subject:(Art exhibitions)

Nelson Mandela Metropolitan University

1. Fuller, Michele. Reviewing medium: paint as flesh.

Degree: Faculty of Arts, 2011, Nelson Mandela Metropolitan University

URL: http://hdl.handle.net/10948/d1008590

► The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of… (more)

▼ The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass. Advisors/Committee Members: Jones, David.

Subjects/Keywords: Figure painting – Exhibitions; Human figure in art – Exhibitions; Anatomy, Artistic – Exhibitions; Cadaver in art – Exhibitions

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APA (6^th Edition):

Fuller, M. (2011). Reviewing medium: paint as flesh. (Thesis). Nelson Mandela Metropolitan University. Retrieved from http://hdl.handle.net/10948/d1008590

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Fuller, Michele. “Reviewing medium: paint as flesh.” 2011. Thesis, Nelson Mandela Metropolitan University. Accessed March 04, 2021. http://hdl.handle.net/10948/d1008590.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Fuller, Michele. “Reviewing medium: paint as flesh.” 2011. Web. 04 Mar 2021.

Vancouver:

Fuller M. Reviewing medium: paint as flesh. [Internet] [Thesis]. Nelson Mandela Metropolitan University; 2011. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10948/d1008590.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Fuller M. Reviewing medium: paint as flesh. [Thesis]. Nelson Mandela Metropolitan University; 2011. Available from: http://hdl.handle.net/10948/d1008590

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of California – San Diego

2. Monday, Zac. Easy Fire : You walking pyre! : Strung out, horny- hip for hire! : Please him 'till he'll never tire! : The broken, boring, selfish liar!.

Degree: Visual Arts, 2010, University of California – San Diego

URL: http://www.escholarship.org/uc/item/3tp6n74g

► My thesis exhibition consists of four acts, with each act manifesting in a total of four locations and nine separate performances. Act One took place… (more)

Subjects/Keywords: Exhibitions Performance art 21st century

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APA (6^th Edition):

Monday, Z. (2010). Easy Fire : You walking pyre! : Strung out, horny- hip for hire! : Please him 'till he'll never tire! : The broken, boring, selfish liar!. (Thesis). University of California – San Diego. Retrieved from http://www.escholarship.org/uc/item/3tp6n74g

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Monday, Zac. “Easy Fire : You walking pyre! : Strung out, horny- hip for hire! : Please him 'till he'll never tire! : The broken, boring, selfish liar!.” 2010. Thesis, University of California – San Diego. Accessed March 04, 2021. http://www.escholarship.org/uc/item/3tp6n74g.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Monday, Zac. “Easy Fire : You walking pyre! : Strung out, horny- hip for hire! : Please him 'till he'll never tire! : The broken, boring, selfish liar!.” 2010. Web. 04 Mar 2021.

Vancouver:

Monday Z. Easy Fire : You walking pyre! : Strung out, horny- hip for hire! : Please him 'till he'll never tire! : The broken, boring, selfish liar!. [Internet] [Thesis]. University of California – San Diego; 2010. [cited 2021 Mar 04]. Available from: http://www.escholarship.org/uc/item/3tp6n74g.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Monday Z. Easy Fire : You walking pyre! : Strung out, horny- hip for hire! : Please him 'till he'll never tire! : The broken, boring, selfish liar!. [Thesis]. University of California – San Diego; 2010. Available from: http://www.escholarship.org/uc/item/3tp6n74g

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Johannesburg

3. Pahl, lIse. Once upon a time ... : an investigation of selected, domestic mass-produced objects and their display as source for an exhibition of drawings and sculptures.

Degree: 2014, University of Johannesburg

URL: http://hdl.handle.net/10210/8815

►

M.Tech. (Fine Art)

The research investigates the similarities and differences between the display of selected, mass-produced objects in museums, with special reference to the Victoria… (more)

Subjects/Keywords: Art collections; Museum techniques; Exhibitions

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APA (6^th Edition):

Pahl, l. (2014). Once upon a time ... : an investigation of selected, domestic mass-produced objects and their display as source for an exhibition of drawings and sculptures. (Thesis). University of Johannesburg. Retrieved from http://hdl.handle.net/10210/8815

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Pahl, lIse. “Once upon a time ... : an investigation of selected, domestic mass-produced objects and their display as source for an exhibition of drawings and sculptures.” 2014. Thesis, University of Johannesburg. Accessed March 04, 2021. http://hdl.handle.net/10210/8815.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Pahl, lIse. “Once upon a time ... : an investigation of selected, domestic mass-produced objects and their display as source for an exhibition of drawings and sculptures.” 2014. Web. 04 Mar 2021.

