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Gotowe bibliografie tematyczne / Art, indic – 20th century – exhibitions / Rozprawy doktorskie

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Rozprawy doktorskie na temat „Art, indic – 20th century – exhibitions”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

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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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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Chaplain, Josefina. "Gendered visions postcolonial Indian art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31223928.

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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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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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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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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

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Vigli, Maria. "La participation des artistes grecs aux expositions universelles et internationales en Europe (1901-1939)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040094.

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Notre étude porte sur la présence des artistes grecs(peintres, sculpteurs, graveurs) aux manifestations universelles et internationales qui se sont déroulées dans de différentes villes européennes, durant les quarante premières années du XXe siècle.Effectuée principalement aux catalogues officiels des expositions traitées, notre recherche a essayé d’appréhender l’activité artistique des hellènes, en la situant dans un contexte culturel international(expositions universelles et/ou internationales) et dans un cadre chronologique précis (1901-1939) ; pour ce faire, nous avons tenu compte des dive

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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.

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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in

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Lebednykaitė, Miglė. "Šventadienės prijuostės Lietuvos kultūroje. XIX a. – XX a. pirmoji pusė." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130627_103017-08749.

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Disertacijos tyrimo objektas – šventadienė prijuostė, tradicinio liaudies kostiumo dalis, kuri pristatoma ne tik kaip drabužis, bet kaip sąlyginai savarankiškas daugiaplanis kultūros objektas, tapęs etninių tradicijų ir tautinės savimonės raiškos simboliu. Tyrimo laikotarpis – XIX a.–XX a. pirmoji pusė. Tai pirmasis mokslinis darbas, nuosekliai atskleidžiantis procesą, kaip prijuostė, prarasdama savo pirminę paskirtį, XX a. pirmojoje pusėje įgavo naują prasmę ir tapo tautiškumo simboliu, reprezentantu ne tik Lietuvoje, bet ir užsienyje. Darbe analizuojami iki šiol sistemingai netyrinėti XIX a.

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Seniuta, Isabella. "Histoire du Eye Club : les valeurs de la photographie : Paris-New York (1960-1989)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H004.

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Cette thèse s’interroge sur l’invention d’une formule : The Eye Club. Inventée par l’historienne américaine Eugenia Parry, elle désigne un regroupement actif dans les années 1960-1990 composé de : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff et Robert Mapplethorpe. Ces douze figures vivent entre la France et les États-Unis et sont rattachées par plusieurs facteurs culturels et temporels. Ce «club» n’est pas à proprement parler un cercle de sociabilités, c’est une cons

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Fetnan, Rime. "La fabrique des imaginaires de l’altérité dans les biennales internationales d’art contemporain depuis 1989." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30013.

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Cette thèse vise à interroger la façon dont les biennales internationales d’art contemporain, en tant qu’événements culturels et premiers temps d’historicisation des oeuvres et des artistes, contribuent à la fabrique des imaginaires de l’altérité. Le cadrage chronologique de notre recherche s’ancre à partir de 1989, date qui correspond à un « tournant global », un changement de paradigme qui aurait eu pour effet de repenser les rapports de domination et les logiques de centre/périphérie, notamment dans le champ de l’art contemporain. L’internationalisation de l’art contemporain et le renouvell

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Sambrani, Chaitanya. "Nation tradition modernism : Indian art in the twentieth century." Phd thesis, 2005. http://hdl.handle.net/1885/150001.

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Mathews, Heather Elizabeth. "Making histories: the exhibition of postwar art and the interpretation of the past in divided Germany, 1950-1959." Thesis, 2006. http://hdl.handle.net/2152/3457.

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Sithole, Nomcebo Cindy. "Exhibitions of resistance posters: contested values between art and the archive." Thesis, 2017. https://hdl.handle.net/10539/24483.

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A Research report submitted in partial fulfilment of the Degree Masters in History of Arts at the University of Witwatersrand, 2017<br>This research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how thes

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Jacobs, Natasha Sandra Ruth. "Abstraction, ambiguity and memory in selected artworks by Ursula von Rydingsvard and Kemang wa Lehulere." Thesis, 2017. https://hdl.handle.net/10539/24461.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017<br>This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory

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Kotze, Steven. "Gender, power and iron metallurgy in archives of African societies from the Phongolo-Mzimkhulu region." Thesis, 2018. https://hdl.handle.net/10539/27048.

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A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in fulfilment of the requirements of Master of Arts, Durban 2018<br>This dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum coll

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Vuković, Tijana. "Regaining the Past. Yugoslav Legacy in the Period of Transition: the Case of Formal and Alternative Institutions of Art and Culture in Serbia at the End of the 20th and the Beginning of the 21st Century." Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/3935.

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1 SUMMARY Regaining the Past. Yugoslav Legacy in the Period of Transition: the Case of Formal and Alternative Institutions of Art and Culture in Serbia at the End of the 20th and the Beginning of the 21st Century Before, during the existence of Yugoslav state, and in the post Yugoslav period, common cultural (and art) space was shaped by the similar language, culture, connections, mentality, territory, economic relations, (foreign) influences and art production. After the dissolution of Yugoslavia in disastrous war conflicts, a large economic and cultural crisis hit the whole Balkan region. Cr

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Mergl, Jan. "Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-332283.

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DISERTAČNÍ PRÁCE Univerzita Karlova v Praze Filozofická fakulta Ústav pro dějiny umění Studijní program Dějiny výtvarného umění Jan Mergl Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940 Art Development of the Production of the Harrach Glassworks in Nový Svět 1850-1940 Abstract Vedoucí práce: Doc. PhDr. Jana Kybalová, CSc. 2014 ABSTRACT Highly regarded throughout the world, Bohemian glass is also acknowledged as a cultural phenomenon in its own right and the Harrach glassworks in Nový Svět in Krkonoše indisputably ranks among the most accomplished companies that have had a

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Northfield, Sally. "Canvassing the emotions : women, creativity and mental health in context." Thesis, 2014. https://vuir.vu.edu.au/29985/.

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Canvassing the emotions examines the role and meaning of artmaking in the lives of women who have experienced mental ill-health and/or psychological trauma in Australia between the 1950s and the present. Hovering at the nexus of a number of contested domains, the thesis bypasses the perennial question of what is art to explore the neglected and perhaps more interesting query – what does art do for the artmaker? – and associated questions of why does art matter; what is the function of artmaking in relation to wellbeing; and what are the implications of a thwarted life of making? The thesis pr

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