study 1 showed that younger more than older adults found that labels and conversations contributed to liking contemporary art, more in a museum setting rather than in a lab setting. Study 2 showed that the museum context contributed to appreciating the art. Also, group discussion of younger adults confirmed labels and conversations in the museum to be a starting point to understand and appreciate art; for older adults, these were not so helpful. Study 3 showed that not only were there differences between a contemporary and a traditional art gallery -participants understanding of contemporary art was greater in the contemporary art gallery-, but also between age groups -younger adults stated that they liked contemporary art more and older adults enjoyed their museum experience more. We conclude that not only age differences, but also differences related to education and museum visitation frequency contributed to art appreciation. This research is important to demonstrate how people appreciate contemporary art and how they understand it. Therefore, these findings have relevant implications for the design of museum programs about contemporary art to engage different groups of visitors.
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Landis, Tamra R. "How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.
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SRITONGSUK, PONGCHAI. "A STUDY OF CONTEMPORARY ART MUSEUMS." The University of Arizona, 1997. http://hdl.handle.net/10150/555225.
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Almeida, Adriana Mortara. "Museus e Coleções Universitários: Por que Museus de Arte na Universidade de São Paulo?" Universidade de São Paulo, 2001. http://www.teses.usp.br/teses/disponiveis/27/27143/tde-10092003-160231/.
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Essa tese trata do perfil dos museus universitários - sua origem, desenvolvimento e perfil atual -, com ênfase para os museus de arte. Procura definir o que seria um museu universitário modelo e busca identificar o quanto desse modelo existe na prática. Descreve a formação e as características dos museus da Universidade de São Paulo e dos museus universitários de arte no Brasil. Analisa a coleção e o museu de arte da Universidade de São Paulo - Coleção de Artes Visuais do Instituto de Estudos Brasileiros e Museu de Arte Contemporânea - diante do modelo proposto para museus universitários. E finalmente, discute a necessidade da Universidade de São Paulo possuir ou não essas coleções de arte.This thesis addresses the profile of university museums - their origin, development and current profile with emphasis on art museums. It attempts to define what a model university museum should be and to compare it to the existing situation. It describes the foundation and characteristics of the University of São Paulo museums and of university art museums in Brazil. It analyses the art collection and the University of São Paulo art museum - Visual Arts Collection of the Brazilian Studies Institute and the Contemporary Art Museum - in comparison to the university museum model proposed. And finally it discusses the need for those art collections in the University of São Paulo.
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Chawaga, Mary. "The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.
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Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum.
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Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.
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This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.
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Mello, Paulo Cezar Barbosa. "Site Specificity na arte contemporânea: Inhotim." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29062015-151300/.
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O estudo a seguir desdobra as questões de site specificity na arte contemporânea e suas modificações nas três últimas décadas. A compreensão do espaço em arte tomou novas formas não só em função dos espaços e dos discursos artísticos, mas também em função dos novos meios e linguagens. Essas mudanças demandaram alguns acompanhamentos por parte dos espaços expositivos, bem como um novo olhar sobre o que se entende por site specific art. Com base, principalmente nas propostas de Miwon Kwon, o presente material compara as obras de arte contemporânea, tecendo diálogos com as mudanças vistas. Espaços institucionalizados, como Inhotim, dialogam com a noção de site specificic arts, demonstrando as observações sobre site specificity. A pesquisa apresenta esta jornada e fornece subsídios para vislumbrar o espaço da arte contemporânea na segunda década do século XXI.The following research unfolds site specificity matters on contemporary art and its changes for the last three decades. The comprehension of the space in art had reached new standards, not only due to artistic spaces and discourses, but also for new media and languages. Theses changes demanded some accomplishments at the exhibition spaces as well as new looks over what one understands as site specific art. Upon Miwon Kown premisses this study compares contemporary art works creating dialogs with the modifications already achieved. Institutionalized spaces, such as Inhotim, converse with site specific arts, what reinforces the need for a site specificity stare. The probe validates the jouney and endorses a fresh look over contemporary art on the second decade of the 21st century
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Baniotopolou, Evdoxia. "Century city : art and culture in the modern metropolis : a case-study of institutional curating of contemporary art in an urban context." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5370/.
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My thesis is an interpretive case study of the exhibition Century City: Art and Culture in the Modern Metropolis (Tate Modern, 1 February – 29 April 2001). It examines a variety of issues pertaining to the making of institutional modern and contemporary art exhibitions in a Western urban context today. It is concerned with exhibition studies’ methodology, the reciprocity between the art institution and the city, and the relationship between the art institution and the independent curator. With regards to methodology, I propose various readings of an exhibition that fall under two types of knowledge, namely visible and invisible knowledge. The former refers to all aspects of the exhibition that are seen in the public domain, while the latter considers not immediately accessible information about the exhibition, such as archival material and oral history. I also examine the mutual relationship between the city and the institution through the instrumentalization of the exhibition by city politics, and the correlative micro and macro effects. I thus link the exhibition to a passage from an industrial to a post-industrial economy, New Labour politics and the competition of cities in a worldwide urban network. Within that framework I analyse associated issues, such as London’s urban regeneration and cultural tourism, city branding, changing city demographics, the link between the institution, the city and governmental agendas, and the ‘world city’ race. Finally, I question the changing relationship between the art institution and the independent curator. I reflect on the advantages and limitations of curatorial practice in the context of that relationship by considering the exhibition as a platform for the concurrent expression of both personal and collective curatorial interests, and the exploration of canonical versus contemporary approaches. I conclude that an in-depth study of a contemporary exhibition on these grounds allows for important insights to be gained that contribute to the fields of curatorial and exhibition studies, as well as to urban theory.
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Finbow, Acatia. "The value of performance documentation in the contemporary art museum : a case study of Tate." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32561.
