Log in

Relevant bibliographies by topics / The Degenerate Art Exhibition / Dissertations / Theses

To see the other types of publications on this topic, follow the link: The Degenerate Art Exhibition.

Dissertations / Theses on the topic 'The Degenerate Art Exhibition'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'The Degenerate Art Exhibition.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

McKeon, Joseph Michael. "Constructuing the Category Entartete Kunst: The Degenerate Art Exhibition of 1937 and Postmodern Historiography." Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1142622901.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

McKeon, J. Michael. "Constructuing [sic] the category Entartete Kunst the Degenerate Art exhibition of 1937 and postmodern historiography." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1142622901.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Petcavage, Stephanie. "Fascist Art and the Nazi Regime: The Use of Art to Enflame War." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

BRUHN, KATHERINE LENEE. "DEGENERATE ART AND NAZI GERMANY." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190433.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Porobic, Damir Verona. "MFA thesis exhibition." Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4189.

Full text

Abstract:

Thesis (M.F.A.)--West Virginia University, 2005.
Title from document title page. Document formatted into pages; contains vi, 30 p. : ill. (some col.). Includes a video file in the QuickTime format. Includes abstract. Includes bibliographical references (p. 30).

APA, Harvard, Vancouver, ISO, and other styles

6

MASSON, MICHEL NUNES LOPES. "SPACE IN THE ART OBJECT EXHIBITION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5715@1.

Full text

Abstract:

O Espaço na Exibição de Obras de Arte é um estudo que visa entender o papel do espaço expositivo nas exibições de obras de arte. Assume sua interferência na fruição das obras como uma ação nos limites do campo do design. Parte de um estudo histórico e social das exibições para construir as bases para suas conjecturas, buscando entender em que medida o design de exibições pode se constituir como linguagem. Para isso, se vale da dicotomia existente nesse espaço, a do espaço neutro e ativo, como um de seus principais pontos de apoio.
The Space in Works of Art Exhibition is a study that intends to understand the role of the enviroment in art exhibitions. Assumes it`s interference in the fruition of pieces as an action towards the design field limits. Starts from an historical and social analisys of exhibition to build the basis under it`s proposals, trying to understand how the exhibitions design can be recognized as language. For such, it makes use of the space`s existing dicotomy, the neutral and the active space, as one of it`s pillars.

APA, Harvard, Vancouver, ISO, and other styles

7

Christiansen, Lauren. "Redefining exhibition in the digital age /." This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

Full text

Abstract:

Thesis (Ph.D.)--Brown University, 2005.
Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).

APA, Harvard, Vancouver, ISO, and other styles

9

Molony, Mary Carolyn. "Confessions: A BFA Exhibition." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/154.

Full text

Abstract:

The artist discusses her Bachelor of Fine Arts Exhibition, Confessions, held at the Tipton Gallery, from November 14th to November 25th. The exhibit portrays how the artist responds to issues such as organized religion, war, and politics. Being drawn to art from the Renaissance to Baroque era, the work encorporates an "old world" aesthetic, also with an emphasis on Gothic architecture.

APA, Harvard, Vancouver, ISO, and other styles

10

Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Caldwell, Andrew E. "Daylighting and exhibition at the High Museum of Art." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/23971.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

Full text

Abstract:

At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West. In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.
published_or_final_version
Fine Arts
Master
Master of Philosophy

APA, Harvard, Vancouver, ISO, and other styles

13

Kim, Yong-Seung. "An approach to evaluating exhibition spaces in art galleries." Thesis, University of Bath, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303059.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Columbus, Sanford Jillian. "Mobile Exhibition System." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1898.

Full text

Abstract:

Through the development and design of a Mobile Exhibition System (MES) in this thesis, I will demonstrate the benefits and possibilities of a flexible and mobile system within an exhibition environment. A flexible system will be able to adapt to a wide range of content, while at the same time, maintaining a synergy between its form and function. By the reuse and reappropriation of shipping containers as the exhibition envelope, the goal of mobility can be achieved, reaching out to those who might not otherwise experience learning through an exhibition environment.

APA, Harvard, Vancouver, ISO, and other styles

15

Hatcher, Lynn Anne. "Exhibition in the Curriculum: Preparing Students to Complete the Artistic Cycle." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/49.

