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Tesis sobre el tema "Art exhibition"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

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

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Thesis (M.F.A.)--West Virginia University, 2005.<br>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).

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2

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.

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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.<br>The Space in Works of Art Exhibition is a study tha

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3

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

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4

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.

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

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5

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

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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.

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6

Burns, Ian. "Art Viewing and New Technology: Manufacturing the Screen Image." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365383.

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This exegesis outlines the procedures, processes and methodology used in developing a significant body of studio work that investigates the dominance of the screen-image in contemporary art and culture. Following the established modes of practice-based research, the outcomes can be seen in two phases: the work developed and exhibited during the candidature, and the culminating submission exhibition. All the outputs resulted from intensive studio practice, although without using the studio as a hermetic environment, but rather as the base for practice attuned to the feedback loop of constant in

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7

Page, Patrick J. "Submission to shelter." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137666.

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The goal of this project was to create a mobile structure in which a suite of paintings could be transported and viewed. When the structure and paintings are arranged as an "installation," they will create a more active role for a "viewer" who could then be defined as a "participant." The participant would be involved in the assembly of the environment and would find more opportunities for interaction in the assembled environment than he or she would in a traditional gallery or museum setting. A description and explanation of the processes involved in the creation of this project is preceded b

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8

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.

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9

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

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10

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.

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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 th

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11

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.

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12

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

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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

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13

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

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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.

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14

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.

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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 artisti

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15

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.

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16

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.

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17

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/.

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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

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18

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/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.<br>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).

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19

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.

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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 juxt

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20

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

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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.

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21

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.

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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 experi

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22

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

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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 ess

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23

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

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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.

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24

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.

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25

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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26

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.

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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 Lati

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27

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.

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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 ar

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28

Berryman, James (Jim) Thomas. "From field to fieldwork : the exhibition catalogue and art history in Australia." Phd thesis, Canberra, ACT : The Australian National University, 2005. http://hdl.handle.net/1885/9528.

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This thesis examines the transformation of the exhibition catalogue in Australia, from modest exhibition documentation to autonomous publication. This discussion is largely confined to exhibition catalogues produced by Australia's public galleries between approximately1965-2002. The thesis considers why the exhibition catalogue experienced such a dramatic change in such a relatively short period. The thesis reveals how catalogues are shaped by the internal tensions and external pressures experienced by art institutions as their roles and responsibilities change over time. During the period in

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29

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.

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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

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30

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.

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31

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.

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32

Heighton, Luke. "Exhibiting madness, art & the asylum : the creation & exhibition of images by psychiatric hospital patients in Vienna, 1890-1914." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565893.

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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/.

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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

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34

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.

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35

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.

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Magister Artium - MA (English)<br>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 Contr

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36

Halfpapp, Andi. "Pars pro toto: Experimental exhibition design and curatorial paradigms." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87097/1/Andi_Halfpapp_Thesis.pdf.

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'Pars pro toto: Experimental Exhibition Design and Curatorial Paradigms' is situated within the ongoing debate over the conflation of art and curating, and the subsequent tension between artistic autonomy and curatorial intervention. This practice-led research project acclimates these polarities using a collaborative and discursive curatorial methodology in the creation of two exhibitions. Both exhibitions, one digital and one primarily physical, investigated how the temporary exhibition can operate as a site for provocation, how the suggested methodology facilitates the relationship between a

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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.

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

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38

James, Shana. "Down the rabbit hole: An Exhibition – and – Alice in Wonderland engaging with the reflexive project of the self: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2473.

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Alice’s Adventures in Wonderland is a culturally significant text that is widely known across many cultures. In this Victorian story, a little girl follows the talking White Rabbit down a rabbit hole to uncover a fantastical parallel world. Alice in Wonderland has remained in print for over 150 years, highlighting its continued relevance to generations of readers. This exegesis investigates the making of visual artwork that responds to this significant story, exploring the symbology and metaphorical nature of the text and seeing the story as a “reflexive project of the self” (Giddens, 1991, p.

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39

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.

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

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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.

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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.

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

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43

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.

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Weier, Katrina. "Lessons from an interactive exhibition: Defining conditions to support high quality experiences for young children." Thesis, Queensland University of Technology, 2000. https://eprints.qut.edu.au/36628/1/36628_Digitised%20Thesis.pdf.

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During their early years, young children are exposed to a range of learning settings, both formal and informal. This study focused on young children's engagement and reflection in an informal museum context. Using qualitative research methodology, a three-week community art project, The Art of Eric Carle, was examined. This setting combined an interactive art exhibition and an art studio workshop, to resemble the informal learning context characteristic of popular, contemporary, interactive museum venues of all kinds. Through a descriptive interpretative analysis, the study aimed to document t

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45

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.

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

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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.

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47

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/.

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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

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48

Parcollet, Remi. "La photographie de vue d'exposition." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040222.

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L'Exposition a fait l'objet de nombreuses analyses et pourtant son rapport à la photographie est rarement évoqué. Considérée comme un procédé, elle développe de nombreux liens avec celui de la Photographie. Toutes les deux consistent à "montrer". Au-delà de leurs analogies, la Photographie et l'Exposition sont interdépendantes. L'étude de l'Exposition passe désormais inévitablement par la photographie. Les artistes et les commissaires utilisent aujourd'hui la photographie non pas comme une finalité mais comme un outil permettant de penser la mise en espace. Une photographie de vue d'exposition

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49

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.

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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 exp

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Dalal-Clayton, Anjalie. "Coming into view : black British artists and exhibition cultures 1976-2010." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4356/.

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This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of no

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