Vancouver:

Pahl l. Once upon a time ... : an investigation of selected, domestic mass-produced objects and their display as source for an exhibition of drawings and sculptures. [Internet] [Thesis]. University of Johannesburg; 2014. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10210/8815.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Pahl l. Once upon a time ... : an investigation of selected, domestic mass-produced objects and their display as source for an exhibition of drawings and sculptures. [Thesis]. University of Johannesburg; 2014. Available from: http://hdl.handle.net/10210/8815

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Victoria University of Wellington

4. Moore, Marcus T. G. Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception.

Degree: 2012, Victoria University of Wellington

URL: http://hdl.handle.net/10063/4455

► This thesis examines the reception to Marcel Duchamp in New Zealand from 1965 to 2007. It takes as its subject two exceptional occasions when Duchamp’s… (more)

▼ This thesis examines the reception to Marcel Duchamp in New Zealand from 1965 to 2007. It takes as its subject two exceptional occasions when Duchamp’s work arrived in New Zealand and the various ways in which select New Zealand artists have responded to his work since that date. In doing so, this thesis acknowledges the shifting ideologies that underpin the reception of Duchamp which are characteristic of each decade. Thus it reads Duchamp’s reception through the conceptual and ‘linguistic turn’ in post-formalist practices in the late 1960s and 1970s; the neo-avantgarde strategies of the late 1970s and 1980s; a third-wave response to the readymade in the 1990s − which leads to an expanded notion of art as installation practice in the mid- to late 1990s. Finally, it offers a take on the readymade paradigm after post-modernism, as seen in a return to artisanal craft. This historical account of artistic practice in New Zealand is woven around two remarkable events that entailed Duchamp’s works actually coming to New Zealand, which I reconstruct for the first time. These are: Marcel Duchamp 78 Works: The Mary Sisler Collection (1904–1963), the exhibition that toured Auckland, Wellington and Christchurch in 1967; and the bequest of Judge Julius Isaacs and Betty Isaacs to the National Art Gallery in 1982 which included three works by Duchamp. The first took place in the 1960s during the first wave of exhibitions that brought Duchamp to a global audience. Here I argue that, rather than a belated response, this was contemporaneous with other events, proving that New Zealand was an active participant in the initial global reception of Duchamp. The second concerns the process by which Duchamp’s works entered a public collection. Here, I offer an account that reveals the uniqueness of Duchamp’s gifting of artworks to friends, and argues for the special importance of this gift, given the scarcity of Duchamp’s work, due to his limited output. This thesis also reads Duchamp through the lens provided by New Zealand’s situation on the periphery. Thus it offers an analysis of Duchamp’s life and work that, while acknowledging his centrality in twentieth-century art, takes from his example those components of his practice deemed relevant to the situation of art and artists here in New Zealand. By this means I locate those elements of Duchamp’s life story, his work and legacy that tell us something new about how to diffuse the power of the centre. Drawing on the consequences of the processes of decentralisation that have reshaped the landscape of global culture, this account reveals new relationships between margin and centre that provide new ways to connect Duchamp with subsequent generations of New Zealand artists. The aim here is to defy the assumed separation of New Zealand from international trends, rethink our subservient ties to England, to offer a new version of a local art history that knits our artists into a global mainstream without rendering them beholden to a master narrative that derives from elsewhere. Advisors/Committee Members: Barton, Christina, Spiteri, Raymond.

Subjects/Keywords: Readymade; Installation art; Exhibitions

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Moore, M. T. G. (2012). Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception. (Doctoral Dissertation). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/4455

Chicago Manual of Style (16^th Edition):

Moore, Marcus T G. “Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception.” 2012. Doctoral Dissertation, Victoria University of Wellington. Accessed March 04, 2021. http://hdl.handle.net/10063/4455.

MLA Handbook (7^th Edition):

Moore, Marcus T G. “Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception.” 2012. Web. 04 Mar 2021.

Vancouver:

Moore MTG. Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception. [Internet] [Doctoral dissertation]. Victoria University of Wellington; 2012. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10063/4455.