Full text

Abstract:

This curriculum exposes students in Visual Arts classes to the art of exhibition and prepares them to complete the artistic cycle by exhibiting their own work and others. The curriculum is presented in the form of a guide book in which the main body of lessons are geared towards high school Intro to Art classes with quick tips and activities that are adapted toward all grade levels. By learning about all aspects of exhibiting art, theme development, installation design, accessioning and preparing art, and publicity, students are given another tool with which to create a connection with artistic mediums and history. The final goal is to infuse exhibition skills into every aspect of the curriculum as a natural part of learning and talking about art.

APA, Harvard, Vancouver, ISO, and other styles

16

Khut, Chiew-Lee. "Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich /." Title page, abstract and table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Flannagan, Wickham Catesby. "Translation: A Journey Toward Ethnographic Art." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2233.

Full text

Abstract:

This paper breaks down my process of transitioning to a new environment through ethnographic documentation. Through the progression of my creative work, I explore the various ways in which I express my own internal feelings through my art. By expressing an alienation within a foreign country in a multitude of filmic ways, these depictions help illustrate my mental and physical journey. My work is informed by psychoanalytic theory and I am most influenced by Jacques Lacan and Sigmund Freud. These theories help me understand the human condition and how I create media art to help me come to terms with my surroundings. Another part of my influence is the genre of ethnographic film, and in my use of this style, I attempt to portray the isolation that I’ve experienced as an American citizen while living in Ankara, Turkey. Many contemporary artists have influenced my approach to the post-production treatment of my ethnographic footage such as David Lynch and the Propeller Group. In addition to a summary of these influences, I discuss the thesis exhibition and my plans for the future.

APA, Harvard, Vancouver, ISO, and other styles

18

Rodriguez, Kathryn Lorraine. "Henry Meloy the portraits : a narrative of the exhibition /." The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05202008-125608/.

Full text

Abstract:

The Montana Museum of Art & Culture (MMAC) exhibited the portraiture of Montana modernist painter Henry Meloy in July and August of 2007. As curatorial intern, I assisted in the mounting of this exhibition and researched the biography of and portraits created by Meloy. The professional paper describes the process of mounting the show from the acquisition of the permanent loan of the Meloy collection by the MMAC through exhibiting and and shipping the work. This description is supplemented with biographical information and critical assessment of the portraits, which show stylistic developments in visual arts in the United States between 1920 and 1950.

APA, Harvard, Vancouver, ISO, and other styles

19

Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.

Full text

Abstract:

Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).

APA, Harvard, Vancouver, ISO, and other styles

20

Arnold, Susanne K. "An Exhibition of Recent Work by Robert Colescott." VCU Scholars Compass, 1989. http://scholarscompass.vcu.edu/etd/4343.

Full text

Abstract:

My thesis project involved organizing, curating, designing and mounting a temporary traveling exhibition of recent work by Robert Colescott, a nationally-known black American artist. The Eye of the Beholder: Recent Work by Robert Colescott was installed at the Marsh Gallery of the University of Richmond September 7-28, 1988. It included 12 large-scale acrylic paintings on canvas and four framed drawings completed since 1981. Colescott's figurative paintings are known for their satirical commentary on society in America and on the history of Western art.

APA, Harvard, Vancouver, ISO, and other styles

21

Ballard, Tammara L. "A Case Study of the Springville Museum of Art Pre-Exhibition Workshop." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.

Full text

Abstract:

The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.

APA, Harvard, Vancouver, ISO, and other styles

22

Marshy, Mona C. "Visual art, exhibition, and musical performance : performing Palestinian identities in exile." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24906.