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Performance and documentation have a complex historical relationship, based around perceived binaries of ephemerality and endurance, liveness and fixedness, originality and representation. This thesis explores this relationship and the ontological perspectives which underpin it, but moves beyond this by building on those contemporary theories which consider the potential of the performance documentation in relation to the performance moment, and the expanded, continuing performance artwork. Using the example of Tate as a contemporary art museum which has a history of creating and collecting performance documentation, this research engages the lens of value as an analytic tool through which to understand the positions and purposes of performance documentation in the contemporary art museum. Rather than attempting to measure the amount of value a performance document is perceived to have in economic terms, the intention here is to understand the nuanced types of value those within the museum apply to the performance document, based on an understanding of valuations as subjective, context-dependent, pluralistic and changeable. This thesis will explore both the museum’s creation of performance documents, tracing the variety of practices across Tate’s numerous departments, and how those within the museum approach acquiring, conserving, and displaying existing performance documents. Six case studies will be used to explore how different models of temporality, materiality, and authorship impact on the actions individuals and departments within Tate have taken around the creation, collection, and use of performance documents, and will explore what these indicate about the multiple, changeable types of value a performance document is perceived to have. The thesis will end by proposing how these findings around value and valuation can feed back into strategies and practices which are being developed at Tate to provide centralised, reflexive, mobile and easily accessible documentation of those live art works in the museum collection.
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Kim, Sujin. "A Case Study of Pages at the Wexner Center for the Arts and Its Implications for Collaborative Art Museum-School Programs." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1530882425478519.
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Andrews, Krista M. "Reduced Model Analysis of Performing Arts Programming at the Massachusetts Museum of Contemporary Art, 2002-2005." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1216910235.
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Kim, Yon Jai. "The making of the National Museum of Modern and Contemporary Art (MMCA), South Korea, 1969-2016." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/41227.
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This thesis investigates the dynamics, debates, and contexts of the making of the National Museum of Modern and Contemporary Art in South Korea (MMCA). An interdisciplinary history, it examines and deconstructs particular episodes, events, and relationships. This thesis interrogates the dialogues of internal and external agents that drove change, influenced developments, and negotiated the form and operation of the museum against a background of socio-political change. The thesis illuminates several interrelated factors, such as trends in art production, national political change, policy development, and so on, revealing an institution shaped by its system, constant negotiation, and dynamic change. Rather than pursuing a linear developmental path of the kind commonly used to describe the histories of the world’s great museums, the museum reveals a complex and, at times, disjointed narrative that shows an institution adapting to the rapid political development of South Korea. As such, the thesis sheds light on the contexts and associated agents that repeatedly configured and reconfigured its identity, practices, norms, and discourses. Since the opening of the museum in 1969, there have been a number of scholarly debates that provide a chronological history of its ‘troubled’ identity. Instead of pursuing a biography, this thesis adopts an interpretive lens to probe more deeply into the history of the museum. Drawing upon historiographic and ethnographic research methods, this thesis contends that the museum has been an active art institution which moves and interacts dynamically with the society rather than situates itself as a remote, static, and bureaucratic system.
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Lu, Dawei. "A sociological exploration of cultural distinction in Chinese contemporary art museums and galleries : contemporary art and its visitors." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18187/.
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Based on fieldwork that has been conducted at three contemporary art museums and galleries (National Art Museum of China, Ullens Centre for Contemporary Art, and Shengzhi Space) in the People’s Republic of China (PRC), including both questionnaire surveys (2376 respondents) and interviews (11 interviewees), this thesis elucidates how contemporary art, an internationally sanctioned legitimate art form, configures into the PRC’s national hierarchy of cultural genres. Through the use of a cluster analysis, a multinomial logistic analysis, and a thematic analysis, this current research demonstrates that the flow of the ‘world culture’ between countries does not necessarily contribute to the prevalence of a hegemonic and internationally universal pattern of cultural consumption in diverse cultural contexts. The most obvious finding to emerge from the analyses is that a negotiation has been taking place between cultural forces that represent different cultural and aesthetic ideologies at the borders of the PRC’s social and cultural context. One consequence of this negotiation is that the public art museum and galleries visitors have a lower probability of encountering artworks that overtly challenge the established Chinese aesthetic, ethical, and political norms. By making compromises with the political interests of the Communist Party of China (CPC) mentioned above, the avant-garde characteristics of the public museum-based contemporary artworks have become increasingly blurred (for instance, by taking a less aggressive stance towards the established traditional aesthetic principles). One of the drawbacks of this compromise lies in its negative influence on the development of the public museum-based contemporary Chinese art. The evidence is sufficient to demonstrate that the public museum-based contemporary Chinese artworks were less attractive for both art professionals and the ‘lay’ visitors. Thus, the PRC’s cultural policies, which aim to preserve the national characteristics of contemporary Chinese art, ended up running counter to its stated goal.
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Bianchi, Pamela. "Espaces de l'oeuvre, espaces de l'exposition." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080026.
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Réfléchir sur le terme espace signifie, d’abord, être conscient des multiples usages sémantiques et des diversités linguistiques dont il est porteur. Son rapport avec les concepts d’œuvre et d’exposition a été modifié au fur et à mesure des changements statutaires respectifs. En ce sens, cette thèse vise à interroger le statut de l’espace d’exposition face aux propositions artistiques contemporaines. Elle se développe autour des concepts d’espace et de lieu de monstration dans leur relation avec les notions principales d’architecture muséale, d’œuvre et d’exposition, à partir des années 1960 et jusqu’à nos jours. Grâce à une étude évolutive et multidisciplinaire, et sans oublier la généalogie des concepts principaux, cette thèse se nourrit de cas concrets et contemporains pour offrir un panorama des espaces d’exposition, singuliers et alternatifs. Il s’agit d’un travail d’analyse qui a décomposé, étudié et restructuré la notion d’espace d’exposition à partir de ses paramètres fondamentaux et de périodes spécifiques ; cela a permis d’insister sur la présence d’un processus évolutif en chaine (sorte de syllogisme) où, d’abord, l’œuvre se fait exposition, ensuite, l’espace se fait œuvre et, enfin, l’espace se fait exposition. Ainsi, derrière un espace façonnable qui évolue par rapport à l’art qu’il accueille, apparait aussi un espace multifonctionnel (un « hyperespace ») qui réclame un art spécifique et de nouvelles exigences expographiquesFirst, reflect on the space term means be aware of its multiple semantic uses and of its linguistic diversity. His relationship with the concept of artwork and of exhibition has changed in relation to the respective statutory changes. In this sense, this thesis aims to examine the status of the exhibition space in relation to contemporary artistic proposals. In particular, this thesis is developed around the concepts of Space and Place of the exhibition, in their relationship with the main notions of museum architecture, artwork and exhibition, since 1960 until today. With an evolutionary and multidisciplinary study, and not forgetting the genealogy of main concepts, this thesis is also enriched with concrete and contemporary cases offering a particular view on the exhibition spaces, unique and alternative. It is an analysis that tried to decompose, to study and restructure the concept of exhibition space, from its basic parameters, and in relation to specific historical periods. This allowed to insist on the presence of an evolutionary process (type of syllogism), for which, in the first place, the artwork becomes an exhibition, secondly, the space becomes an artwork and, finally, the space becomes an exhibition. Thus, behind a modular space that evolves in relation to the artwork that contains, it appears also a multifunctional space (a "hyperspace") that claims a specific art and new display requirements
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Motta, Renata Vieira da. "Museu e cidade: o impasse do MACs." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16032010-101124/.
