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Tesis sobre el tema "Biology in art – Exhibitions"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.

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Forstrom, Melissa. "Interpretation and visitors in two Islamic art exhibitions." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.

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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideo

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3

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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4

Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.

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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasi

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5

Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.

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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks

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6

Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.

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7

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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8

Zhang, Linzhi. "Contemporary art and the exhibitionary system : China as a case study." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289428.

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The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to expl

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9

Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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10

Palmer, Daniel. "Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.

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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable categor

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11

Borchardt-Hume, Achim. "The history of the Esposizione Quadriennale d'Arte Nazionale 1927-1943 : sixteen years of aesthetic pluralism under Facist patronage." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248636.

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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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13

Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.

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Thesis (Ph. D.)--University of California, San Diego, 2010.<br>Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.

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14

Petty, Nancy. "African Art in Western Museums: Issues and Perspectives." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/992.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>Art History

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15

Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the mus

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Lindqvist, Ursula Anna Linnea. "The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.

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Thesis (Ph. D.)--University of Oregon, 2005.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.

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17

Avgita, Louisa. "The remaking of the Balkans in contemporary art exhibitions : a critical view." Thesis, City University London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580612.

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In this thesis, I discuss critically contemporary visual art exhibitions that have addressed the Balkans as a structure of representation. These exhibitions, fourteen in number, have been organised by international and local curators in Western and Central European cities and in the Balkan region between 1999 and 2006. I consider these exhibitions as ideological mechanisms which in their effects formulate Balkan "otherness", and sustain neoIiberal policies and market cultural particularities. Curatorial discourses are examined in relation to critiques of stereotypical representations of the Ba

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18

Ghidini, Marialaura. "Curating Web-based art exhibitions : mapping online and offline formats of display." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6088/.

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This dissertation investigates the theory and praxis of curating web-based exhibitions from the perspective of a practitioner (the author Marialaura Ghidini). Specifically, it investigates how the web as a medium of production, display, distribution and critique has had an impact on the work and research of independent curators and the way in which they configure their exhibition projects. With a focus on the last decade, curatorial work of production and commission is considered in relation to technological developments, previous theoretical work into the mapping of exhibitions online and the

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Allison, Martha. "On the Beginning of Contemporary Tibetan Art: The Exhibitions, Dealers, and Artists." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1751.

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Contemporary Tibetan art has been internationally exhibited since the year 2000, and it continues to receive increasing recognition among international galleries and collectors. This thesis focuses on three major contributing factors that have affected the rising success of the contemporary Tibetan artists. The factors include ways in which popular stereotypes have influenced Western museum exhibitions of Tibetan art; dealers have marketed the artworks; and artists have created works that are both conceptually and aesthetically appealing to an international audience. Drawing from exhibition ca

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Sutherland, Ann. "Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.

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Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European em

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21

Sousa, Luis. "Between monument and memorial : the design of the Korean War veterans memorial." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23012.

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22

Thorne, Jessica Louise. "The choreography of display : experiential exhibitions in the context of museum practice and theory." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/22063.

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Bibliography: pages 118-123.<br>In this project I examine curatorial processes and the experience of constructing and viewing museum exhibitions. Specifically I have been interested in the way in which certain exhibits facilitate powerful emotional responses from their viewers. I suggest that the curators of these kinds of exhibitions employ strategies which not only choreograph the displays but the viewers' bodies themselves as they move through them. As a case study of an experiential exhibition I focus on the District Six Museum where I have been part of its curatorial team since 1999. The

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23

Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.

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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the probl

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24

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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25

Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art

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26

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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Schoeber, Felix. "Modernity, nationalism and global marginalisation : representing the nation in contemporary Taiwanese art exhibitions." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/8yv7y/modernity-nationalism-and-global-marginalisation-representing-the-nation-in-contemporary-taiwanese-art-exhibitions.

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This thesis describes and analyses the development of the most prestigious large- scale exhibitions of the Taipei Fine Arts Museums from its opening in 1983 until 2009, concentrating on the Trends of Modern Art in the R.O.C. series of the 1980s , the introduction of the Taipei Biennial in 1992, and the Taiwan Pavilion in Venice from 1995 until 2009. Its focus lies on the transformation of the museum space and the status of the work of art. Several threads of questions run through this thesis: an attempt to analyse and illuminate the specific modernity and its inherent contradictions that chara

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Howard, Courtney L. "Special Exhibitions, Media Outreach, and Press Coverage at the Metropolitan Museum of Art, the Chicago Art Institute, and the National Gallery of Art." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276542794.

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Linton, Jerry. "Chance images." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9862.

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Grunenberg, Christoph. "The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.

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31

Boland, Howard. "Art from synthetic biology." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8yyq5/art-from-synthetic-biology.

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Chasse, Sarah Noble. ""A Certain Kinship": The First Exhibitions of American Folk Art, New York, 1924-1932." W&M ScholarWorks, 2012. https://scholarworks.wm.edu/etd/1539626675.

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Allee, Jessica. "New Deal Art Now: Reframing the Artifacts of Diversity." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1536.