Full text

Abstract:

Both art and identity are constituted through institutional, transnational, transcultural, aesthetic, bodily, discursive and social processes. Individual subjectivities are given language, bodily expression, validation, and social force through artistic expression. Understanding aesthetic 'languages' and processes of art provides insight into the dislocation of Palestinians in the context of contested collective narratives and disrupted languages of signification. This thesis examines how works of visual art, musical performances, and exhibition contexts shape discourses of identity and experiences of belonging for artists and audiences. Dispossessed of their ancestral homes and land, and dispersed throughout the world, Palestinians are removed from the historical places of memory that are central to the Palestinian national narrative. This dissertation examines works of art and performances by selected Palestinian artists living in the West (five in Canada, one in the United States, and one in England). The artists reflect a wide range of diaspora experiences and negotiations, and the study provides insight into ways in which individuals and communities regenerate, recreate, and re-member themselves out-ofplace. I argue that the seven artists' works of visual art and musical performance enact memory, Palestinian national narratives, cultural politics, postmemory, and belongings. I also examine processes of exhibition, media representation, and cultural politics of a national museum exhibit in Canada, entitled The Lands Within Me: Artistic Expressions by Canadian Artists ofArab Origin, as a means of better understanding ways that institutional and representational contexts signify identities of art, artists, and audiences. The study demonstrates that art articulates as much with aesthetic styles and vocabularies as with transnational, transcultural, and historical forces. I argue that the works, performances, and exhibition processes enact identities and relations of power, and that at stake are boundaries of identity, as well as the geopolitics of multiculturalism and international relations.

APA, Harvard, Vancouver, ISO, and other styles

23

Sharp, Michael G. "Ghost Water Exhibition." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6272.

Full text

Abstract:

The Ghost Water exhibition of artworks by Michael Sharp was comprised of four main works titled: 30 x 60 Minute Grid Series, Suspension, History/Prehistory, and Lake Bonneville Remnants. The artwork was created as a reaction to the land that once held the prehistoric Lake Bonneville and to its current remnant Great Salt Lake. The work explores the dialogue between absence and presence.

APA, Harvard, Vancouver, ISO, and other styles

24

Bernie, Victoria Clare. "The art of disappearance : the architecture of the exhibition and the construction of the modern audience." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23694.

Full text

Abstract:

A critical culture requires that the site of appearance, the temporal coincidence of the subject, the object and the site, be acknowledged as a ground for meaning. Through a built investigation and a theoretical address this thesis examines the site of appearance for contemporary creative practice; the extent to which it continues to be defined by and contained within the conceptual frame of the Enlightenment aesthetic as the privileged discourse of the object. In a detailed analysis of the architecture of the exhibition, the 18th century Academy Salon and the Parisian bourgeois hotel are juxtaposed with examples from the late 20th century practice of site-specific exhibition. This comparison reveals an essential connection between art and architecture, between architectural form and social representation. An alternative concept of the exhibition as a site of appearance thereby acknowledges individual, temporally specific interpretation as a potential ground for critical discourse within the contemporary art institution.

APA, Harvard, Vancouver, ISO, and other styles

25

Meynell, Katharine. "Time-based art in Britain since 1980 : an account of an interdisciplinary practice." Thesis, Royal College of Art, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Chaney, Robert Lawrence. "Robert L. Chaney's the educational implications of the traditional art museum exhibition: a case study of a modernist exhibition design." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1334855180.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Lauritis, Beth Anne. "Lucy Lippard and the provisional exhibition intersections of conceptual art and feminism, 1970-1980 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925733141&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Mantooth, Meredith Diane. "Reconstructing Disrupted Lives : the Canadian exhibition of children's art from refugee camps." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42211.

Full text

Abstract:

During the 1980s International Observers from Canadian churches and development organizations went to Central American refugees living in Honduras and México who fled from conflict zones in El Salvador and Guatemala, respectively. While there the observers commissioned and collected drawings by children living in the refugee camps. Shortly after this, the drawings were exhibited across Canada from 1986-1987 as part of the exhibition Disrupted Lives: Children’s Drawings from Central America. In this paper I argue that the exhibition of children’s drawings gave voice to a silenced aspect of Latin American history – the experiences of children living abroad in refugee camps displaced by the violence and civil wars in their home nations Guatemala and El Salvador. The “unsilencing” (Michel-Rolph Trouillot; 1995) of their histories also positions the drawings as illustrated examples of testimonio as defined by John Beverley (2004).

APA, Harvard, Vancouver, ISO, and other styles

30

Smith, George Wilson. "Displaying Edinburgh in 1886 : the International Exhibition of Industry, Science and Art." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11771.