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A presente pesquisa debruça-se sobre o conjunto de treze museus públicos brasileiros, das regiões nordeste, centro-oeste, sul e sudeste do pais, que se denominam museus de arte contemporânea (MAC). A tese apresenta o impasse da tipologia MAC como modelo institucional, não apenas na patrimonialização de acervos artísticos contemporâneos, mas principalmente no papel cultural desempenhado na sociedade brasileira. Uma vez que a cultura é elemento essencial do próprio processo de reprodução material da sociedade e os museus devem participar física e ativamente do mundo exterior, visando a apropriação da instituição pelos cidadãos, o impasse institucional apontado pela pesquisa é discutido a partir da relação museu-cidade. As transformações urbanas e os discursos identitários, continuamente reelaborados nas cidades hoje, são elementos importantes para a qualificação da análise e do debate em torno dos museus de arte contemporânea na atualidade.This survey looks at thirteen of Brazil\'s public museums in the northeast, mid-west, south and southeast regions of the country, which are known as \"museums of contemporary art\" (local acronym MACs). As a typology or institutional model, the MACs have reached an impasse, not only in relation to contemporary art as heritage and permanent collections, but also and particularly in terms of their cultural role in Brazilian society. Since culture is an essential element in the actual process of material reproduction of society, and since museums must actively and physically participate in the outside world, aiming for appropriation of the institutions by citizens, the institutional impasse identified by the survey is discussed from the standpoint of the city-museum relationship. Urban transformations and identity discourses are continually being reworked in cities today as important elements qualifying the analysis and discussion of current contemporary art museums.
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Silva, Carolina Carvalho Palma da. "Youth forums in contemporary art museums : mapping untimely entanglements." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22732/.
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Youth forums – long-term programmes for young people, age 15 to 21, emerged in the mid 1990s in contemporary art museums in response to the misrepresentation of this age group and as an attempt to offer them a creative space outside the school environment. My research draws a genealogy of museums turn toward youth, looking in particular to six ecologies – the Whitechapel Gallery, Tate, South London Gallery, Whitney Museum, MoMA and the New Museum. Drawing on the notion of heterotopia, proposed by Michel Foucault, I discuss the relational ethos of youth forums, as they are concomitantly connected to and separated from museums. This historical mapping is expanded to consider the pedagogies that come together in collaborative art practices, as these are at the heart of initiatives for youth in contemporary art museums. Focusing on the Whitechapel Gallery’s youth forum – Duchamp&Sons, namely the projects De/construct (2013-2014) and Art Casino (2014-2015), three concepts emerged from their open-ended collaborations – ignorance, forgetfulness, and unknown. These were the élan to invent new ways of working and being together, to what I, influenced by Louis Althusser’s materialism of the encounter, Gilles Deleuze and Félix Guattari’s middle, and Karen Barad’s intra-actions, name pedagogy of the encounter. In tandem with the emphasis on collaborative art practices, the long-term duration of youth forums gives young people the opportunity to return and therefore expand their relation with museums – curators, artists, and their peers. To think these untimely entanglements in terms of being-with, of a singular plural ontology as discussed by Jean-Luc Nancy, entails an impossible sense of togetherness, which stresses the politics and ethics of the AND. Based on the experiences of Duchamp&Sons participants I further mapped the potentiality of being part of a youth forum, where-when participation is always felt in movement. In sum, it is a matter of connections – visible and invisible.
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Van, Eck Steve. "Neighborhood Economic Impacts of Contemporary Art Centers." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4435.
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Do investments in Contemporary Art Centers spur investment and economic development in the surrounding community? And if so, what factors are associated with these developments' outcomes? To assess these questions, a general overview of the dominant arts-and-economic-policy perspectives were considered, and two cases of contemporary art center developments, one in St. Louis and one in Cincinnati, were compared and treated as hypothetical value-capture investments. Sale prices of properties surrounding each investment property were adjusted to reflect market factors, then compared to values before and after an investment property opened to the public. A review of supplemental documents and interviews with the developments' directors were used to determine factors that contributed to the effects observed in the study. Findings indicated that the adjusted value of properties in Cincinnati declined with distance from the site of development in the post-test period, and not in the pre-test period. Hedonic results for properties in St. Louis were not significant. However, the museum's development was one among other factors that signified to investors that the area was ready for restoration. Interviews and document review indicated that community participation in the development planning process, distinctive architecture, and commercial contexts were associated with developments meeting their stated goals.
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Aydemir, Cigdem. "Image and Voice: Muslim women in Contemporary Art." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15723.
