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1
Fulton, Lori Beth. "Building Art Education Relationships with Local Art Agencies". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/37.
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This educational study on building art education relationships between art educators and local community art agencies was conducted in early February of 2009. Data was collected by means of an art teacher survey, mailed to the homes of metro Atlanta art educators and by conducting face-to-face interviews with professionals working in the education departments of high profile metro Atlanta art agencies. The data analysis provides insight into the goals of local K-12 art educators, and they are compared to the goals of community art agencies. The findings of this study reveal that art teachers and art agencies share many common goals and face similar challenges. And together, through networking and close communication, they may better serve the needs of students K-12 as they become lifetime participants and supports of the visual arts.
2
Van, Winkle Adam Everette. "Art after "Art after Art": Joyce, Global Thinking and the Postmodern". OpenSIUC, 2009. https://opensiuc.lib.siu.edu/theses/455.
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This project seeks to unpack and moderate the postmodern debate surrounding James Joyce's 1922 novel, Ulysses, by examining how the text responds to global-local dichotomies, be they geographical or conceptual, and considering its stylistics in light of these themes. In doing so, it casts the likes of Laurence Sterne, Walt Whitman, Joseph Conrad, Gertrude Stein, John Cage, Robert Rauschenberg, Bob Dylan and Kurt Vonnegut, among others, alongside Joyce, connecting similar themes and stylistic responses. Ultimately, it suggests that the avant-garde response on the part of Joyce and these others is not necessarily a manifesto bolstering the style, but a reminder to the interpreter to not take the ability of traditional narrative to subsume the surprisingly complex local moment of experience as given. Instead of being "anti-art," as these avant-garde stylistics are often accused of, these aesthetics place new value on the old aesthetic and the act of interpretation, asking the interpreter to perennially re-evaluate the old and given amid the continuously new and complex local moment of experience resulting from the convergence of contrast brought on by the dynamically mapped globe in the process of globalization.
3
Fadorsen, Stephanie Alexandra. "American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art". Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.
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Feilen, Kimberly Val. "Arts for my sake identities of urban youth in the local "artistic" community /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925785001&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Obeid, Caroline. "Arts scan : Ottowa's local identity, arts in the new city /". Philadelphia, Pa. : Drexel University, 2002. http://dspace.library.drexel.edu/handle/1860/446.
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Quinn, Peter James. "Picturing locality : art and regional identity in the North East of England, 1822-1900". Thesis, University of Sunderland, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388836.
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Summerfield, Angela. "Interventions : twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth-century British art in Britain". Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17420/.
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In the twentieth century, collecting became a core activity of local authority art galleries and museums in Britain. A key feature of these art collections was the representation of Twentieth Century British Art. The aim of this study is to examine, for the first time, this development as abroad cultural phenomenon, through the distinctive roles played by central government-funded, and independent national and provincial art collection schemes. The central government-funded art collection schemes are the V. & A Purchase Grant Fund, War Artists' Advisory Committee and the National Heritage Memorial Fund; and the national loan and exhibition schemes offered by the Tate Gallery and the Arts Council. Independent schemes are more numerous and varied. These were administered by the National Art Collections Fund (now the Art Fund), Contemporary Art Society, Scottish Modem Arts Association, Contemporary Art Society for Wales, Henry Moore Foundation and Gulbenkian Foundation. In addition, there were the independent national loan and exhibition schemes offered by the Museums Association, Peter Stuyvesant Foundation and Alistair McAlpine and provincial schemes based in Manchester (Charles Rutherston Loan Scheme), Cardiff (National Museum of Wales Loan Scheme), Liverpool ('John Moores' competition-exhibitions) and Bradford ('International Print Biennale' competition-exhibitions). Given the geographical coverage, historical scope and focus of this study, a substantial body of published and unpublished literature was consulted. The wide-range of sources examined included institutional histories, biographies and studies of Twentieth-Century British Art; permanent collection and exhibition catalogues; newspaper, journal and magazine articles, curatorial records and correspondence; institutional records and correspondence; archival material and reports; and . correspondence and interviews. This entailed the discovery of much new material and the collation of substantial random data held by the Contemporary Art Society and the Gulbenkian Foundation This research seeks to show that local authority collecting of Twentieth-Century British Art was part of a nation-wide cultural pattern determined by certain ideas, theories and policies. Within this context, Section 1 identifies and discusses the nature and purpose of public art galleries, muscums and their art collections from 1845-1945. This momentous period in the museum movement in Britain, it is argued, sustained and generated ideas, theories and policies which encompassed national institutional hierarchies and their models of collecting, high art aesthetic standards and scholarship linked connoisseurship; the organic structure of museums; and multifaceted education. It concludes that during this formative period, an enduring cultural framework was established, from which emerged key collecting impetuses which are art history, patronage and heritage. Sections 2 and 3 examine the roles played by central government-funded and independent schemes, as a response to these issues, which also engendered and reinforced the collecting of specific types of Twentieth Century British Art. Section'4 surveys the local authority collections, which participated in the schemes, and concludes that 1957-79 was a crucial period in post-war collecting, which was both facilitated by the emergence of a considerable and dynamic network of commercial art galleries, and enhanced by national and provincial measures to decentralize the arts. A principal conclusion is that the future of modem (twentieth-century) and contemporary (twenty-first- century) British art collecting, by local authority art galleries and museums, lies in its perception as part of a collective cultural enterprise, in which the intervention of collection schemes will, as in the past, play a fundamental role. Finally, there is also a strong argument for provincial institutions to feed into a national debate as to what is selected to represent both modem and contemporary British art practice in public collections in general.
8
Lidström, Anders. "Discretion : an art of the possible : education committees in the Swedish system of government". Doctoral thesis, Umeå universitet, Statsvetenskapliga institutionen, 1991. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-62936.
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Discretion is commonly analyzed as the scope for choice set by formal superiors. This study aims at developing an alternative theory of discretion which also takes into account the assumptions of the actors in implementing positions. The theory is constructed with the purpose of being an empirical tool for analyzing discretion on a nation-wide basis and in a central-local government context. It concerns two main questions: to what extent does discretion vary and how can this variation be explained? The theory section concludes with a number of empirically testable hypotheses. The concept of discretion is defined as the scope for choice available to actors, in formally subordinate positions, vis-à-vis their superiors. It is seen as a special case of autonomy, as it is attributed to subordinates and primarily concerns one dimension of autonomy, namely freedom of action. In the second half of the study, the theory is applied empirically to the discretion available to Swedish local government Education Committees. A questionnaire study of all Education Committee Chairpersons and Chief Education Officers and in-depth interviews of a selected sample of these have been undertaken. The empirical study clearly indicates that there is variation in discretion. In spite of the uniformity of the system of governing local education, it is found that the limits for discretion are set differently by different Education Committee representatives. The variation follows a pattern which has been, at least partly, reconstructed. Variables which appear as important in explaining variation include: the extent to which the control system is regarded as efficient; the size and population density of the local authority; and individual traits such as length of experience and gender. However, our analysis also shows that these explanations are more valid in certain contexts than in others, which points the way for further research.digitalisering@umu
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Matsinhe, Sebastiao Filipe. "The production of local art for a global cultural market in contemporary Mozambique". Thesis, University of the Western Cape, 2012. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_4062_1363774738.