Council of Science Editors:

Moore MTG. Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception. [Doctoral Dissertation]. Victoria University of Wellington; 2012. Available from: http://hdl.handle.net/10063/4455

University of Missouri – Columbia

5. Burton, Judith Penney. Fight or flight.

Degree: 2013, University of Missouri – Columbia

URL: https://doi.org/10.32469/10355/40179

► Fight or Flight addresses the end result of recent environmental disturbances and catastrophic weather events brought on by climate change. Many humans throughout the planet… (more)

Subjects/Keywords: Installations (Art) – Exhibitions; Art, Modern – Exhibitions; Environment (Art) – Exhibitions; Forced migration; Climatic changes – Environmental aspects; Extinction (Biology); Nature in art – Exhibitions

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APA (6^th Edition):

Burton, J. P. (2013). Fight or flight. (Thesis). University of Missouri – Columbia. Retrieved from https://doi.org/10.32469/10355/40179

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Burton, Judith Penney. “Fight or flight.” 2013. Thesis, University of Missouri – Columbia. Accessed March 04, 2021. https://doi.org/10.32469/10355/40179.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Burton, Judith Penney. “Fight or flight.” 2013. Web. 04 Mar 2021.

Vancouver:

Burton JP. Fight or flight. [Internet] [Thesis]. University of Missouri – Columbia; 2013. [cited 2021 Mar 04]. Available from: https://doi.org/10.32469/10355/40179.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Burton JP. Fight or flight. [Thesis]. University of Missouri – Columbia; 2013. Available from: https://doi.org/10.32469/10355/40179

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Missouri – Columbia

6. Nosri, Norleen, 1978-. Gratitude vessels : ceramic composition and social cohesion.

Degree: 2013, University of Missouri – Columbia

URL: https://doi.org/10.32469/10355/40196

► This body of work presents ceramic serving and drinking vessels in a series of arranged compositions. These vessels include teapots, ewers, decanters and cups presented… (more)

Subjects/Keywords: Art pottery – Exhibitions; Drinking vessels – Exhibitions; Gratitude in art – Exhibitions; Art and society – Exhibitions; Metaphor in art

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Nosri, Norleen, 1. (2013). Gratitude vessels : ceramic composition and social cohesion. (Thesis). University of Missouri – Columbia. Retrieved from https://doi.org/10.32469/10355/40196

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Nosri, Norleen, 1978-. “Gratitude vessels : ceramic composition and social cohesion.” 2013. Thesis, University of Missouri – Columbia. Accessed March 04, 2021. https://doi.org/10.32469/10355/40196.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Nosri, Norleen, 1978-. “Gratitude vessels : ceramic composition and social cohesion.” 2013. Web. 04 Mar 2021.

Vancouver:

Nosri, Norleen 1. Gratitude vessels : ceramic composition and social cohesion. [Internet] [Thesis]. University of Missouri – Columbia; 2013. [cited 2021 Mar 04]. Available from: https://doi.org/10.32469/10355/40196.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Nosri, Norleen 1. Gratitude vessels : ceramic composition and social cohesion. [Thesis]. University of Missouri – Columbia; 2013. Available from: https://doi.org/10.32469/10355/40196

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Rhodes University

7. Cook, Shashi Chailey. Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994).

Degree: Faculty of Humanities, Fine Art, 2009, Rhodes University

URL: http://hdl.handle.net/10962/d1002195

► This thesis centres on the debates informing the progress of three public art galleries in South Africa between 1990 and 1994. This was a period… (more)