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This paper investigates the Western image of the Muslim woman in the context of contemporary art. Through my art practice I use the veiled woman cipher to reflect on personal experiences whilst broadening definitions and displacing hegemonic representations of veiling and Muslim women in an Australian cultural context. These are exemplified through autobiographical elements, parody in the Extremist Activity series, performative interventions illustrating the concept of the body as an occupied site and architectural devices that (re)create notions of inclusion, exclusion and otherness in space. From loquacious and overbearing noblewomen to helpless harem slaves awaiting rescue by her Orientalist saviours, an analysis of the development of the Muslim woman’s image throughout history reveals the shifting and contingent nature of her role in the Western imagination. Finally, an examination of current representations of Muslim women in Australian contemporary art demonstrates how these images often repeat and reinforce, rather than depart from, Orientalist and neo-Orientalist constructs.
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Valente, Liz Fagundes Oliveira. "Space and art – interrelations between architecture and contemporary art at Inhotim." Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.
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A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.
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Filho, Durval de Lara. "Modos do museu: entre a arte e seus públicos." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-23082013-111500/.
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O museu de arte moderna e contemporânea é uma instituição que possui relações complexas com a arte, com o mercado da arte e, com os públicos. Suas origens remontam ao museu tradicional e, em linhas gerais, mantém suas atribuições básicas e pouco muda ao longo do tempo, mas passa a agregar novas e diferentes funções. Parte-se da hipótese de que, em face às novas manifestações culturais, às práticas das artes, aos hábitos culturais e às novas formas de organização - que se situam num outro registro, em coletivos, trabalhos colaborativos ou agrupamentos assemelhados - o museu necessita rever sua atuação se desejar participar ativamente do processo cultural contemporâneo. Para examinar o problema, partimos da análise do museu desde suas origens, verificando que ele surge na confluência de práticas tradicionais das coleções e gabinetes de curiosidades, e das ideias do Renascimento, que se adensam com o iluminismo buscando autonomia e o exercício da função pedagógica. Em seguida, analisamos o impacto que sofreu com as Exposições Universais e com o modernismo nas artes. Nesse longo percurso, buscamos identificar os diferentes tipos de ações de mediação que o museu realizou com os públicos, desde os catálogos e a expografia, até os seminários, debates e ações educativas. As novas funções que adquire no início do século XX e o processo de revitalização no final desse mesmo século transformam o museu numa das grandes atrações turísticas de nossos tempos. Na contemporaneidade, paralelamente ao museu, e fora dele, surgem propostas em rede de pedagogias coletivas que ampliam e atualizam este campo por meio da construção coletiva de experiências artísticas, de mediação, debates, plataformas de discussão e de documentação, que retiram tais atividades de um certo \'anonimato\' e dispersão, para se tornarem públicas. Sem abandonar tudo o que tem feito e sem, necessariamente, abraçar exclusivamente as práticas mais radicais, o museu pode participar das novas redes que estão se formando e estabelecer relações ricas e produtivas, funcionando simultaneamente como um ponto de emissão e de recepção na qual interagem artistas, instituições e públicos, onde todos são ativos. Dissolve-se, assim, o papel pedagógico nos moldes iluministas que possui o museu.The museum of modern and contemporary art is an institution that has complex relationships with the art market, the public and the art itself. Its origins date back to the traditional museum and while keeping its basic characteristics with very little change over time it added some new and different functions. The hypothesis is: taking into consideration the contemporary form of cultural manifestations, art practices, cultural habits and organizations such as collectives and collective work, the museum needs to rethink itself if it wants to participate actively in the contemporary cultural process. To examine this problem we analyze the museum history, observing it has originated from the confluence of collections and curiosity cabinets traditional practices and the Renaissance ideas, further emphasized by the Enlightenment concepts, seeking autonomy and the exercise of a pedagogical function. Then we analyze the impact exerted on it by Universal Exhibitions and Modernism in arts. Through this long journey, we try to identify the different types of mediation actions the museum has developed with its audience, from catalogs and expography to seminars, debates and educational actions. The new functions it has acquired in the beginning of the twentieth century and the revitalization process experienced in the late twentieth century transformed the museum into one of the main tourist attractions of our times. In contemporary times, new interrelated, networked pedagogical propositions arise which amplify and update this field through the collective construction of artistic experiences, mediation, debates, discussion platforms and documentation that bring publicity and cohesion to these otherwise unrelated and \'anonymous\' activities. Without necessarily abandoning its legacy and embracing exclusively the more radical alternatives, the museum can participate in the new networks that are forming and establish richer, more productive relationships, acting simultaneously as an emission and reception point where artists, institution and public actively participate, therefore dissolving the Enlightenement-based pedagogical role the museum still holds.
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Carolo, Silvia Maria <1989>. "Narrating Ars Aevi: re-envisioning and re-shaping the Contemporary Art Museum of Sarajevo in the urban space." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8929.
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Sarajevo, April 1992: within the precariousness of the besieged city under constant shelling, a group of Bosnian artists and intellectuals activated the process of 'museogenesis', namely, the adoption of a museological framework. They thus conceived a contemporary art museum for the devastated and wounded city. A museum that – according to the founder’s words – represented a civil revenge with the “peaceful weapon of culture”, a place where well-renowned contemporary artists were being invited to express their protest against the siege and the general abandonment of the city. Hence, a grassroots initiative born in the context of community bounding and cultural resistance, with the aim of safeguarding the endangered identity of Sarajevo, here intended as a cultural and artistic capital. Even though the Ars Aevi Museum has never been realized, the longstanding, fluid and open-ended museum project has been surviving over years. The museum typology has been thus reimagined and reshaped in the founders’ minds and influenced by the different historical and geopolitical contexts in which the Project operated, or by those social actors who interacted and cooperated. The Project itself has assumed different narratives, it has aspired to diverse purposes from time to time, and it renovated many times its strategies and plans. In more than two decades of activities, it has assembled a valuable art collection through a donation-based partnership with European art museums and institutions. The hundreds of artworks forming the collection are still kept inside a ‘temporary’ purpose-built exhibition space, in Sarajevo. The interpretation I chose for the reconstruction of the history and development of the Project focuses on how the museum has been envisioned, rethought and reshaped over the years, and therefore continuously projected into the future, both in terms of formal transformations, and shifts of meaning, which means through the identification of the different museum typologies that have been considered throughout the two decades. That reading permitted to illustrate all the museum typologies, comparing them to the theoretical reference models, hence to highlight their narrative details, their symbolic charge, and when possible even technical and managerial aspects. It provided the different points of view to understand the not-realization of the museum and the current situation of the Project. Hence, it facilitated the discussion of the working hypothesis on which the present thesis stands: may the Ars Aevi Museum be rethought and reshaped once again?