Full text

Abstract:

The International Exhibition of Industry, Science and Art held in Edinburgh in 1886 was the first universal international exhibition to be staged in Scotland. This thesis examines the event as a reflection of the character and social structure of its host city and as an example of the voluntary organisation of an ambitious project. The background to the Exhibition is located in the progress of large-scale exhibitions in Victorian Britain, in competition between cities, and in Edinburgh’s distinction as an administrative and cultural centre and a national capital. The Exhibition’s organisers are situated within the city’s networks of power and influence and its circles of commerce, industry and municipal government. The space created to host the Exhibition is examined as an ideal depiction of Edinburgh as both a modern and a historic city. The origins of the exhibitors populating the Exhibition space are analysed, and their motivations and exhibiting strategies are scrutinised. The composition of the visitors to the Exhibition is considered and the development of the event as a venue for popular entertainment and spectacular display is discussed. In conclusion the chaotic aftermath of the project is examined, together with its influence on subsequent British exhibitions.

APA, Harvard, Vancouver, ISO, and other styles

31

Baker, Daniel Alexander. "Technologies of encounter : exhibition-making and the 18th century South Pacific." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13703/.

Full text

Abstract:

Between 1768 and 1780 Captain James Cook led three epic voyages from Britain into the Pacific Ocean, where he and his fellow explorers- artists, naturalists, philosophers and sailors, were to encounter societies and cultures of extraordinary diversity. These 18th Century South Pacific encounters were rich with performance, trade and exchange; but they would lead to the dramatic and violent transformation of the region through colonisation, settlement, exploitation and disease. Since those initial encounters, museums in Britain have become home to the images and artefacts produced and collected in the South Pacific; and they are now primary sites for the representation of the original voyages and their legacies. This representation most often takes the form of exhibitions and displays that in turn choreograph and produce new encounters with the past, in the present. Drawing on Alfred Gell's term 'technologies of enchantment' my practice reconceives the structures of exhibitions as 'technologies of encounter': exploring how they might be reconfigured to produce new kinds of encounter. Through reflexive practice I critically engage with museums as sites of encounters, whilst re-imagining the exhibition as a creative form. The research submission takes the form of an exhibition: an archive of materials from the practice, interwoven with a reflective dialogue in text. The thesis progresses through a series of exhibition encounters, each of which explores a different approach to technologies of encounter, from surrealist collage (Cannibal Dog Museum) and critical reflexivity (The Hidden Hand), to a conversational mode (Modernity's Candle and the Ways of the Pathless Deep).

APA, Harvard, Vancouver, ISO, and other styles

32

Petersen, Charlise. "Visual trauma: Representations of African bodies in the 1983 Contre Apartheid Exhibition." University of the Western Cape, 2018. http://hdl.handle.net/11394/6254.

Full text

Abstract:

Magister Artium - MA (English)
After the 1976 student uprising, South Africa entered a period of increased violent state repression. The struggle against apartheid also became increasingly globalised, as can be seen in the UN resolution and the rise of various international anti-apartheid organisations. My thesis looks at the various ways in which art was used as a response to the crisis of late apartheid in the 1980s, focusing on a landmark international exhibition, the Art Contre Apartheid exhibition which opened in Paris on 1983. It examines the context and history of the Art Contre Apartheid collection, and follows its path to its current location at the Mayibuye Archive at the University of the Western Cape, where it mostly languishes in packing crates. My research locates its analysis of the works in broader debates around art and politics during the struggle years in South Africa, but also to highlights the continuities and contrasts between international responses to apartheid, and local struggle art produced in the period surrounding the launch of the exhibition. Some of most compelling works of art in the collection depict the human form, and register acts of torture. The analysis focuses specifically on depictions of a fragmentation and dismemberment of the human body. Drawing on Elaine Scarry's argument about the limitations of language as an adequate response to trauma, my research develops an analysis of these works that demonstrates how the body becomes a privileged site in which violent political contestations are made visible. The thesis also deals extensively with the 'absence of form', which highlights the various instances in the ACA collection where abstract art was used as a signifier of pain, and thus the unspeakable effects of apartheid.