▼ This thesis centres on the debates informing the progress of three public art galleries in South Africa between 1990 and 1994. This was a period of great change in the country, spanning from the unbanning of left-wing political parties and Nelson Mandela’s release from prison, to the first democratic elections which resulted in his inauguration as President of South Africa. The study focuses specifically on the Johannesburg Art Gallery, the South African National Gallery, and the Durban Art Gallery, delineating the events and exhibitions held, the programmes initiated, and the artists represented by these galleries during this post-apartheid/pre-democracy phase of the country’s history. The debates relevant to these galleries linked to those prevalent in the arts, museology, and politics at the time. Many contemporary South African artists called attention to apartheid oppression and human rights abuses during the 1980s. After 1990, with these pressures alleviating, there was a stage of uncertainty as to the role, responsibility, and focus of visual art in a post-‘struggle’ context, however there was also an unprecedented upswing in interest and investment in it. On a practical level, the administration of the arts was being re-evaluated and contested by both independent and politically-aligned arts groups. Public art museums and sponsored art competitions and exhibitions made increasing efforts to be ‘representative’ of South Africans of all races, cultures, creeds, sexes and genders. The many conferences, committees, and conventions created during this transitional era focused on the creation of policies that would assist in nation-building; historical and cultural redress and regeneration; and the education and representation of previously disadvantaged groups. This coincided with a revolution in museological discourses internationally, from the theorization of a museum as a place of commemoration and conservation, to a forum for discussion and revision between both academic and non-academic communities. With the sharing of the process of constructing history and knowledge, came the challenging dynamics involved in the representation of identity and history. In all of these groups - the arts, museology, and South African politics - the predominant issue seemed to be a negotiation between the bid to open up control to more parties, and the reluctance of some parties to relinquish control. While the emphasis is on significant changes that were implemented in the transitional period, the study locates the changes at the Johannesburg Art Gallery, the South African National Gallery and the Durban Art Gallery within their historical, geographical, and socio-political context. Various artists working in these locations during this era are also discussed, as the changes in their status, and the progressions in their subject matter, materials, and concerns are interesting to examine more nuanced definitions of the ‘political’, probing the politics of identity, sexuality, gender, race, geography, and belief systems. Some…

Subjects/Keywords: South African National Gallery Exhibitions; Durban Art Gallery Exhibitions; Joahnnesburg Art Gallery Exhibitions; Art – South Africa – Exhibitions; Art, South African Exhibitions; South Africa History Exhibitions

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Cook, S. C. (2009). Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994). (Thesis). Rhodes University. Retrieved from http://hdl.handle.net/10962/d1002195

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Cook, Shashi Chailey. “Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994).” 2009. Thesis, Rhodes University. Accessed March 04, 2021. http://hdl.handle.net/10962/d1002195.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Cook, Shashi Chailey. “Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994).” 2009. Web. 04 Mar 2021.

Vancouver:

Cook SC. Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994). [Internet] [Thesis]. Rhodes University; 2009. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10962/d1002195.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Cook SC. Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994). [Thesis]. Rhodes University; 2009. Available from: http://hdl.handle.net/10962/d1002195

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Cambridge

8. Zhang, Linzhi. Contemporary Art and the Exhibitionary System: China as a Case Study.

Degree: PhD, 2019, University of Cambridge

URL: https://www.repository.cam.ac.uk/handle/1810/289428

► The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla-… (more)

▼ The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to explain how the exhibitionary system shapes artistic production. The answer was sought by observing exhibition making in the Chinese exhibitionary system, from which quantitative data about 1,525 exhibitions, held in 43 exhibition spaces between 2010 and 2016, were also collected. I argue that the exhibition context shapes the physical basis of individual artworks and the construction of an artist’s oeuvre. Through the contextualised creation of artworks for public viewing, artists aim to raise their visibility, which is crucial for artists’ career prospects and symbolic consecration. An artist’s visibility is, however, constrained by where she exhibits and with whom she co-exhibits. My method for measuring visibility reveals its binary nature, divided along a singular dimension and a collective dimension. Yet no binary division between the non- profit and for-profit is found within the exhibitionary system with regards to the selection of artists. Rather, both sectors contribute to a dual selection of marketable artists. A model of professional autonomy, which reconciles “art and the market” on the level of practices and awareness, prevails in the exhibitionary system. The sociology of exhibitions has solved persistent theoretical problems in the sociology of art. My empirical findings give rise to new research questions. Finally, I have offered a dialogue between studies of non-western and western cases within the same framework.

Subjects/Keywords: sociology of art; contemporary art; exhibitions; sociology of exhibitions

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Zhang, L. (2019). Contemporary Art and the Exhibitionary System: China as a Case Study. (Doctoral Dissertation). University of Cambridge. Retrieved from https://www.repository.cam.ac.uk/handle/1810/289428

Chicago Manual of Style (16^th Edition):

Zhang, Linzhi. “Contemporary Art and the Exhibitionary System: China as a Case Study.” 2019. Doctoral Dissertation, University of Cambridge. Accessed March 04, 2021. https://www.repository.cam.ac.uk/handle/1810/289428.