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Silva, Nádia Campos. "Propor sobre o existente. Projecto de ampliação de estrutura industrial para o museu do séc XXI." Master's thesis, Faculdade de Arquitectura de Lisboa, 2011. http://hdl.handle.net/10400.5/3448.
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Tese de Mestrado em Arquitectura de InterioresEste Relatório Final de Mestrado tem como objectivo, resolver a ampliação de Fábrica de Óleo de Fígado de Bacalhau, no Cais do Ginjal – Almada, adaptando-a a um programa museológico para a mostra de Arte Contemporânea. Consiste na análise vivenciada de três museus, que integrassem conceitos museológicos e arquitectónicos diversos, proporcionando uma análise comparativa da relação com a envolvente urbana, soluções de reabilitação, programa e modos de exposição que pudessem ser relacionados com o projecto de final de curso. Primeiramente, o projecto procura contrapor a ideia de que os museus são um dispositivo meramente comercial, remetendo para segundo plano a sua função primordial. Um museu tem que voltar a ser considerado um local de aprendizagem, relacionando-se de um modo mais liberto com os utilizadores: através das novas tecnologias, propondo actividades para a sua comunidade local, alimentando relações de proximidade e cumplicidade. O projecto propõe ainda uma reflexão sobre a temporalidade na Arquitectura, através da persistência do edifício que aceita, no tempo vários usos. A inserção de novas temáticas, na malha urbana, que se podem ir alterando conforme as necessidades da população, conferem dinamismo a toda a envolvente, alcançando assim a imagem proposta do Museu do séc. XXI.
The present report has as a goal, to solve the enlargement of the abandoned Fábrica de Óleo de Fígado de Bacalhau, situated in Cais do Ginjal – Almada, adapting it to a museological program that embraces contemporary art. It consists in the experienced analysis of three museums that contemplate various museological and architectonic concepts, which allowed to compare: the relationship with the urban environment, renovation solutions, program and exhibition displays that where correlated to the final project. These museums are MKM Museum Küppersmühle (Duisburg), Museum Punta della Dogana (Venice) and Matadero Intermedeae (Madrid). The project offers a reflection about the concept of Time in Architecture, through the memory of the building that accepts, in time, different uses. The insertion of new matters, in the urban fabric, that might change as the citizens needs, tally dynamism to the entire urban environment, reaching the wanted image of the XXI century Museum.
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Bueno, Delgado Patricia. "Towards a professional learning dialogue in Mexican contemporary art museums." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.
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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.
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Rohkea, Seija Sisko. "When contemporary design constructs new narratives| A look at the art of the ancient Americas installation at the Los Angeles County Museum of Art." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523246.
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In 2008, the Los Angeles County Museum of Art's collection of pre-Columbian artifacts was re-installed in a gallery designed by contemporary artist, Jorge Pardo. The history of these ancient objects dates back over three thousand years, but new meanings emerged and critical issues unfolded when these culturally displaced objects were staged within Pardo's flamboyant design. This collision of indigenous and contemporary cultural narratives is examined on three levels: the problems inherent in the constructed knowledge of ancient objects; the changes that have taken place in systems of ethnographic display; and the critical reception of Pardo's design and its implications in terms of a politics of display. This thesis argues for the need to respect cultural patrimony, but the value of critical awareness raised by Pardo's design intervention is also acknowledged.
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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.
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Antunes, Ornelas Marta Sobral. "O papel da autoria dos jovens na relação entre o museu de arte contemporânea e a escola." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398961.
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Esta investgação versa sobre diversos modos de relação entre jovens e museus de arte contemporânea, mediados pela escola. Através de quatro estudos de casos, foi possível verifcar que os jovens reclamam por pratcas mais partcipatvas do que aquelas que tradicionalmente a escola e os museus lhes oferecem. O cumprimento do currículo e as imposições programatcas dos museus consttuem constrangimentos à criação de relações pedagogicas entre museus e escolas. Além disso, a legitmidade para ensinar esta ainda muito centrada na fgura docente ou de quem dinamiza as visitas nos museus, enquanto aos alunos é atribuído um papel essencialmente subordinado. É a escola que aprende com o museu, sendo muito raramente criadas oportunidades para que o museu aprenda também com a escola. Contudo, a forma como as professoras e as educadores de museu encaram o conhecimento, a aprendizagem e a arte contemporânea é determinante para o modo como os estudantes aprendem. Se aos jovens for dado um espaço partcipatvo e de autoria na relação com o museu, isso permitra a criação propostas alternatvas às macro-narratvas, sejam estas provenientes dos museus ou mesmo da propria escola tradicional que perpetua a ordem social. No caso desta investgação, foram as propostas alternatvas concebidas pelos jovens que lhes proporcionaram a realização de aprendizagens dotadas de sentdo.This research is about the various kinds of relationship between young people and museums of contemporary art, mediated by school. Through four case studies, it was possible to find that young people claim for more participatory practices than those, traditionally, school and museums offer them. The compliance with the curriculum and the programmatic impositions of museums are constraints to the creation of pedagogical relationships between museums and schools. Moreover, the legitimacy of teaching is still very focused on the teacher and on the museum educator, while students are assigned to an essentially subordinate role. It is the school that learns from the museum, and very rarely are created opportunities for the museum learn from school. However, the way the teachers and museum educators face knowledge, learning and contemporary art is crucial to the way students learn. If young people are given a participatory and authoring space in the relationship with the museum, they will create alternative proposals for macro-narratives, whether this ones come from museums or even from the traditional school itself, perpetuating the social order. In this research, the alternative proposals designed by the young people, helped them to construct learning, to which they gave sense.