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This thesis examines the production of commercial art in contemporary Mozambique. It explores the power relationship between local artists &ndash
painters and sculptors &ndash
and their patrons and brokers in the art market. This means, on one hand, that it looks at the artworks that have been produced during the late colonial period (1962 &ndash
1974) and the post-colonial periods (June 1975 - 2010) and relates this to the changing political landscape in Mozambique. On the other hand, the aim is to explore the artists&rsquo
life histories,
especially how their talent was first recognized, their art training (formal or otherwise), previous work experience, and the reasons for their current success (or lack thereof). This is done in order to see how and to what extent their artistic works have been influenced by external forces or actors. The power relationship existing between the art producers and their customers in the art markets in Mozambique is then related to the issue of globalisation. In this process, the study critically analyses who the actual art patrons of Mozambique art are and the extent to which Mozambican art is influenced by global forces. The focus is on a number of artists and the thesis examines their life histories specific to their art production in order to highlight the themes and trends of their art works. It was found that local art produced in Mozambique is not simply responding to local influences but also to global forces, of which the latter dominates. However, the study further reveals that while the art producers are influenced externally by their buyers, they (the art
producers) have their own ways of manipulating their buyers in order to be able to sell their products. In other words, the artists have the power of mediating between local,
personal influence and that of the patrons.
10
Banerji, Debashish. "Locating Abanindranath Tagore local, national and transnational concerns in a turn-of-the-century Indian artist /". Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=1144180611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Chow, Po-fun Wendy. "Marketing of local drama production in Hong Kong /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19876555.
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Chow, Po-fun Wendy y 周寶芬. "Marketing of local drama production in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31268730.
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Molina, Lucas Giehl. "O universal, o local e a memória cultural na obra de Pedro Weingärtner (1853-1929)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/103884.
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Pedro Weingärtner (1853-1929) foi um pintor brasileiro. Sua arte figurativa, realista e acadêmica retratou temas bastante diferentes: tanto paisagens e costumes de camponeses e imigrantes no jovem Rio Grande do Sul quanto a mitologia greco-romana, parte dos cânones temáticos da Europa no século XIX. O artista pintou do agricultor pobre ao presidente da província, havendo em sua arte diversa uma homogeneidade pictórica: o estilo acadêmico herdado do Velho Mundo e aprendido com o mestre William-Adolphe Bouguereau (1825-1905) em Paris. Pedro Weingärtner viveu entre o Brasil e a Europa representando as diferenças entre os dois continentes. Como se articula essa complexidade da obra de Weingärtner entre o local e o universal? Qual é o peso da cultura europeia em sua arte como memória cultural, e o quanto dela também o artista produziu, principalmente em relação à figura do imigrante alemão? São essas as questões que esta dissertação procura responder.Pedro Weingärtner (1853-1929) was a Brazilian painter. His figurative, realistic and academic art portrayed rather different themes: landscapes and customs of peasants and immigrants in Rio Grande do Sul as well as Greco-Roman mythology, part of 19th century European canons. The artist painted from the poor farmer to the president of the province, having in his diverse art one homogeneous pictorial aspect: the academic style inherited from the Old World and learned from the master William-Adolphe Bouguereau (1825-1905) in Paris. Pedro Weingärtner lived between Brazil and Europe representing the differences between both continents. How is this complexity between local and universal articulated in his work? What is the weight of European art as cultural memory in his art, and how much of it did the artist produce himself, especially relative to the image of the German immigrant? These are the questions that this dissertation tries to answer.
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Woollock, Stephen. "'Coming to a town near you?' : cultural policy and identity in local art-house exhibition". Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/25588/.
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Monaghan, Claire. "Performance review in British local government : an investigation of the current state of the art". Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/3270.
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This thesis was precipitated by the observation that little is known about performance review activity in this country despite the introduction of a performance review system being proffered as one solution to the statutory value for money requirement. However, the research was not undertaken merely to fill an information vacuum. Delineating what lessons can be learned from current operations should assist local authorities embarking on the introduction of review systems in the future, particularly the `new' authorities emerging from Local Government Review and most notably in Scotland, where the statutory responsibility for ensuring value for money arrangements are in place, falls to the unitary authorities becoming operational on the 1st April 1996. Additionally, performance review may provide the framework in which policy achievements can be demonstrated, thus strengthening local government by reinforcing its policy role. This latter characteristicis likely to become critical if the trend towards enabling and decentralisation continues within the local government sector. An investigation of performance review was thus undertaken with postal questionnaires issued to chief executives and council leaders and a series of case studies, being used to accumulate research evidence. The findings are far-reaching and encompass the scale of review activity, the types of review system being utilised, attitudes to performance review, and establishing, operating and sustaining review systems. Insight was also gained about performance issues in authorities which had not implemented review processes. The operation of performance review is associated with significant benefits in many local authorities and there are useful lessons to be learned from these experiences as well as from those councils in which performance review has been less successful. These lessons are delineated within this thesis along with a set of good practice recommendations.
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Velasco, Diogo Cavalcanti 1983. "O poder do local = sertões nordestinos no cinema brasileiro contemporâneo". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284971.
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Orientador: Nuno César Pereira de AbreuDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T22:09:17Z (GMT). No. of bitstreams: 1 Velasco_DiogoCavalcanti_M.pdf: 950407 bytes, checksum: efdfd5c7569cb154df742f3da3c9809f (MD5) Previous issue date: 2010
Resumo: O Sertão Nordestino sempre permeou o imaginário do homem brasileiro por meio dos discursos que a história produziu. Vários campos discursivos, como a política, a economia, as ciências sociais e as artes, sedimentaram um universo simbólico acerca desse espaço. Logo, o cinema também contribuiu nessa simbolização, principalmente nos ciclos do Nordestern e do Cinema Novo. Agora, nos anos 2000, ele volta a ter novas correntes de representação cinematográfica. Uma delas se encontra no grupo de produtores do Nordeste, que faz asserções sobre os seus Sertões e os ressignifica de acordo com um mundo contemporâneo globalizado, característico de sua época. A presente pesquisa busca, por meio da metodologia analítica de Pierre Sorlin, mostrar como isso acontece num grupo de quatro filmes: Cinema, Aspirinas e Urubus (Marcelo Gomes, 2005), Árido Movie (Lírio Ferreira, 2006), Céu de Suely (Karim Ainouz, 2006) e Deserto Feliz (Paulo Caldas, 2007)
Abstract: The Sertão Nordestino has always been in Brazilian people imagination through the history discourses that has been produced. Several fields of discourses, like politics, economy, social sciences and arts, created a symbolic universe about this space. Therefore, the Movies also contributed in this symbolization, mainly in the Nordestern and Cinema Novo cycles. Nowadays, in the 2000s, there are new currents of cinematographic representation. One of them is the group of Nordeste that wants to talk about their Sertões and gives them new meanings according to a contemporary globalized world. This present dissertations searches, through the analytical methodology of Pierre Sorlin, to show how this happens in a group of four films: Cinema, Aspirinas e Urubus (Marcelo Gomes, 2005), Árido Movie (Lírio Ferreira, 2006), Céu de Suely (Karim Ainouz, 2006) e Deserto Feliz (Paulo Caldas, 2007)
Mestrado
Mestre em Multimeios
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Measell, James Scott. "A provincial school of art and local industry : the Stourbridge School of Art and its relations with the glass industry of the Stourbridge district, 1850-1905". Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7008/.
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Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. This thesis argues that a fundamental disconnect existed between the school’s purpose (art instruction to train designers) and its instruction (basic drawing and fine art). The school enrolled men employed in glass decorating but few from glass manufacturing. Classes reflected the South Kensington curriculum, and the art masters were unaware of the design needs of industry. Glass manufacturing firms provided modest financial support but did not encourage employees to attend, creating frustration for the Council. In contrast, similar schools in Brierley Hill and Wordsley were well-supported by the glass industry.