MLA Handbook (7^th Edition):

Zhang, Linzhi. “Contemporary Art and the Exhibitionary System: China as a Case Study.” 2019. Web. 04 Mar 2021.

Vancouver:

Zhang L. Contemporary Art and the Exhibitionary System: China as a Case Study. [Internet] [Doctoral dissertation]. University of Cambridge; 2019. [cited 2021 Mar 04]. Available from: https://www.repository.cam.ac.uk/handle/1810/289428.

Council of Science Editors:

Zhang L. Contemporary Art and the Exhibitionary System: China as a Case Study. [Doctoral Dissertation]. University of Cambridge; 2019. Available from: https://www.repository.cam.ac.uk/handle/1810/289428

University of Cambridge

9. Zhang, Linzhi. Contemporary art and the exhibitionary system : China as a case study.

Degree: PhD, 2019, University of Cambridge

URL: https://doi.org/10.17863/CAM.36678 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767837

► The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla-… (more)

▼ The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to explain how the exhibitionary system shapes artistic production. The answer was sought by observing exhibition making in the Chinese exhibitionary system, from which quantitative data about 1,525 exhibitions, held in 43 exhibition spaces between 2010 and 2016, were also collected. I argue that the exhibition context shapes the physical basis of individual artworks and the construction of an artist's oeuvre. Through the contextualised creation of artworks for public viewing, artists aim to raise their visibility, which is crucial for artists' career prospects and symbolic consecration. An artist's visibility is, however, constrained by where she exhibits and with whom she co-exhibits. My method for measuring visibility reveals its binary nature, divided along a singular dimension and a collective dimension. Yet no binary division between the non- profit and for-profit is found within the exhibitionary system with regards to the selection of artists. Rather, both sectors contribute to a dual selection of marketable artists. A model of professional autonomy, which reconciles "art and the market" on the level of practices and awareness, prevails in the exhibitionary system. The sociology of exhibitions has solved persistent theoretical problems in the sociology of art. My empirical findings give rise to new research questions. Finally, I have offered a dialogue between studies of non-western and western cases within the same framework.

Subjects/Keywords: 306.4; sociology of art; contemporary art; exhibitions; sociology of exhibitions

Record Details Similar Records Cite « Share

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Zhang, L. (2019). Contemporary art and the exhibitionary system : China as a case study. (Doctoral Dissertation). University of Cambridge. Retrieved from https://doi.org/10.17863/CAM.36678 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767837

Chicago Manual of Style (16^th Edition):

Zhang, Linzhi. “Contemporary art and the exhibitionary system : China as a case study.” 2019. Doctoral Dissertation, University of Cambridge. Accessed March 04, 2021. https://doi.org/10.17863/CAM.36678 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767837.

MLA Handbook (7^th Edition):

Zhang, Linzhi. “Contemporary art and the exhibitionary system : China as a case study.” 2019. Web. 04 Mar 2021.

Vancouver:

Zhang L. Contemporary art and the exhibitionary system : China as a case study. [Internet] [Doctoral dissertation]. University of Cambridge; 2019. [cited 2021 Mar 04]. Available from: https://doi.org/10.17863/CAM.36678 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767837.

Council of Science Editors:

Zhang L. Contemporary art and the exhibitionary system : China as a case study. [Doctoral Dissertation]. University of Cambridge; 2019. Available from: https://doi.org/10.17863/CAM.36678 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767837

University of New South Wales

10. Fenner, Felicity. Your Place or Mine? Curatorial approaches to place through the prism of home.

Degree: Art, 2014, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/54464 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:35004/SOURCE02?view=true

► The outward image of the place we call home – Australia – historically dominates and subsumes personal experiences of home in exhibitions of Australian art.… (more)