APA, Harvard, Vancouver, ISO, and other styles

33

Shanks, Sarah M. "The Memory Yields: B.F.A. Thesis Exhibition." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1401583720.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Hoben, Kelly Anne. "AUTHORSHIP, AGENCY, AND AUTHENTICITY IN THE STUDENT-CENTERED ART EXHIBITION: A PARTICIPATORY ACTION-RESEARCH CASE STUDY." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211980552.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Robledo, Arcos Maria Andrea. "Electronic design and publishing for the Mexican textiles exhibition /." Online version of thesis, 1990. http://hdl.handle.net/1850/11249.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Lieberman, Christina Michele. "A handbook for developing an exhibition guide for a student union art gallery." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.

Full text

Abstract:

This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.

APA, Harvard, Vancouver, ISO, and other styles

38

Andreotti, Libero. "Art and politics in Fascist Italy : the Exhibition of the Fascist Revolution (1932)." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14179.

Full text

Abstract:

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.
Title as it appeared in M.I.T. Graduate List, Sept. 1989: Art and politics in Italy; the Exhibition of the Fascist Revolution.
Includes bibliographical references.
by Libero Andreotti.
Ph.D.

APA, Harvard, Vancouver, ISO, and other styles

39

Van, der Heijden Merijn. "The Exhibitionary Complex: An Inquiry into the Role of the Modern Art Exhibition." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394802552.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Wray, Lynn Marie. "Turning left : counter-hegemonic exhibition-making in the post-socialist era (1989-2014)." Thesis, Liverpool John Moores University, 2016. http://researchonline.ljmu.ac.uk/4426/.

Full text

Abstract:

This research examines how the practice of curating has been used to further counter-hegemonic agendas in public art institutions since 1989. The central aim is to provide a fuller, contextualised, and medium specific understanding of the how the institutional exhibition might be used to challenge the hegemony of neoliberalism and the post-political consensus politics that sustains its dominance. It provides insights, through both historic case studies and reflective practice, that problematise the idea that the institutional art exhibition is a viable medium for counter-hegemonic critique, or represents the ideal space for the development of an agonistic public discourse. This thesis presents collaborative research undertaken with Tate Liverpool and Liverpool John Moores University. The research presented both extrapolated from, and contributed to, the development of an exhibition, co-curated with Tate Liverpool, entitled Art Turning Left (8 November 2013 – 2 February 2014) and a supplementary publication of the same name. The first section investigates how the idea that curators can counter neoliberal dominance, through institutional exhibition-making, developed. It draws from analyses of previous exhibitions, and the theory of Chantal Mouffe, in order to critically evaluate the curatorial application of counter-hegemonic critique and agonistic practice. It also provides a review of how exhibitions (held in major art institutions since 1989) have articulated politics, in order to determine their relationship to neoliberal dominance, and to identify significant gaps in the dialogue facilitated by these institutions. These analyses provides the theoretical and contextual grounding for the final two chapters, which provide a rationale and critical evaluation of my own attempt to develop an alternative counter-hegemonic curatorial strategy for the exhibition at Tate Liverpool. They document, and analyse, the areas of dissensus, and the ideological and pragmatic limitations that emerged, in trying to realise these theoretical propositions (in practice) in a public art museum. The thesis therefore provides a critical framework for the development of an alternative practice that positions the exhibition as a form of post-political critique and specifically targets the hegemonic role that institutional exhibitions play in reinforcing class distinctions and devaluing nonprofessional creativity.

APA, Harvard, Vancouver, ISO, and other styles

41

Howard, Justin K. "The Barbershop: a photographic documentation and exhibition." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/854.

Full text

Abstract:

In this project I explore the environment that surrounds and frames my life experiences. Interests in form, architecture, vernacular typographyand community blend into a photographic documentationcommunicating my perceptual experience of Richmond barbershops through public exhibition.

APA, Harvard, Vancouver, ISO, and other styles

42

Morrison, Ann Katherine 1929. "Canadian art and cultural appropriation : Emily Carr and the 1927 exhibition of Canadian West Coast Art - Native and Modern." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31244.