18
Genugten, Maria Lamberta van. "The art of alignment transaction cost economics and the provision of public services at the local level". Enschede : University of Twente [Host], 2008. http://doc.utwente.nl/58769.
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Kallestrup, Shona. "Art and design in Romania 1866-1927 : local and international aspects of the search for national expression /". Boulder : East European Monographs, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017377211&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Bloxom, Patricia. "Eastern Shore Stories: Technology, Place, and Local Culture". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/429.
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The Eastern Shore of Virginia is a narrow peninsula separating the Chesapeake Bay from the Atlantic Ocean. Residents of the rural counties of Accomack and Northampton County share a strong sense of cultural identity based on geography, rooted in a distinct communal sense of place reinforced by an agricultural lifestyle. Storytelling around dinner tables and on front porches at dusk, speeches at high school graduations, family recipes talked through in a grandmother’s kitchen – it is through oral language that Eastern Shore people have primarily shared the knowledge that sustains their sense of communal identity. Oral knowledge of farming techniques and land use are handed down generation by generation through material lessons in the fields and woods. The most natural and effective research method for understanding Eastern Shore culture and its peoples’ sense of place is the collection of oral histories. The interviews collected for the Eastern Shore Stories project focus on farm life on the Eastern Shore of Virginia in the mid-twentieth century, before the widespread use of electricity, tractors, or chemicals. The stories from the interviews seem quaint individually – nostalgic stories of how things used to be – but as a body of interviews, they accrue a weight and a coherence that offer interesting counterpoints to pervasive assumptions about progress and technology. It is those interesting counterpoints that this dissertation explores. This researcher expected to hear about plowing behind a team of mules and scratching out potatoes. She did not expect to hear retired farmers speak of the loneliness of modern farming, of how 2,500 acres used to support fifty families and now barely supports one. What emerged from the collective interviews was a sense that the industrialization of agriculture in this local community has caused unforeseen losses and those losses, however intangible, have been deleterious. Despite this, people from the Eastern Shore struggle to retain a sense of communal identity, defined by geography and familial connections. Their sense of belonging to this particular place persists in the face of rapid technological and cultural changes, creating tension between the place as it was and the place as it evolves in the twenty-first century.
21
Holmstrøm, Marianne. "Association of Biological Localization and State-of-the-art Robot Localization : With focus on Local Environment Representations and Hierarchies". Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for teknisk kybernetikk, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-22373.
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For many technical systems the performance of biological systems is the ultimate goal. In recent years a large body of research has been presented which reveals important mechanisms used for localization in biology. In this thesis these mechanisms are systematically presented and compared to the mechanisms used in robotic localization, through a comprehensive literature exposition and visualization of different mechanisms.The literature exposition discloses biological mechanisms used for spatial representation, localization and navigation. The findings of the exposition include a hierarchically structured spatial representation, similar to hierarchical representations used in state-of-the-art robotics systems. The way biological systems represent metric relations is disclosed, including cells which fire when the animal is at locations in the environment together forming a triangular grid. This metric representation is unlike anything seen in robotics. Furthermore, it is shown how cells are arranged in modules, which facilitates motion integration in updating the animal's location. How animals might use this modular organization for navigation is also elaborated.Three concepts of the biological spatial representation system are visualized. Geometric properties of the triangular grids are investigated by implementing a biologically inspired map, with over one hundred grids defining a local area. Simulations of this map show that with a linear increase in grids, an exponentially larger area can be represented by these grids. Another implementation demonstrate biological mechanisms for position tracking and navigation. It is further emphasized that such a system does not include a noise handling mechanism, because it is not known how motion and measurement noise is handled in biological systems. Simulation comparisons of the performance of the implemented system and a Kalman filter demonstrate the need for a noise handling mechanism in future systems.All in all, this thesis introduces interesting biological mechanisms of solutions to problems important in mobile robotics, and encourages further exploration and emulation of these complex mechanisms.
22
Sarasin, Sydney. "The Seals from the Minoan Site of Chryssi Island: Local, Regional, and Global Implications". Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/418631.
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Art HistoryM.A.
Five seals come from a Minoan site on the island of Chryssi, just off the southeastern coast of Crete. Four of these seals are sealstones, and one is the bezel of a metal seal ring. These seals are important as individual objects to allow for a deeper understanding of the people that inhabited Chryssi Island during the Bronze Age, but a further understanding of the site itself is also garnered by expanding the focus to include all of the seals of Crete. By doing so, this study allows for the discussion of regional interactions among the people of Chryssi and various other Minoan sites throughout Crete. The various approaches to seals come together to suggest the same conclusions, most notably that at least some of the people on Chryssi enjoyed a life of limited luxury through the control of various industries on the island, particularly the production of murex purple dye.
Temple University--Theses
23
Gillner, Fred. "Offentlig konst i kommunal förvaltning : Kvalitativ undersökning i tre steg av Västerås stads arbete med offentlig konst". Thesis, Uppsala universitet, Kulturgeografiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-376306.
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The purpose of this study is to investigate how a larger Swedish municipality administer public art and to what extent the practical work relates to the objectives adopted in the municipal comprehensive plan. A qualitative method conducted by semi structured interviews in three tiers with a politician, an official, a representative of an artist organization and a local artist constitutes the base of the study. The interviews are also complemented with subject relevant literature and analysis of municipal documents to support the findings. Results show that the politician and the official have contrasting views on how to concretize the objectives. The discrepancy may cause a misconception of what to expect from public art investments. Further results indicate that municipal practice on the selection of artists, together with the strict bureaucratic framework, may have negative effect on the diversity of artistic expressions that is viewed as important for an attractive city. After years of poor public art management in the surveyed municipality, a foundation is at the time of writing being established to enable more strategic management. Overall the study presents challenges and opportunities about the future of public art management in a mid-sized Swedish municipality.
24
Makhado, Zwoitwa. "Crafting a livelihood: local-level trade in mats and baskets in Pondoland, South Africa". Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
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This study explored the dynamics of local-level trade in plant-based mats and baskets in Khanyayo village, Eastern Cape. These dynamics include social aspects of harvesting, resource tenure and trade. It also includes institutional issues such as legislation that enhances or restricts the degree to which local people could benefit from the trade or direct use. The study also explored the contribution of the trading in mats and baskets to the livelihoods of the Khanyayo people.
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Borela, Paula Martins. "Instâncias de legitimação: uma visão sobre o circuito de arte em Uberlândia". Universidade Federal de Uberlândia, 2017. https://repositorio.ufu.br/handle/123456789/18932.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorInvestigação de um panorama acerca da história da arte na cidade de Uberlândia, sob a égide da formação e consolidação de seu mercado. Para tanto foram levantados em outras pesquisas fatos históricos a respeito dos primeiros artistas da cidade que articularam seus trabalhos no mercado local. A partir do mapeamento dos espaços de arte que não existem mais e alguns que ainda permanecem no circuito, tivemos a percepção de uma dinâmica cultural em transformação nas galerias comerciais de arte, concomitantemente ao desenvolvimento do curso de artes plásticas da Universidade Federal de Uberlândia e outros grupos independentes como a AICA - Artes Integradas CAMARU. As parcerias entre artistas e marchands foram crescentes a partir dos anos 1960 e foi notável a importância do casal Lourdes e Celso Queiroz no processo de comercialização da arte na cidade. Destacamos a Galeria Elizabeth Nasser como ponto- chave na profissionalização do mercado em Uberlândia nos anos 1990 principalmente pela divulgação das suas exposições atreladas à produção e impressão de catálogos com textos críticos. O tratamento dos dados acumulados foi feito a partir de um recorte temporal nas décadas de 1980 e 90, porém não desconsideramos o período anterior dos precursores do mercado na cidade dos anos 1950 a 70 Este trabalho foi dividido em dois capítulos, no primeiro intitulado “Aproximações no tempo e no espaço do campo artístico em Uberlândia” tratamos dos aspectos sociais da estruturação do circuito de arte e abordamos a metodologia utilizada para a pesquisa de campo. No segundo capítulo intitulado “Articulações das instâncias legitimadoras da arte no circuito fora do eixo” buscamos revelar as estratégias de legitimação dos artistas frente às novas instituições e formatos do meio cultural local.