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New Deal Art Now offers a sampling of the breadth of the Works Progress Administration and Federal Art Projects (WPA/FAP), calling attention to the skills, histories, and social identities of an extraordinarily diverse spectrum of professional and amateur artists funded by the United States federal government during the Great Depression. The New Deal, a major economic stimulus initiative that ran from 1935-1943, included the Works Progress Administration Federal One Projects, encompassing fine art, music, theater, writing, and design. These projects provided economic support and cultural enric

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34

Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.

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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is r

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Tabibi, Baharak. "Exhibitions As The Medium Of Architectural Reproduction &quot." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606077/index.pdf.

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This thesis studies the influential role of architectural exhibitions in shaping and directing architectural discourses. The study accepts architectural exhibitions and associated publications as the critical act of architecture, in which (the work of) architecture is interpreted, reproduced and publicized. The main focus of this thesis is Modern Architecture: International Exhibition, held in 1932 at the Museum of Modern Art (MoMA). This particular exhibition is a significant historical event, which officially announced architecture of the early 20th century as International Style. The thesis

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36

Espezel, Amanda. "Working from the body : subjectivity and the artistic process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.

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This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work. The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give spe

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37

Kang, Inhye. "World display, imperial time: the temporal and visual articulation of empire in Japanese exhibitions (1890-1945)." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110464.

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This dissertation investigates how Japanese expositions held from the 1890s to the 1940s, both abroad and at home, represented Japan itself as a 'guardian of Asian culture' while promoting the expansion of its empire. Japan's governing stance over other Asian nations at expositions during the prewar period appeared to imitate the imperial exhibitions of its Western counterparts, and yet the Japanese engagement of Asia in these exhibitions was portrayed as "almost the same, but not quite" the same empire. This study thus proposes to interpret Japan's exhibitionary practices toward other Asian n

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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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Orozco, Gabrielle Alexandra. "CARAVAGGIO: PERCEPTION SHIFTS THROUGH SELECTED TWENTIETH– and TWENTY-FIRST CENTURY MUSEUM EXHIBITIONS." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/500523.

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Art History<br>M.A.<br>The focus of this thesis will be the exploration of the narrative constructs around the life and work of Michelangelo Merisi da Caravaggio (1571–1610). This exploration will occur through the study of selected exhibitions curated on the Lombard artist from the twentieth- through twenty-first centuries. It will demonstrate how museums have played a significant role in the public’s understanding and perception of Caravaggio. In this thesis, I will argue that exhibitions on Caravaggio have supported and reshaped the general understanding and perception of the artist in cruc

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Bernardi, Donatella. "Arts festival as a global cultural product." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/41785.

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In this thesis, I address ephemeras - namely temporary displays in the form of festivals and exhibitions belonging to the field of contemporary art. The most appropriate criterion with which to select and discuss the ephemera, i.e., the data in which I analyse in this thesis, is the notion of the 'event'. 'Event' is a philosophical concept, and therefore does not belong to artistic or aesthetic categories. However, two main characteristics are particularly relevant in considering it, and these are also pertinent to the field of art. Firstly, the tandem contingency and necessity. Secondly, the

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McMahon, Cliff Getty. "The sublime in Rothko, Newman and Still." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/11002.

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An important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this fo

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Louzada, Heloisa Olivi. "Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/.

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A arte brasileira durante a década de 1970 se destacou pelo alto grau de experimentalismo e de contestação aos cânones tanto artísticos como museológicos. As exposições anuais Panorama da Arte Atua Brasileira e Jovem Arte Contemporânea, organizadas respectivamente pelo Museu de Arte Moderna de São Paulo e pelo Museu de Arte Contemporânea da Universidade de São Paulo, se dedicaram a expor e legitimar determinadas tendências da arte dita jovem e atual durante esse período. A análise comparativa proposta por essa pesquisa revela e discute os mecanismos de seleção, organização, premiação e apresen

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Ahola, Eeva-Katri. "Producing experience in marketplace encounters : a study of consumption experiences in art exhibitions and trade fairs /." Helsinki : Helsinki School of Economics, 2007. http://www.loc.gov/catdir/toc/fy0802/2007438387.html.

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Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905." Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.

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Della, Foglia Ottavia <1991&gt. "Per una storia delle mostre: Opening Exhibitions in musei italiani di arte contemporanea. Alcuni casi di studio." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12826.

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Considerato il recente interesse negli studi di storia dell'arte per quella che viene chiamata "Storia delle mostre", questa tesi prende in considerazione le mostre di apertura di alcuni significativi musei di arte contemporanea italiani, per analizzare il contesto, la mission e le caratteristiche allestitive e architettoniche.

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Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.

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This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distingu

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Limbos-Bomberg, Nathalie. "The ideal and the pragmatic, the National Gallery of Canada's Biennial Exhibitions of Canadian Art, 1953-1968." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57706.pdf.

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Pryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice." Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.

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The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relatio

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Corbet, David William. "Trans*localities and Frontier Zones: Place, identity and exhibition-making in the era of the Global Contemporary." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20458.

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This thesis examines questions of place-making and identity formation in Contemporary Art and their influence on artistic and exhibition practice in the early twenty-first century, framed in terms of the author’s own curatorial practice and research. This includes global considerations of decolonisation, cultural displacement, migration, translocality and environmental disruption, examined from diverse perspectives, including the transnational imaginary of a Global South. Chapter 1 sets out the contextual framing for the research, guided by curatorial values of locality, identity, discursivity

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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.

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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually e

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