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Ferrell, Susanna S. "Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.
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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
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Nichols, Chelsea. "Human curiosities in contemporary art and their relationship to the history of exhibiting monstrous bodies." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:ba167028-a762-4846-a016-dd26870f0b5c.
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This thesis analyses the representation of so-called human curiosities in recent visual art, by drawing a connection to historical practices of exhibiting 'monstrous' and deformed bodies within institutions such as freak shows, anatomical collections and medical museums. The last two decades have witnessed a surge of scholarly interest in the histories of these institutions, particularly through the work of Robert Bogdan, Rosemarie Garland-Thomson, Rachel Adams, Richard Sandell and Samuel J.M.M Alberti, whose research can be situated in interdisciplinary humanities fields such as disability studies, museology, history of science and literary and visual studies. Concurrently, a remarkable number of contemporary artists have also turned to the history and imagery of these spaces to explore the politics of display in exhibitions of non-normative bodies. This study addresses the critical gap between these two parallel domains of inquiry, drawing upon recent studies concerning historical exhibitions of monstrous bodies to analyse how contemporary artists have simultaneously confronted and extended these traditions through their artworks. In order to show that the very notion of 'monstrous bodies' is inextricably bound up in the curious display practices that frame them, I analyse the representation of human curiosities in the work of Zoe Leonard, Joanna Ebenstein, Diane Arbus, Mat Fraser, Pauline Boudry & Renate Lorenz, Marc Quinn and John Isaacs. Each chapter examines a distinct institutional context – the anatomical collection, the freak show, the art gallery, and the contemporary medical museum – to investigate how these artists challenge the meanings conferred upon extraordinary bodies within each space, bestowing new significance upon these forms within the context of their various art practices. I argue that, by doing so, artists themselves can take on roles like curious collectors, freak show talkers and teratologists, revealing the potential for 'art' to act as yet another display framework that imposes a particular set of meanings onto anomalous bodies.
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Simão, Pedro Manuel Rodrigues Moura. "Museu. Átrio e identidade." Master's thesis, Faculdade de Arquitectura de Lisboa, 2012. http://hdl.handle.net/10400.5/3936.
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Tese de Mestrado em Arquitectura com a especialização em Arquitectura de Interiores.O presente trabalho tem como objectivo a adaptação de uma Instalação para Tratamento de Óleo de Fígado de Bacalhau em Cacilhas, Almada, para uma Extensão do Museu Colecção Berardo, de Arte Contemporânea. Propõe-se uma reflexão e uma clarificação sobre o Átrio do Museu, estruturando-o e resolvendo-o em projecto. Partindo de um breve enquadramento sobre o tema Museus, exerce-se a análise de um conjunto de Museus e de “Anti-Museus” construídos a partir da segunda metade do século XX. Segue-se a caracterização do espaço do Átrio em museus de século XXI, apresentando, por fim, uma descrição da proposta de projecto. Uma proposta de natureza cultural e comercial, de acordo com os desafios propostos para os novos museus do século XXI, separado em dois núcleos: um de “uso público”, comercial, uma construção nova, autónoma, relativa ao átrio e respectivas actividades; outro de “uso semi-público”, cultural, a partir da reabilitação da preexistência e de construção nova adaptadas ao programa museológico. Um projecto que sintetiza uma abordagem teórico-conceptual sobre o papel do Átrio do Museu, procurando conciliar a sua integração na preexistência industrial e, ao mesmo tempo, enfatizá-lo como espaço identitário e identificativo da nova realidade projectual.
ABSTRACT - The following work aims to adapt an Installation for the Treatment of Cod Liver Oil in Cacilhas, Almada, to an extension of the Berardo Collection Museum for Contemporary Art. It is proposed a reflection and a clarification of the Museum Lobby, structuring and solving it in project.Starting with a brief framework on the subject Museums, carries out the analysis of a set of Museums and "Anti-Museums" constructed from the second half of the twentieth century. The following is the characterization of the Lobby in museums of the twenty-first century and a description of the final Project. A proposal based on cultural and commercial policies, according to the new challenges posed to the museums of the twenty-first century, separated into two sections: one with "public use", commercial, a new construction related to the Lobby and its activities; other of "semi-public use," cultural, from the adaptation of the pre-existing building and the new construction to the museum program. A project that synthesizes a theoretical and conceptual approach on the role of the Museum Lobby, trying to integrate it into the industrial pre-existing building and, at the same time, to emphasize it as a space of identity and identification of the new project
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Pocock, V. A. (Valerie-Anne). "Cartographies of cloth : mapping the veil in contemporary art." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115629.
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The veil is a historically constructed site, a fixed sign used in Euro-America to conveniently and clearly dress the borders between east and west. Recent disciplines like visual and cultural studies, Third World feminism, and postcolonialism have challenged this assumption positing instead the veil's polysemy and its different sometimes multiple meanings according to the individual, and the historical and geographical context. Representations of the veil in contemporary art have appeared quite frequently in Euro-America in the last couple of decades, and in the thesis I set out to demonstrate that many of these visual texts also propose significant reinscriptions of the sign capable of displacing dominant discourse. However, because of the veil's metonymy in Euro-American mainstream culture and 'collective gaze,' the thesis first charts the topography of the trope in history, discourse and visual culture as its entrenchment obviously complicates any use of the sign by artists of Muslim origin exhibiting within the western art apparatus. It then traces three alternative narratives of the veil evident in contemporary practice underscoring their critical importance with regards to gender, politics, representation and the conception of self. I must however concede that the major impetus behind the analyses of the contextualized veil, the postcolonial veil and the subject-ive veil is a belief in the radical power of visual texts to facilitate transnational literacy and translation. The study therefore focuses on the relationship between the location -territorial or ideological- of the gaze and the image. It demonstrates that this relationship or space is protean, plural and full of promise both individually and collectively.
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Menghi, Silvia. "Analisi del funzionamento strutturale del "Paulistano athletic club gymnasium" e del "Museum of contemporary art U.S.P." (Paulo Mendes da Rocha)." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amslaurea.unibo.it/2005/.