Investigation of a panorama about the history of art in the city of Uberlândia, under the aegis of the formation and consolidation of its market. To this end, historical research on the first artists of the city that articulated their work in the local market was made in other researches. From the mapping of spaces of art that no longer exist and some that still remain in the circuit, we had the perception of a cultural dynamic in transformation in the commercial art galleries, concomitantly to the development of the plastic arts course of the Federal University of Uberlândia and others Independent groups such as AICA - CAMARU Integrated Arts. The partnerships between artists and dealers were growing since the 1960s and it was remarkable the importance of the couple Lourdes and Celso Queiroz in the process of marketing the art in the city. We emphasize the Elizabeth Nasser Gallery as a key point in the professionalization of the market in Uberlândia in the 1990s mainly for the dissemination of its exhibitions linked to the production and printing of catalogs with critical texts. The treatment of the accumulated data was made from a temporal cut in the 1980s and 1990s, but we did not disregard the previous period of market precursors in the city from the 1950s to the 70s. This work was divided into two chapters, the first entitled "Approximations In the time and space of the artistic field in Uberlândia "we deal with the social aspects of the structuring of the art circuit and we approach the methodology used for field research. In the second chapter entitled "Joints of the legitimating instances of art in the off-axis circuit" we seek to reveal the strategies of legitimating artists in front of the new institutions and formats of the local cultural milieu.
Dissertação (Mestrado)
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Emory, Jorie Lynne. "Exploring the Role of Artist Residencies on Local Land Stewardship: A Case Study of the Sitka Center for Art and Ecology". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248715949.
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Carr-Howard, Taylor. "The Cultural Mosaic Under the Tesserae: Local Identity in the Iconography and Compositions of Roman Floor Mosaics". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1052.
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This thesis examines the way the medium of mosaics was adapted locally by the cities of Antioch (modern Antakya, Turkey) and Thysdrus (modern El Djem, Tunisia) during the second and third centuries CE. Compositional differences indicate different conceptions of the medium and locally specific iconography draws on viewers’ local knowledge and experience to situate the city and its inhabitants within the broader context of the Roman empire.
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Elias, Helena Catarina da Silva Lebre. "Arte Pública e Instituições do Estado Novo. Arte Pública das Administrações Central e Local do Estado Novo em Lisboa: Sistemas de encomenda da CML e do MOPC/MOP (1938-1960)". Doctoral thesis, Universitat de Barcelona, 2007. http://hdl.handle.net/10803/96401.
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Grande parte da arte pública do Estado Novo compreendia monumentos e estátuas destinados a mostrar ao povo determinadas passagens ou personagens representativas da história nacional. A Escultura foi a expressão plástica mais solicitada para materializar o discurso do regime nos espaços públicos das cidades portuguesas. O Estado Novo considerava a estatuária pública como o veículo privilegiado para tornar perene, em largos, praças e edifícios, determinados símbolos da nação, produtos derivados da proposta estética que fôra mediatizada na Exposição do Mundo Português. Em Lisboa, actuaram principalmente o Ministério das Obras Públicas e a Câmara Municipal, que possuíam uma dotação própria para as encomendas dirigidas aos espaços públicos, uma iniciativa, na altura, presente em outros estados autoritários ou democráticos, que promoviam projectos associados às Obras públicas – eram os casos de Itália, Espanha ou EUA, com a iniciativa Public Works Art Project (1933).
A encomenda de arte pública estava alicerçada num conjunto de procedimentos, enquadrados pelas Administrações Local e Central, que se designam, nesta investigação, como sistemas de encomenda de arte pública. Estes procedimentos eram assistidos por conselhos consultivos e comissões de estética, destinados a velar pela homogeneidade da encomenda pública. Apoiando-se nestes sistemas de arte pública, as Administrações Central e Local vieram não só promover a encomenda de monumentos, estátuas e motivos decorativos, como também a travar iniciativas em curso e a impedir novas propostas estranhas ao poder vigente.
Pairando sobre a rotina que caracterizava os sistemas de encomenda de arte pública estava Oliveira Salazar, capaz de interferir nos sistemas e manobrar, desviar ou cessar o curso das encomendas de monumentos e estátuas.
Palavras-chave: sistemas de encomenda de arte pública, Estado Novo, LisboaPublic Art of Central and Local Administration of the New State in Lisbon: Systems of public art orders of Lisbon City Council and of the Ministry of Public Works (1938-1960) Much of the public art of the New State were mainly statues and monuments which were produced to represent images of the nation historical past. Sculpture was then the suitable artistic expression to portray such nationalist subjects into public spaces all over the country. In Lisbon, the Ministry of the Public Works and the City Council had a specific budget for public art orders, as in many totalitarian or democratic states promoting Public Works of Arts project funding. Public art orders were conducted, within the framework of Local and Central Administration, through sets of procedures meant to control and standardize it accordingly to the political and ideological speech of the New State. These sets of procedures are named in this thesis as systems of public art orders. They were promoted by advisory boards and aesthetical commissions whose role was to ensure homogeneity of public orders. Based on these systems of public art orders, Local and Central Administration not only promoted orders for monuments, statuary and decorative motifs but managed to prevent any kind of state initiatives not aligned with the political regime. Oliveira Salazar effectively overviewed the procedures inherent to the systems of public art. He was able to interfere at every level in the procedures, stir out of course or simply halt the orders of monuments and statues. Key-words: systems of public art orders, New State, Lisbon
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Hartman, Jennifer D. "Exploring the Process of Developing a Glocally Focused Art Curriculum for Two Communities". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062845/.
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The world is becoming progressively interconnected through technology, politics, culture, economics, and education. As educators we strive to provide instruction that prepares students to become active members of both their local and global communities. This dissertation presents one possible avenue for engaging students with art and multifaceted ideas about culture, community, and politics as it explores the possibilities for creating a community-based, art education curriculum that seeks a merger of global and local, or "glocal" thinking. Through curriculum action research, I explored the process of writing site-specific curriculum that focuses on publicly available, local works of art and encourages a connection between global experiences and local application. I have completed this research for two communities, one in Ohio and one in Texas, and investigated the similarities and differences that exist in the process and resulting curriculum for each location. Through textual analysis, interviews, curriculum writing, and personal reflections, I identified five essential components of a community-based, glocal art education curriculum: flexibility, authenticity, connectedness, glocal understandings, and publicly available art. Additionally, I developed a template for writing glocally focused, community-based art education curriculum and produced completed curricular units for each of the communities. Finally, I have made suggestions for the future study and development of glocally focused, art education curriculum.
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Varde, Abhijit. "Local looking, developing a context-specific model for a visual ethnography a representational study of child labor in India /". Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132682652.
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Oliveira, Fernanda Fonseca Cruvinel de. "O olhar do outro: a arte rupestre de Palestina de Goiás e a comunidade local". Pontifícia Universidade Católica de Goiás, 2016. http://tede2.pucgoias.edu.br:8080/handle/tede/3527.