▼ The outward image of the place we call home – Australia – historically dominates and subsumes personal experiences of home in exhibitions of Australian art. The thesis argues, and demonstrates through a series of curatorial projects, that exhibitions can, alternatively, embody intimate experiences of place that more accurately describe the experience of 21st century Australia. Citing recent Australian socio-political and literary culture as a backdrop, it is shown that the prism of home is an effective curatorial device through which to transmit and receive new insights into aspects of this place we call home, Australia.The conceit of ‘home’ is adopted in the thesis both as a curatorial theme and as a framework for engagement. The research reveals how reference to home can guide viewers from simply ‘understanding’ meaning to ‘inhabiting’ (being at home within) the intellectual and sensory space of artworks and exhibitions. When the idea of home is embedded in the curatorial approach, artists’ knowledge and experience – particularly those at odds with mainstream perceptions of Australian culture – can be articulated. Thus, the exhibition becomes a catalyst for new ways of seeing and thinking about place.Contextualising the author’s curatorial projects with others in the region seeking to define a post-global sense of identity, the thesis reveals how the curator can employ the framework of home to facilitate new insights into place. To achieve this, three key curatorial strategies are applied to exhibitions of Australian art: the inclusion of works that are based on real life, intersect with or are real life occurrences; the creation of installations in the gallery space that are physically immersive or inhabitable; and the co-production with artists of participatory works in public and non-institutional spaces. Through a series of curated projects, the prism of home gives voice to internal (bottom-up) understandings of place, providing an alternative to external (top-down) perceptions typically associated with the visual lexicons of national and cultural identity. Advisors/Committee Members: Bennett, Jill, School of the College of Fine Arts, College of Fine Arts, UNSW.

Subjects/Keywords: Visual Art; Curatorial Studies; Exhibitions; Art Theory

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APA (6^th Edition):

Fenner, F. (2014). Your Place or Mine? Curatorial approaches to place through the prism of home. (Doctoral Dissertation). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/54464 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:35004/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Fenner, Felicity. “Your Place or Mine? Curatorial approaches to place through the prism of home.” 2014. Doctoral Dissertation, University of New South Wales. Accessed March 04, 2021. http://handle.unsw.edu.au/1959.4/54464 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:35004/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Fenner, Felicity. “Your Place or Mine? Curatorial approaches to place through the prism of home.” 2014. Web. 04 Mar 2021.

Vancouver:

Fenner F. Your Place or Mine? Curatorial approaches to place through the prism of home. [Internet] [Doctoral dissertation]. University of New South Wales; 2014. [cited 2021 Mar 04]. Available from: http://handle.unsw.edu.au/1959.4/54464 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:35004/SOURCE02?view=true.

Council of Science Editors:

Fenner F. Your Place or Mine? Curatorial approaches to place through the prism of home. [Doctoral Dissertation]. University of New South Wales; 2014. Available from: http://handle.unsw.edu.au/1959.4/54464 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:35004/SOURCE02?view=true

Ryerson University

11. Hayward, Laura E. Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery.

Degree: 2012, Ryerson University

URL: https://digital.library.ryerson.ca/islandora/object/RULA%3A1815

► This paper examines the installation of photography exhibitions within the unconventional gallery spaces that have been produced as a part of the relatively recent wave… (more)

Subjects/Keywords: Roloff Beny Gallery – Exhibitions; Photography; Artistic – Exhibitions; Installations (Art) – Exhibitions; Royal Ontario Museum. Institute for Contemporary Culture – Exhibitions

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APA (6^th Edition):

Hayward, L. E. (2012). Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery. (Thesis). Ryerson University. Retrieved from https://digital.library.ryerson.ca/islandora/object/RULA%3A1815

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Hayward, Laura E. “Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery.” 2012. Thesis, Ryerson University. Accessed March 04, 2021. https://digital.library.ryerson.ca/islandora/object/RULA%3A1815.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Hayward, Laura E. “Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery.” 2012. Web. 04 Mar 2021.

Vancouver:

Hayward LE. Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery. [Internet] [Thesis]. Ryerson University; 2012. [cited 2021 Mar 04]. Available from: https://digital.library.ryerson.ca/islandora/object/RULA%3A1815.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Hayward LE. Photographic Exhibition In The Anti-Cube Gallery : A Case Study Of Daniel Libeskind’s Roloff Beny Gallery. [Thesis]. Ryerson University; 2012. Available from: https://digital.library.ryerson.ca/islandora/object/RULA%3A1815

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Leiden University

12. Iliopoulou, Anastasia Maria. From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975].

Degree: 2015, Leiden University

URL: http://hdl.handle.net/1887/36446

► This research looks at two parallel theoretical approaches. The first deals with contemporary exhibitions and the curatorial procedures that are introduced in the 1960s, while… (more)

Subjects/Keywords: Conceptual Art; Exhibitions; Sculpture; Stedelijk Museum; MoMA

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APA (6^th Edition):

Iliopoulou, A. M. (2015). From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975]. (Masters Thesis). Leiden University. Retrieved from http://hdl.handle.net/1887/36446

Chicago Manual of Style (16^th Edition):

Iliopoulou, Anastasia Maria. “From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975].” 2015. Masters Thesis, Leiden University. Accessed March 04, 2021. http://hdl.handle.net/1887/36446.