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Gurgel, Thais Macedo. "Exposição e texto na arte contemporânea." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-03122013-134630/.
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Os textos apresentados nas exposições de arte são importantes recursos de mediação nesse ambiente. Este trabalho faz uma aproximação a essa produção textual, usualmente desenvolvida pela curadoria e que se constitui como o principal canal de comunicação entre o realizador da mostra e o seu público. Em especial, há a preocupação em compreender a dinâmica de relações proporcionada pelo uso de textos em exposições de arte contemporânea, cuja recepção estética pressupõe a participação do espectador. A partir de exposições e textos tomados como exemplares, busca-se delinear as formas mais comuns desses escritos, bem como regularidades em termos de conteúdo. Um panorama histórico do uso de textos em museus de diferentes partes do mundo também ajuda a situar as demandas por essas produções textuais e o seu emprego ao longo do tempo. Propõe-se, por fim, o texto de exposição em interação com os demais elementos do espaço expositivo como a expressão de um entendimento sobre a função educativa da exposição, a julgar pela forma de endereçamento assumida em relação ao visitante.The texts shown in art exhibitions are important resources for mediation. The present thesis overlooks this textual production, which is usually written by the curators and is commonly the main source of communication between the exhibit producer and its audience. In particular, there is a concern on understanding the dynamics provided by the use of texts in contemporary art exhibitions, which aesthetic response requires viewer participation. From exhibitions and texts taken as examples, we seek to outline the most common forms of writing in art spaces, as well as content patterns. A historical overview of the use of texts in museums in different parts of the world also adds to place the demands for this textual production and its use over time. Finally, it is suggested that text interacting with other elements in the exhibition room express an understanding of the educational role of the exhibition, considering the way to address the spectator.
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West, Kim. "The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977." Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.
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This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.Space, Power, Ideology
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Mendonça, Fabiola Moulin. "Arte e arquitetura: diálogo possível um estudo de caso sobre o Museu de Arte da Pampulha." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-04072013-113337/.
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Este trabalho investiga os campos fronteiriços da arte, da arquitetura, e da expografia a partir da proposta museológica implantada no Museu de Arte da Pampulha em 2001. Procura traçar uma linha histórica da edificação, de seu funcionamento como Cassino da Pampulha, de 1942 a 1947, à sua inauguração como Museu de Arte de Belo Horizonte, em 1957, e seu funcionamento até os anos 2000. A pesquisa procura compreender as propostas de museu estabelecidas desde os anos 1960 até 2010, a partir da análise dos documentos históricos e das exposições realizadas, com foco no período entre 2001 e 2010, quando se estabeleceu um novo conceito para o Museu, tratando sobretudo de um programa expositivo em estreito diálogo com sua edificação. Entremeados à discussão desses projetos são abordados práticas, pensamentos e manifestações artísticas diretamente conectados às experiências artísticas dos anos 1960, que experimentaram projetos e situações site-specific e desmaterialização da arte. Primeiramente tenta situar a relação entre arte, arquitetura e paisagem no conjunto arquitetônico e paisagístico da Pampulha, e avaliar em que medida as edificações se relacionam e estabelecem diálogos com a arte. Analisa a arquitetura do Museu e sua função, levantando os problemas museológicos existentes. Passa, então, a uma análise de práticas artísticas experimentadas pelo Museu por meio da intervenção Territórios, em 1968, e da exposição Porto Pampulha, em 1990. Na sequência, apresenta o novo projeto curatorial e analisa as mostras realizadas sob a curadoria de Adriano Pedrosa e Rodrigo Moura e, em seguida, por Marconi Drummond, procurando traçar dois modos distintos de enfrentar as questões pertinentes à relação entre arte e arquitetura no Museu. Eis os modos de tratar a questão pela curadoria: através de um enfrentamento direto das obras com o espaço, com a produção e concepção de trabalhos site-specific comissionados pelo Museu, e por meio de projetos em que a relação é permeada por projetos expográficos que dialogam com a arquitetura, as obras e o conceito curatorial. Finalmente, procura destacar que o caminho da arquitetura para a arte contemporânea é um exercício de tensionar limites e conceitos modelados pela arquitetura moderna sem deixar de aderir a ela; e que, no caminho da arte contemporânea para a arquitetura, abrem-se perspectivas aos trabalhos que inevitavelmente têm que forçar fronteiras para reinventar espaços.This essay investigates the borders where art, architecture and the expography meet based on the museological proposal undertaken at the Pampulha Museum of Art in 2001. It seeks to trace the history of its development, from the time during which it functioned as the Pampulha Casino between 1942 and 1947 to its re-opening as the Belo Horizonte museum of art in 1957 and its activities up to the 2000s. The research seeks to understand the proposals for the museum established between the 1960s and the year 2010, based on an analysis of historical documents and of the exhibitions held there, with a focus on the period between 2001 and 2010, when a new concept for the museum was established, consisting mainly of an expository program in close dialogue with its edification. Interspersed with the discussion of these projects, artistic practices, thought processes and manifestations directly connected to the artistic experiences of the 1960s, and that experimented with sitespecific projects and situations and the de-materialization of art, are discussed. It first attempts to situate the relationship between art, architecture and landscape in the overall architectural and landscape context of Pampulha, and assess to what degree the edifications relate to one another and establish dialogues with art. It analyzes the architecture of the museum and its function, raising existing museological problems. It then moves on to an analysis of artistic practices experimented by the museum through the intervention Territórios (\"Territories\") in 1968 and the exhibition Porto Pampulha (Pampulha Port) in 1990. After this, it presents the museum\'s new curatorial project and analyzes the exhibitions carried out under the curatorship of Adriano Pedrosa and Rodrigo Moura and, later, by Marconi Drummond, seeking to outline two distinct ways of confronting issues pertinent to the relationship between art and architecture in the museum. These are the ways of dealing with this issue established by the curatorship: by directly confronting the works with the space, with the production and conception of site-specific works commissioned by the museum, and through projects in which the relationship is permeated by expographich projects that dialog with the architecture, with the works and with the curatorial concept. Finally, it seeks to highlight the fact that the path from architecture to contemporary art is an exercise in the tensioning of limits and concepts modeled by modern architecture without actually breaking away from it, and that, on the path from contemporary art to architecture, perspectives open up to the works that inevitably have to push frontiers in order to reinvent spaces.