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This research work understanding the rural community of Palestina de Goiás about the local rock art, drawing a parallel between scientific interpretation and the interpretation of the community , in order to relativize the concept of cultural heritage and archaeological as well as the social impact scientific constructions. Therefore interviews were conducted , following semi-structured methodology and qualitative analysis . The analysis of the different narratives confronts the unilateral view of science , as well as other knowledge values and interpretations .
A presente pesquisa trabalha o entendimento da comunidade rural de Palestina de Goiás a respeito da arte rupestre local, traçando um paralelo entre a interpretação científica e a interpretação da comunidade, com o intuito de relativizar o conceito de patrimônio cultural e arqueológico assim como o alcance social das construções científicas. Para tanto foram realizadas entrevistas, seguindo metodologia semiestruturada e análise qualitativa dos dados. A análise das diferentes narrativas confronta a visão unilateral da ciência, assim como valoriza outros saberes e interpretações.
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Dari, Sana. "La peinture orientalise en Palestine et en Syri à la fin du XIXe et au début du XXe siècle : "la connotation religieuse et le tabou local"". Paris 1, 2001. http://www.theses.fr/2001PA010537.
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La dimension religieuse, qui apparait comme un caractère distinctif de la scène orientaliste en Syrie Palestine dans la deuxième moitié du XIXe et au début du XXe siècle était absente de l'école française un siècle plus tôt. Par sa précision topographique et son interprétation religieuse, la peinture orientaliste de Syrie Palestine s'apparente aux œuvres préraphaélites. En fait, le recours à la dimension religieuse, intensément exploitée par une société coloniale britannique, le Palestine exploration fund, entretient la confusion entre ce qui relève de l'art et ce qui relève du discours officiel. Cela apparait notamment dans l'idéalisation de Jérusalem, qui falsifie et occulte le caractère arabe de la cité. L'apparent emprunt aux thèmes quotidiens, qui semble imposer l'œuvre orientaliste comme un portrait ethnographique de l'Orient, est une reformulation de la réalité d'après une projection iconographique occidentale, y compris par le recours à une typologie et une toponymie bibliques. On distingue alors dans les scènes orientalistes des écoles anglaise, française, allemande et américaine, ce qui est purement imaginaire et ce qui est imaginaire recycle dans un cadre colonial. Pourtant, W. H. Hunt, simplement mu par le souci vériste, a réussi à composer à l'apogée de sa création poétique une œuvre qui offre un échantillon de réalité ethnographique.
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CHIEN, Yu-Ting y 簡于庭. "Art Basel Hong Kong as an Expanding Art Fair and it’s Effects on the Local Ecology of Art". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/22190481509233940667.
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碩士國立臺北教育大學
藝術與造形設計學系碩士班
105
In the 21st century, the structure of art market has gradually changed. Participat-ing in international art fairs has become the major channel to expand the contacts of collectors and promote artists. As the number of art fairs continues to soar, the art market has been heated up as a complementary result that art fairs has taken the role of integrating art markets and art media resources around the globe. Meanwhile, art fairs compete to establish features for attracting eminent galleries via respective networks of VIPs and collectors. At the moment, Art Basel Hong Kong, the highly acclaimed art fair proved by international media, is launching a new page into the expansion phase as the first expanding art fair taking place in Europe, America, and Asia. Its base in Asia, Hong Kong, having received the western system with the international scale, is worthy of scrutinization and has to undergo the changes of local arts ecology, cultural policies and issues of the art environment. The essay looks into local artists development in Hong Kong’s art ecology and the art market after the commercial art fair Art Basel Hong Kong was first launched, and then investigates the reciprocal effects and correlation among local artists, art ecology, the art market and the fair. The second chapter focuses on the forms of art fairs in a chronological order to derive the emergence of ex-panding art fairs by taking world-known, internationally expanding art fairs such as Frieze Art Fair, Foire Internationale d’Art Contemporain (FIAC), Paris Photo and Art Stage Singapore for examples. The third chapter inspects the background of Hong Kong’s political, economic and cultural policies in terms of art market opera-tion by deducing the data of art market environment such as the marketability in Hong Kong’s commercial galleries, art fairs and artists. In addition, to understand the formation and structure of the local art market, the essay provides an overview of the development of art criticism in Hong Kong that affirms the value of art. Moreover, based on the study on the structures of Art Basel Hong Kong such as positioning, fair plan and forum topics, the exposure of arts and galleries in Hong Kong is sorted out and compiled. The fourth chapter concentrates on the local art environment in Hong Kong such as art talent cultivation, art education system, art spaces and institutions with an eye to examining the proportion and problems of Hong Kong artists exposure in the commercial galleries, Art Basel Hong Kong and visual art exhibitions. The essay also analyzes how Art Basel Hong Kong affects Hong Kong artists in the local art market in correspondence to the fast-expanding art fair and the art market, furthermore, to highlight and re-examine the importance of local arts.
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Kiker, Jonathan. "Using Local Information for Compositing CG Into Traditional Art". 2009. http://hdl.handle.net/1969.1/ETD-TAMU-2009-05-325.
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I describe a procedure for compositing digital graphics into traditional artwork based
on local characteristics of the art. This is based on understanding that variations
in pictorial characteristics such as perspective, lighting and color, or style naturally
occur in many examples of traditional artwork. The goal of this study is to create
composites that are visually believable while showing that an object composited into
one section of an image requires characteristics designed speci cally for that section.
In order to show this, I examine four di erent case studies. Each case is a work of
traditional art which I composite di erent computer graphic elements into. These
CG elements range from simple primitive objects to complex character models.
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楊淑芳. "Elementary School Teacher''s Local Art Education Conceptions Research". Thesis, 1999. http://ndltd.ncl.edu.tw/handle/55159431253818527694.
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碩士國立臺灣師範大學
美術研究所
87
To foresee the future by reviewing the past, native culture was neglected in the past, education in 1993 elementary programs standard to revise, add 「local teaching activity」one subject, this is a big change in our educational history. Due to teacher''s idea relative subjects to implement success or fail, and local art education idea need clear, so this case research 「Elementary School Teacher''s Local Art Education Idea」main question, discuss recently primary teacher in local art education opinion and question, in provide future education relative bureau in teacher training, programs to revise and teacher''s study references. This research use in documentary analysis relative theory and make 「Elementary School Teacher Local Art Education Opinion Test Paper」tool in investigate, use multi-stage cluster random sampling method, to take at random from a batch of Taiwan area(not including Penghus, Kinman, Matsu)150 public elementary schools, total 900 teachers(including president, dean of studies, 3 to 6 grade art teacher and not art teacher)as research, to reply question, receive 691 efficient sample. Data management use computer suit statistics software SAS6.12 progress sample size、mean、standard and so on , descriptive statistics and MANOVA and ANOVA analysis of variance. result as follow: 1. Local Art Education Contents (1) Significance: including local customs of one''s native place, art and education three stages. Children life events in category, to cultivate children to have love village, country sentiment, to appreciate the beautiful and thinking, the ability of solve problem art education activity. (2) Purpose: make children know who is belonged group culture, to improve or beauty life''s environment quality, to arouse native sentiment, and cultivate to respect multiculture. (3) Contents: including traditional custom art, and relative life''s art activity, and multicultural art. 2. Elementary teacher''s local art education rational concept (1) Teacher think the meaning of local art education tendency「Life environment event''s experience」and the main of 「local culture characteristic」. (2) Teacher agree 「develop native culture''s characteristic」、「agree himself group」、「respect someone''s culture」、「understand art multi-purpose」、and「take care himself circumstance quality」，as the purpose of local art education. (3) Teacher trend 「investigate local art coming from」、「teach traditional custom skill」、「make community life quality」、「make local medium to write」、「visit local business」as local art education contents. 3. Different society population items will local art education concept differ (1) Teacher local art education concept not male or female, school area, school''s variety as art teaching, fact have difference. (2) Serve about 25 years teachers more agree the purpose of 「love village, country」 more than 5 years teacher and serve 6-10 years more agree cultivate children respect someone culture than above 25 years teacher. (3) Art relative subject graduate teacher than not art relative subject graduate teacher trend agree 「local art should research their coming from and meaning」and 「in local art education programs introduce foreign group culture」. (4) School administration of public affairs more general teacher trend 「exalt local culture」and 「love village love country」as local art education target. (5) Have local education or research experience''s teacher don''t have the experience teacher agree the cultivate child 「respect someone''s culture」、「thinking the questions and the ability to solve problem」、「understand art multi-purpose」、and「take care himself life circumstance quality as purpose」, in contents more agree 「Teach children now to make life quality become better」. 4. Teacher concept and class standard concept distinction (1) Education aim distinction : teacher disagree with the targets which program standards mention 「cultivate the appreciation ability of beauty」、「take care local question thinking and the ability to solve problem」、「love village and love country」、「keep the traditional art and learning」. (2) Education contents difference: teacher think local business will make local art education become important and program standards not mention, teacher not agree program standards will emphasize in 「Taiwanese culture」and 「local text book extend to world''s group culture」. (3) Make difference reason: Teacher professional knowledge and skill not enough Local art education concept guide not enough. Local program standards didn''t get good communication with basis structure teacher. Programs establish think about politics, not think about children. 5.Suggest: Local teaching activity should put in general program and take disciple integrated education teaching methods to improve local art education''s teacher cultivation more working training for teacher. Local art education program should emphasis children life point extend to all the world.