Full text

Abstract:

In December 1927, Emily Carr's paintings were shown for the first time in central Canada in an exhibition called Canadian West Coast Art - Native and Modern. This event was held at the National Gallery of Canada in Ottawa, and marked a major turning point in Carr's career, for it brought her acceptance by the intellectual and artistic elite with their powerful networks of influence, as well as national acclaim in the public press. To this point, art historical writings have tended to focus on the artist and her own experiences, and in the process, the importance of this experimental exhibition in which her work was included has been overlooked and marginalized. This thesis attempts to redress this imbalance by examining the exhibition in detail: first, to analyze the complexities of its ideological premises and the cultural implications of juxtaposing, for the first time in Canada, aboriginal and non-native artistic production within an art gallery setting; second, to consider the roles played by the two curators, Eric Brown, Director of the National Gallery, and C. Marius Barbeau, chief ethnologist at the National Museum; and third, to indicate the ways in which Emily Carr's works and those of the other non-native artists functioned within the exhibition. During the 1920s, both the National Gallery and the National Museum were caught up in the competitive dynamic of asserting their leadership positions in the cause of Canadian nationalism and the development of a national cultural identity. In this 1927 exhibition, these issues of nationalism, self-definition and the development of a distinctly "Canadian" art permeated its organization and presentation. The appropriated aboriginal cultural material in the museum collections that had languished within storage cases was to be given a contemporary function. It was to be redeemed as "art," specifically as a "primitive" stage in the teleological development of the constructed field of "Canadian" art history. In this elision process, the curators relegated the native culture to a prehistoric and early historic past, suppressing its own parallel historical and cultural development. The exhibition also presented the native objects as an available source of decorative design motifs to be exploited by non-native artists, designers and industrial firms in their production of Canadian products, underlining the assumption of the right to control and manipulate the culture of the colonized "Other." Emily Carr"s twenty-six paintings, four hooked rugs and decorated pottery represented the largest contribution from any single artist. In their interpretations of the native culture, Carr and the other non-native artists were also engaged in a "self-other" definition, and had filtered their perceptions through the practices and conventions of western art traditions, especially in the use of modernist techniques. In the context of the exhibition, the artistic production by the fourteen non-native artists, including Carr, was caught up in a reaffirmation of the ideological and cultural positions of the two curators and the institutions they represented. The alternate discourses that could have been provided by the native people remained unheard.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

APA, Harvard, Vancouver, ISO, and other styles

43

Högström-Schnee, Linn. "Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547.

Full text

Abstract:

The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The Timeline. The exhibition presents Western art from 1500 to 1914 and design and portraiture from 1500 until today in a chronological arrangement. In the first chapter of the analysis, the exhibition is compared to previous arrangements of the permanent art exhibition at Nationalmuseum, as well as to historical museological trends. In the second chapter, Carol Duncan’s perspective of the ritual structure is applied in order to explore how the specific design of the exhibition affects visitors and objects, and how mening and narrative is created. The study does not primarily focus on individual objects, but on the general design and structure of the exhibition space. The study concludes that historical references can be found in the current exhibition – mainly to a sensual, intimate, and aesthetic mode of display from the early twentieth century. Some principles which have been dominating in art museums since the mid-twentieth century are challenged, including the isolation of objects; use of vast, empty spaces; division between different object categories; and sparse, single-row hanging. The varied and dynamic hanging of the current exhibition, in contrast to a repetetive one, creates different patterns of movement and object-visitor interactions. Still, the ritual structure of the exhibition works to direct visitor attention and behaviour, conveying an art-historical narrative. Meanings concerning objects’ historical context are fascilitated through the interplay between visual arrangement and textual information.

APA, Harvard, Vancouver, ISO, and other styles

44

Farkhatdinov, Nail. "From decoding to enacting : an ethnographic study of the social relations at exhibition sites : a contribution to the "new sociology of art"." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196295.

Full text

Abstract:

This thesis is a sociological exploration of emergent social relations at art exhibition venues. It focuses on the experience of art which the dominant “decoding” metaphor fails to describe conceptually and empirically. To grasp the interactional and emergent character of interaction with art, I constructed a framework that defined audiences as sets of emerging social relations. Building on the concepts of experience (Merleau-Ponty), enchantment (Gell), multiplicity and enactment (Latour, Mol and others), I emphasise the situated and embodied nature of art experience. The study draws on a series of ethnographic observations at the exhibition sites of a number of Moscow art institutions. It is supplemented with unstructured interviews with visitors and art professionals at these venues (artists, curators, wardens etc.). Conceptually, I have suggested a dual social ontology that art establishes in the events of perception. Bringing uncertainty into visitors’ actions, art enables interactions in which visitors establish meanings, and leads to practices that make their art experience organized and less problematic. The thesis examines the ways art experience becomes stable through meaning-making events supported by socio-material relations. These relations enable participants to produce recognizable actions. The process of meaning-making at the exhibitions is seen not as a direct communication of pre-given aesthetic meanings (as the decoding perspective would assume), but rather is understood as consisting of multiple instances of micro-level discoveries which mediate an “enchanting” form of art experience. Enchantment engenders the social relations of expertise which visitors practically achieve in their interaction with material objects and through performances of meaningfully recognizable actions. T Though the study mainly focuses on the experience of interactive art installations, I argue that the conceptual considerations and empirical results are relevant to the experience of other forms of art. The thesis is intended to make a contribution to the so-called “new sociology of art”, not just by subjecting the dominant Bourdieu-inspired assumptions about “decoding” to critique, but also by pointing out the conceptual limits of much of the new sociology of art, and pointing towards new conceptual horizons for sociology’s ongoing encounter with matters artistic.

APA, Harvard, Vancouver, ISO, and other styles

45

Kato, Miwako. "Views from Daily Life: A Supporting Paper for a Graduate Exhibition." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0330101-110959/restricted/katoM0501.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Lotery, Kevin. "an Exhibit / an Aesthetic: The Independent Group and Postwar Exhibition Design." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463126.

Full text

Abstract:

This dissertation tracks the exhibition design practices developed in and around the Independent Group (IG) from the late 1940s through the 1950s. A loose affiliation of artists, architects, and critics, the IG gathered at London’s Institute of Contemporary Arts in the early to mid-1950s to debate the aesthetic, socio-political, and techno-scientific forces of their present (key figures included Lawrence Alloway, Reyner Banham, Richard Hamilton, Nigel Henderson, Eduardo Paolozzi, Alison and Peter Smithson). Synthesizing science-fiction, Dada, theoretical biology, and cybernetics (among many other topics) within a single mode of research, IG members formulated a non-hierarchical model of the cultural “continuum” in discussions, presentations, and most importantly, collaborative exhibition designs. The dissertation contends that exhibition design provided the IG with a timely strategy for navigating the contradictory traditions of aesthetic and technical production that came together in Britain during postwar reconstruction, from interwar avant-gardes to emergent American technocracy. IG members realized that exhibition design was the one technique that could move fluidly between the phenomenological conditions of architecture and display and the technological networks of communication, image distribution, and scientific production structuring the “continuum.” The goal was to bring these circuits and spaces—gallery, factory, laboratory, office, home, cinema, television, street—to bear on bodily experience so they might first be lived, then studied and redesigned. Chapter 1 examines Hamilton’s Growth and Form (1951), arguing that the exhibition’s apparatuses for displaying images and models of organic processes materialized a looming shift in global power structures. Chapter 2 unpacks a “Brutalist” empiricism from Parallel of Life and Art (1953), a web of photographs of cultural and technical materials. Chapter 3 investigates Hamilton’s Man, Machine and Motion (1955), which was less exhibition armature than metallic machine of production. Chapter 4 considers IG participation in This is Tomorrow (1956), a collection of propositions for artistic integration. Here, the IG met spectators, not in the realm of bodily experience, but on the plane of fantasy. Chapter 5 examines Hamilton’s an Exhibit and Exhibit 2 (1957/59), proto-Conceptual projects testing whether forms of affect, play, and chance might be fabricated within production systems no longer requiring human operators.
History of Art and Architecture

APA, Harvard, Vancouver, ISO, and other styles

47

Larsen, Devon P. "Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001540.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Wawzonek, Donna. "Constructions of home, the interrelationship between gendered exhibition sites and contemporary Canadian installation art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0004/MQ32384.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Wawzonek, Donna (Donna Lee) Carleton University Dissertation Art History. "Constructions of home; the interrelationship between gendered exhibition sites and contemporary Canadian installation art." Ottawa, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

50

McCann, Therese Marie. "Art, Artifacts, and Residue: The Space of The Exhibition in Ann Hamiltons indigo blue." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529698973965083.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!