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Liu, Hsiu-Tsen, and 劉修岑. "Open-Photography Policy in Art Museums: a Case Study on Museum of Contemporary Art, Taipei." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/h7ubp9.
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碩士國立臺灣藝術大學
藝術管理與文化政策研究所
103
The contemporary art museums are now facing the challenges in management and attitude caused by technology facilities. This study focuses on the phenomenon that visitors take photos in museum and sorts out the development regarding the issue in all large art museums globally, which summarized three stages: interdiction, authorization and encouragement. Taking the first museum with contemporary art in Taiwan which is also the first one allowing visitors to take photo with camera flash mode off as the research subject, it conducts audience measurement. With the comparison and contract between the questionnaire survey in quantitative research and literature review as well as in-depth interview in qualitative research, the study explores the features of audience group who take photo in art museums and learns the implementation of open-photography policy, by which it expects to arouse the museum administrators’ attention on the policy. Besides, the results of study point out that most audience take photo for personal or social reasons. Thus, proposed in the conclusion the concept on art museums visitor's photographic seeing. Let visiting art museums become an educative leisure by combining sightseeing photography motivation with learning, a new way to experience art museums through photography. Also, proposed a new approach on photography management, by spreading the experience in the case study on Museum of Contemporary Art, Taipei and French photography management charter to other art museums in Taiwan, to serve as primary references for open-photography policy.
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Li-mei, Wu, and 吳麗美. "Design and Concept of the Museum of Contemporary Art." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/25561042040049609318.
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碩士國立臺灣師範大學
工業教育學系
94
Abstract In the present generation of creativity, the role of cultural museums has become more revealing because of the globalization concept. Under multicultural competition, enhanced creativity with a distinctive quality of self-culture becomes the method to promote a country’s competitiveness. The art forms of the second half of the 20th century has been diverse and ever-changing. Artists are always searching for breakthroughs as their creative priority. Art has evolved to be more socialized, more literature-based, and more unique. The artistic forms have increased and they affect the different domains in developing new creative methods. In terms of the development of artistic ideas, Taiwan has been known internationally to belong to the border region. The relationship between the organization of space in museums and the artwork has mostly been hindered by technical aspects relating to the tour routes, art collection, and art exhibits. These facilities expend a large quantity of social and government resources. In the present era of information overload, a decline in visitor patronage has required assistance from government funds to subsidize a solution to this predicament. Through the analysis of overseas museums of contemporary art in recent years, we hope these complex art museums can summarize the new creative design connotations and originality found abroad in order to attract the general public. This will provide ideas for the plan designers of future Taiwanese art museums, help us understand the new concepts of the modern Museum of Contemporary Art, and to create an unusal kind of ingenuity and originality. This research uses the Artistic Creations Analogy research method, which includes: the expression of the artist’s concepts, the architect’s investigations into spatial problems and his opinions on time issues serve as the items of analysis for museum design concepts. With research of ten different cases, we discovered an exemplary museum of contemporary art. The design must first satisfy three essential spatial elements: the first item is creation method (concept), namely creative attempts, also known as the ability of spatial practice. The second item is that it must satisfy spatial features, also known as representations of space, which is an ability that relates to establishing knowledge. The third item relates to the perspective of time, also known as representational space, which is a knowledge based on experience and sense; it is a form of memory hidden within bodily interaction. The primary form of modern contemporary art is the portrait, which is shown in the development aspect of museums of contemporary art. In recent years, “the Epidermis” has become the most popular architectural design. From “Sensual Love” of the Guggenheim Bilbao to "The Puritan" of Kazuyo Sejima, advance notice has been given on the “unfolding” era of artwork and art museums.
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Tien-hui, Hsu, and 徐瑱慧. "A Research of Art Museum Audience’s Experiences in Contemporary Art Guided Tours." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/31163956493164297393.
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碩士國立台北師範學院
藝術與藝術教育研究所
93
From the audience’s viewpoints, I explore guided tours’ impacts and meanings to the audience of contemporary art. Due to the lack of related studies, I hope my research can make up the gap between “the supposed” effects and the “actual” effects. With the methods of phenomenology, I would like to find out the essence of the audience’s experiences in attending guided tours and the meanings hidden behind. My study will answer questions as follows: (a) What is the audience’s experience in contemporary art guided tours? (b) What are the applied methods and what is in their mind as the audience interpreted the contemporary artworks? (c) What does the guided tour mean to the audience? I chose the Taipei Biennial—Great Theatre of the World in Taipei Fine Arts Museum as my study cases. I adopted different sampling strategies according to the purpose of the research. The objects of my research are the audience during this exhibition. The study was conducted in two ways. First, I kept a record by participant observation and then at the end of the tour I asked the audience who participated in the tour for a semi-structural in-depth interview. According to the audience’s backgrounds, willingness, and expressing abilities, I selected twelve out of the thirty-eight interviewees to have the second stage interview. Each interview lasted from forty minutes to two hours. At last, I got twenty-four verbatim transcriptions. Based on the data analysis principles of hermeneutical circle, I organized the interview material, the records of participant observation, field notes, feedback of the interviewees and did the text analysis in the analysis style. Interviewees and I reached an intersubjective agreement and induced their reflections of attending a guided tour. I summed up four key subjects in this research：(a) Docents have a great influence on the feelings of the audience. (b) Audience appreciate the artworks through the eyes of the docents. (c) Audience expect rewards through spontaneous learning. (d) Docents serve as the communication medium between the audience and the artworks. By exploring the minds of the audience, I provide the art education organization with the directions for further educational policies and researches. Keywords： Qualitative research Art education Contemporary art Guided Tours Audience experiences