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Chien, Lin Tzu y 林子傑. "Paint Local - Statement of Lin Tzu Chien's Art Works". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/mh29wf.
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碩士國立高雄師範大學
美術學系
100
ABSTRACT The present M.A. thesis attempts to demonstrate my deep affect towards the places where I grow and dwell, as well as the notion of “life is art; art is life.” Hence, the “nativism” is the theme of the series works of the thesis; the Chinese ink painting is the expression of the work. With the study to probe my work, I am able to know, pay special concern, think, and reflect the people and things around the local spirit. As the artistic practice is concerned, the thesis is traditionally inherited, yet it is made to inspire any new insight along with the forerunners’ aesthetic essence as well as their creational crux as the contextual model to appreciate and model. With the classical and modern creation in mind, the thesis uses the collective memory to shape the local culture with objects, images, and symbolic signs. In addition, as the content of the work is concerned, the beauty of nature is represented to delineate the local colors, record the environment, pay special concern to any social phenomenon, and incorporate the natural and the social into the life experience. Meanwhile, the thesis attempts to employ the means of sketch and the realistic skills to paint with the materials such as ink and paint. The multiple elements and personalities are constituted to present the personal stylish work. The country scenery, the folklore culture, and the social mores in the country deeply inspire me to create. The notions such as the gratitude and satisfaction for Nature from the forerunners have indeed provided us numerous inspirations and reflections. These elements are the precious nourishment and reservoir in both dimensions of art and life. Through writing, I also share the feelings of art creation, except the analysis of the work. With the perseverant and determined mind, I would use the arts as a means of practice to love our local color. Keywords: nativism, ink painting
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CHEN, CHU WEN y 朱維珍. "Local Art infusing Arts and Humanities Curriculum:An Content Analysis". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/08168562927756546983.
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碩士國立臺北教育大學
藝術學系碩士班
96
This research is for the purpose of analyzing the contents of folk arts and its integration presented in the textbooks of middle grades Art and Humanities domain in elementary as well as understanding teachers’ opinion towards folk arts teaching. Firstly, through the method of “the literature analysis”, we get a view of the concept and the connotation of folk arts. Then we develop an analysis meter chart of curriculum contents of folk arts in the domain of Art and Humanities. Moreover, in view of first, second, third and fourth volume of Art and Humanities textbooks by the content analytic method, we analyze the contents of folk arts and its integration presented in the textbooks. Assisted by interviewing, we also interviewed teachers who taught second stage of Art and Humanities in order to understand teachers’ opinion on folk arts integrated in the textbooks and teaching . According to the researcher’s analysis of the contents of textbooks and the teachers’ interviews, this research's discoveries are as follows: 1. The contents of folk arts and its integration presented in the various editions of textbooks in Art and the Humanities domain (1)The temple fair activities are presented in every edition,especially the Shadow Play appears the most frequently. (2)“The human and the society” is integrated as the highest frequency whereas “the human and the family” is integrated as the lowest. (3)“The folk performing arts” is integrated as the highest frequency in the inferior category. (4)There are six inferior categories not presented in related folk arts learning activities, and are to be supplemented and reinforced. 2. Discoveries on the teachers’ interviews (1)Folk arts should be presented in multi teaching contents. (2)The textbooks are the tools for references, the teachers should consider and integrate the local characteristic in folk arts teaching. (3)Unify the related teaching resources and supplement the insufficiency of the contents in folk arts teaching. (4)Folk arts teaching can be offered by multiple references of teaching resources. (5)Folk arts teaching should utilize the local related contents of teaching. Finally, based on the conclusion of this research findings, and in the discussion of the contents of folk arts teaching, transformation of teachers’ teaching, utilization of local resources and so on, we hope to give several aspects of suggestions to editors of teaching materials, teachers and whoever in the future wants to be engaged in the related research.
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pei, chang shao y 張紹培. "Listening x NarrationTaiwan’s Art and the Creative Practice of Local Identification in Fangliao Art Village". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/jg7eq4.
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碩士國立屏東教育大學
視覺藝術教育學系
98
When the researcher began his residence in Fangliao Art Village in 2007, he became interested in the grass-root public art movement, and he thereupon started to consider this kind of local enthusiasm for native soil. When the researcher discovered that as the locals were dealing with emigration and industrial transformation, they expanded the initial agricultural and fishing industries to the cultural tourist industry. Cultural preservation and artistic activities were the major components of the developing industry. Such an industry represents local culture, life and cultural characteristics with the concept “Fangliao Art Village”. Then the researcher stipulates that all the action taken by the locals are the realization of “local identification”. In order to comprehend the motives of the abovementioned telluric enthusiasm, the researcher turned to the developments of Taiwan’s art movement for an answer. Finally, through “listening to” the elderly, the teachers and the Fangliao denizens and reading documents, the researcher has come to the conclusion that the motives in question are closely related to the “local identification” with the native soil by Taiwan’s artists. Thus, the researcher connects the Fangliao Art Village with Taiwan’s art history using the link “local identification”. Through “taking local residency” and “listening”, the researcher contemplated the “narrative” creative style based on “listening”, so as to express the researcher’s own “local identification” with the Artist Village. This study discusses three aspects of the core issue “local identification”: 1) The Fangliao residents’ realization of “local identification”; 2) the process of “local identification” with the native soil by Taiwanese artists; and 3) the researcher’s own creative study of Fangliao “local identification”. In carrying out this study, the researcher stuck to the ‘equality’ and ‘respect for the local culture’ principles when he realized the creative work of “local identification”. Through “interdisciplinarity” he employed “digital media” as the form of creation to express the “local identification” by the Fangliao denizens, and the “local identification” in Taiwan’s art history.
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Chiang, Mei-Huie y 江美惠. "A Study on Applying Local Images into the Art Industry". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/z99bsh.
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碩士國立臺東大學
美術產業碩士學位在職進修專班
97
In recent years, Taiwan has faced the pressure of the worldwide structure change in industrial capital. The government has actively promoted the development of local culture to increase the local economy, which the Taitung County Government is also in line with this government policy. On how should the local culture and creative industry of Taitung County may give a deep impression to people, in this study, we explore the aspects from the view of the art industry contained within the culture and creative industry, and discuss the topic of applying local images into art industry to comprehend the present art sections of Taitung. Furthermore, through description, analysis, and providing suggestions of the commercialization or art products and to enter daily livelihood, we explore the possibility for the development of art industry in Taitung. The purposes of this research are: 1. To seek the local image elements of Taitung. 2. The combination of local image into the creativity in art 3. To transform art creativity into culture and creative industry merchandises In this study, the recent drawings of the author in local image of Taitung are primarily used to respond with the principles and concepts of the government, on the development of local culture and creative industry. By this art concept, an attempt is made to transform creativity into lifestyle art products, to beautify and increase the pleasure in life, for in hope the art workers in Taitung County may enhance the multi-creativity (by this research) and display the beautiful Taitung in all various kinds of ways. With art, the image of Taitung may be enhanced and glorified, to further increase the economical ability, to improve the livelihood, and to carry out the competitive capability of Taitung County. We in hope seek a win-win situation for both Taitung and for the art workers.
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Silva, Miguel Duarte Vieira da. "Du Arte online platform : local art for a global market". Master's thesis, 2019. http://hdl.handle.net/10400.14/26936.
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The goal of this dissertation is to analyse the competitive landscape and the customer segments of the online art market, to enable Du Arte (an online marketplace of artworks) to pursue a successful market entry and achieve profitability in the long-run. For this, it addresses five research questions on Du Arte: identifying the main competitors, the competitive forces that pressure the most, the customer segments more willing to use the platform, the customer segment that is most attractive, and the required investment and break-even timeline. The competitive analysis part explained how the market is today, assessed which segments of the market might constitute an opportunity, established a course of action for a market entry, and analysed Du Arte (SWOT analysis) and its competitors through a strategic groups map and Porter’s five forces, thus determining the main competitors and the most pressuring competitive forces. The customer analysis part identified which customer segments are more willing to use the platform and which variables (behaviour-based and user-based) are more relevant in explaining it, through a regression analysis using the data collected from the survey; identified the willingness to pay for an artwork of each customer segment; and identified the most attractive customer segment through an attractiveness analysis based on the size, growth, margin and competition dimensions of each segment. The financial analysis part explained the profitability and required investment of Du Arte in the first five years, and the break-even point according to an optimistic or conservative scenario.O objetivo desta dissertação é analisar o cenário competitivo e os segmentos de clientes do mercado online de arte, para garantir que a Du Arte (mercado online de obras de arte) seja bem-sucedida na entrada no mercado e seja rentável no longo prazo. Para tal, aborda cinco questões sobre a Du Arte: identificar os principais concorrentes, as forças competitivas que mais pressionam, os segmentos de cliente mais dispostos a usar a plataforma, o segmento de cliente mais atrativo, e o investimento necessário e ponto de break-even. A parte da análise do cenário competitivo explicou como o mercado funciona hoje, avaliou que segmentos do mercado podem constituir uma oportunidade, estabeleceu um curso de ação para uma entrada no mercado, e analisou a Du Arte (análise SWOT) e a concorrência, através de mapa de grupos estratégicos e as cinco forças de Porter, determinando os principais concorrentes e as forças competitivas que mais pressão fazem. A parte da análise de cliente identificou os segmentos de cliente mais dispostos a usar a plataforma e quais as variáveis que melhor o explicam, através de regressões com os dados do questionário; identificou o quanto cada segmento de cliente está disposto a pagar por uma obra; e identificou o segmento de cliente mais atrativo através de uma análise de atratividade baseada no tamanho, crescimento, margem e concorrência. A parte de análise financeira explicou a rentabilidade e o investimento necessário para os primeiros cinco anos e o ponto de break-even para um cenário otimista ou conservador.
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HO, Ai y 賀愛. "The Establishment and Development of the Local Art Museum-A Case Study of the Yilan Art Museum". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/awje79.
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碩士國立臺北藝術大學
博物館研究所
106
Yilan County Government has taken environmental protection, tourism and culture into the county’s development goals from the beginning of the 1980s. Yilan County Government works with local individuals to create the local community culture model of Yilan. In the early 1990s, the government planned to relocate and promote the re-development of the southern part of the old city. By connecting different open spaces with cultures and preserving and reusing commercial facilities, the government gives the old city a new style. Yilan Art Museum locates in the center of the old city was originally a branch of Bank of Taiwan. In 2002, after that branch in Yilan was registered as the historical building in Yilan County, it was then governed by Yilan County Cultural Bureau and was re-used for the Yilan Art Museum of Art in July 2012. Yilan Art Museum is the first public art museum in Taiwan converted into a museum from historical architecture. The "place" that Tim Cresswell considers in this study is the space for social construction and significance in the context of power as the axis to explore how a local art museum under government administration can be established and operated. The researcher in this research uses document analysis and interview method to analyze how the Yilan county government makes a hundred-year-old city museum blueprint. The study shows that cultural policies are based on different social and cultural construction, giving birth to different art museums. The essence of local art museums is regional and local, that is related to social and cultural activities and art itself. On one hand, it represents the energy of local art activities; on the other hand, it also involves in the overall process of local cultural policy.
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Lu, Chun-Hsuan y 呂純萱. "The Study of Local Culture Marketing Strategies for Land Art－Take Taoyuan Land Art Festival as Example". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/tc34tf.
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碩士元智大學
管理碩士在職專班
107
The Land Art Festival has flourished throughout the country in recent years. Taoyuan has handled Taoyuan Land Art Festival for six times since 2013. The goal of the activities is for the government to shape Taoyuan as a wallless art gallery and let the world see the beauty of Taoyuan. However, what kind of impacts and benefits the activities bring to the people, how to make the activities continue its their value, rather than pyrotechnic activities, is the motivation for this paper Therefore, this study takes Taoyuan Land Art Festival as an example, and explores the connotation, orientation and category of Taoyuan Land Art Festival based on the local culture marketing strategy theory, and especially focuses on the landform and landscape of Taoyuan, for example Pond Cultural landscape of Xinwu Township, Taoyuan. Based on the above analysis results, from short, mid, and long term strategies, the graduate student will bring up suggestions to the government to achieve the marketing and development of Taoyuan land and economy, social and environmental sustainability. The results of this study found that, first, the government markets Taoyuan Land Art Festival by using Public Art as techniques, which has both educational and local economic development goals. Second, the activity gradually condenses local recognition. Third, Public Art must consider the acceptance of the public. Fourth, the main visual design with the image of township became the representative brand of the Taoyuan Land Art Festival. Finally, the government should continue to accelerate the promotion and marketing of Taoyuan's vision and goals.
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Vaughan, Kathleen. "Finding home : knowledge, collage, and the local environments /". 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29534.
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Thesis (Ph.D.)--York University, 2006. Graduate Programme in Language, Culture and Teaching.Typescript. Includes bibliographical references (leaves 286-314). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29534
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Purdie, Jocelyn. "The neighbourhood imaginary : considerations of local art production in unconventional spaces". Thesis, 2008. http://hdl.handle.net/1974/1051.
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This thesis examines contemporary art projects that are installed in unconventional sites
in urban neighbourhoods. Using the conceptual framework of the neighbourhood
imaginary, I propose that these local art practices utilize neighbourhood spaces to engage
with nation, identity and citizenship practices within the contemporary discourse of
globalization. The three art projects I investigate address different aspects of
neighbourhood. Cuban artist René Francisco Rodriguez’s (René Francisco) project, El
Patio de Nin, foregrounds the citizen in an urban neighbourhood. His project merges
creativity and pedagogy with social service, and blurs the boundaries between art and life
in order to comment on social conditions and citizenship practices. The Legacy of Joseph
Wagenbach (2006), by Toronto artist Iris Häussler, uses a home in an urban
neighbourhood as a physical space in which to create an imaginary life to explore aspects
of community, human behaviour and social values. The Swamp Ward Window, a
Kingston-based curatorial project, takes advantage of the intimacy of the private home
and the immediacy of the street to present artworks that explore the interface between
public and private and everyday life in the community.
Cornelius Castoriadis argues that the social imaginary emerges when the subconscious,
the symbolic and action interact, not merely to reflect the outside world, but to create new
meanings from which social change is possible. In my analysis, the neighbourhood
imaginary resonates with the social imaginary, functioning as a conceptual laboratory for
artists to experiment with the different meanings associated with neighbourhood,
community and citizenship. I propose that a reengagement with the local, as part of a
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global discourse, provides an opportunity to examine art projects that manifest in
neighbourhoods. And, while taking place in different socio-political circumstances, the
shared condition of locality, I argue, provides a window through which the three projects
envision linkages between aesthetic practices and public life. Finally, in order to
critically consider local artistic practices in relation to globalization and the
commodification of culture, this thesis engages those discourses of globalization that see
culture as integral in new global economies.Thesis (Master, Art History) -- Queen's University, 2008-02-29 13:04:52.207
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LIN, Shih-tzu y 林世超. "The Study On Decorative Art of Local Traditional Residences in Penghu". Thesis, 1997. http://ndltd.ncl.edu.tw/handle/68361689626224437151.
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碩士國立成功大學
建築(工程)學系
85
All races and cultures in the world have their own symbolic system. Thesesymbols usually represent the race. It is that people have built their own wayof expression which is recognized by a society after a long time of social practices. At the same time, people''''''''s own ideal in their mind which comes fromthe accumulation of daily experiences and cause-effect judgment also becomesthe way of expression. The architectural expression is the decorative art oftraditional residences. The purpose of this study is to scrutinize the cont-ents and changes of the traditional residences in Penghu in addition to themeanings of social culture and space being reflected. A general survey is used with the spatial object of Penghu''''''''s main island. The study is conducted byboth actual architectural survey and interviews with the craftsmen. The thesisis divided into four chapters. Chapter one is "Introduction" which points outfirstly the motive and purpose of the study, then the subject, range of timeand space of this study are introduced while related documents are reviewed. Furthermore, the chapter poses the method, the flow process and the structureof the study. Chapter two is "Types of Decorative Subjects" which studies thecontents, connotative meanings and their application principals apparent in the traditional residences in Penghu.Chapter three is "The Decorative Position, Subject, and Expression Approaches" which highlights on the standing types, decorative subjects, and expression approaches of the entrance, the large residential body, yard and cabin according to different spatial positions such as the foundation, the body and the roof. Chapter four is "Conclusion" whichis to investigate the changes of traditional residence decoration in local penghu and the decorative connotation in social culture and space on the base of the previous chapters and to propose the possible directions for the study on the subjects of residential decoration in the future.
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Chen, Li-ju y 陳麗如. "Impacts of Art and Culture Activities on Local Culture Impacts of Art and Culture Activities on Local Culture Promotion: Case Study of Chiayi City International Band Festival". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/22009462252231773888.
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碩士南華大學
文化創意事業管理學系
101
In the 21st century, soft power is one of the best competitive powers of a city and culture is the most important soft power of city development in the future. Art and culture activities play an essential role of leisure activities in our daily lives . In recent years, with central and local governments'' supports, activities have been the main part of city cultures as well as festivals. They have gradually become Taiwan''s emerging tourism industry. Art and culture activities not only have positive impacts on city developments but also display local characteristics and creative features. Furthermore, they shape the image of the city. International Band Festival, which was held annually, accumulates Chiayi City''s cultural soft power. It also helps Chiayi City winning the right to host the 2011 WASBE Conference and let Chiayi City know as “the City of Band Music”. Case study is adopted in this research. Through literature reviews, secondary data collection, and depth interviews, this research aims at the influences on city image and marketing﹐culture education rooting, the promotion of local culture industry, the guidance of local arts associations, and other various aspects after Chiayi City International Band Festival. After further analyzing and inducing, researcher constructed solid and effective suggestions to the Chiayi City International Band Festival steering committee as the reference for future plans.
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Haren, Samuel John. "Falling into place place and its imaginary in making performance /". 2008. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20090224.142202/index.html.
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McDowall, Katherine Louise. "Artfully healing Austin : artist’s hospital beautification project spotlights local healing arts". Thesis, 2014. http://hdl.handle.net/2152/26407.
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Art has long been used as a healing method. Thousands of years ago, the Greeks designed temples to surround patients with art and nature and to promote healing and harmony. Today, a growing amount of evidence-based design research proves that hospitals need to be more mindful of the healing environment through better design and inclusion of the arts to reduce stress, lower costs and shorten hospital stays. This report follows Aaron Darling, an artist and part-time nurse based in Austin, Texas, who has seen a need for such change in local hospitals. Through expansive nature-themed wall murals, Darling hopes to improve the blank walls he has seen in hospital hallways and patient rooms and increase the presence of local art in Austin-area hospitals, starting with Seton Medical Center. His story sheds light on other local professionals using art to heal, such as art therapists, and successful healing arts programs, including Dell Children’s Medical Center of Central Texas. More than that, this report highlights the power of art itself to serve patients by improving healing spaces and acting as a positive distraction in an oftentimes scary place: the hospital.text
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Ying, Lin y 林瑩. "Demonstrating Local Character Design for Derivative Museum Products: Adopting the Local Character from Shi De-Chin’s Art as an Example". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/44000771999704536687.
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碩士國立臺中技術學院
商業設計研究所
97
In conclusion, this research has demonstrated the high quality design of derivative museum products, hoping to serve as a reference and a lead for museums to develop finer, more competitive and more profitable products.
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Chen, Yi-Lin y 陳怡伶. "The Local Image of Taitung Music Village and its Influence in Art Education". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/748ynv.
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碩士國立臺灣師範大學
美術學系
105
The research subject in this master thesis is Taitung Music Village, Tiehua Village, via the image formed in Taitung Tiehua Village, art educators’ teaching resources in the courses adopted by local art educators, we explored the utilization of the image in the Music Village and fusion of Taitung local image and art courses. Based on these result, the research further discuss its influence on local art education, and the potential development in the Village layout and program in the future. This study uses qualitative method: semi-structured interview supplemented by related literature review and information collection: formulating interview outline, collecting and organizing interview pictures as data sources. There are 10 interviewees in this study: 4 of them are local art teacher, 4 Village members, and 2 sightseers. Based on research purpose and method, the results can be shown as follows: According to this study, the conclusion are drawn below: 1.In comparison with local image of Tiehua Music Village and Taitung, both shares the same elements: aboriginal culture and creation of easy and slow atmosphere. Besides, most respondents believe Tiehua Music Village did not use Taitung image on purpose in the create of field image. 2.The interview result shows that Taitung’s art classes emphasize more on the humanitarian elements. Moreover, most art teachers believe that it is considerable to incorporate Tiehua Music Village into their art course program; some high school art educator in our interview have had experience in applying field image in their courses. 3.The interview result represents that most interviewees think Tiehua Music Village has no significant influence on local art education. Wish that Tiehua Music Village can provide various aesthetic sense and integrating them into education in the future Program of Activities directed by Tiehua Music Village.