MLA Handbook (7^th Edition):

Iliopoulou, Anastasia Maria. “From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975].” 2015. Web. 04 Mar 2021.

Vancouver:

Iliopoulou AM. From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975]. [Internet] [Masters thesis]. Leiden University; 2015. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/1887/36446.

Council of Science Editors:

Iliopoulou AM. From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975]. [Masters Thesis]. Leiden University; 2015. Available from: http://hdl.handle.net/1887/36446

Leiden University

13. Medne, Diana. Contemporary art in archaeology museums: interaction between art and archaeology. A case study of the National Museum of Antiquities (RMO).

Degree: 2015, Leiden University

URL: http://hdl.handle.net/1887/35534

► MA thesis is based on a research done in the National Museum of Antiquities (RMO).The aim of this study was to explore how RMO’s contemporary… (more)

Subjects/Keywords: archaeology; contemporary art; exhibitions; primitivism; historiographic turn

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APA (6^th Edition):

Medne, D. (2015). Contemporary art in archaeology museums: interaction between art and archaeology. A case study of the National Museum of Antiquities (RMO). (Masters Thesis). Leiden University. Retrieved from http://hdl.handle.net/1887/35534

Chicago Manual of Style (16^th Edition):

Medne, Diana. “Contemporary art in archaeology museums: interaction between art and archaeology. A case study of the National Museum of Antiquities (RMO).” 2015. Masters Thesis, Leiden University. Accessed March 04, 2021. http://hdl.handle.net/1887/35534.

MLA Handbook (7^th Edition):

Medne, Diana. “Contemporary art in archaeology museums: interaction between art and archaeology. A case study of the National Museum of Antiquities (RMO).” 2015. Web. 04 Mar 2021.

Vancouver:

Medne D. Contemporary art in archaeology museums: interaction between art and archaeology. A case study of the National Museum of Antiquities (RMO). [Internet] [Masters thesis]. Leiden University; 2015. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/1887/35534.

Council of Science Editors:

Medne D. Contemporary art in archaeology museums: interaction between art and archaeology. A case study of the National Museum of Antiquities (RMO). [Masters Thesis]. Leiden University; 2015. Available from: http://hdl.handle.net/1887/35534

Montana State University

14. Smith, Frances Fisher. Paper, fiber and string.

Degree: MFA, College of Arts & Architecture, 1978, Montana State University

URL: https://scholarworks.montana.edu/xmlui/handle/1/6113

► My current work is the result of a long term interest in paper; first as surface, next as image and, finally, as medium itself. Paper… (more)

Subjects/Keywords: Art Exhibitions.; Paper.

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APA (6^th Edition):

Smith, F. F. (1978). Paper, fiber and string. (Thesis). Montana State University. Retrieved from https://scholarworks.montana.edu/xmlui/handle/1/6113

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Smith, Frances Fisher. “Paper, fiber and string.” 1978. Thesis, Montana State University. Accessed March 04, 2021. https://scholarworks.montana.edu/xmlui/handle/1/6113.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Smith, Frances Fisher. “Paper, fiber and string.” 1978. Web. 04 Mar 2021.

Vancouver:

Smith FF. Paper, fiber and string. [Internet] [Thesis]. Montana State University; 1978. [cited 2021 Mar 04]. Available from: https://scholarworks.montana.edu/xmlui/handle/1/6113.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Smith FF. Paper, fiber and string. [Thesis]. Montana State University; 1978. Available from: https://scholarworks.montana.edu/xmlui/handle/1/6113

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

15. SHORTALL, WILLIAM MARY. Art and the Irish Free State - visualizing nationhood (1922 - 1934).

Degree: School of Histories & Humanities. Discipline of History Of Art, 2020, Trinity College Dublin

URL: http://hdl.handle.net/2262/93963

► This thesis examines how the Irish Free State harnessed visual art for its political purposes in the 1922-34 period. The time frame chosen for this… (more)

▼ This thesis examines how the Irish Free State harnessed visual art for its political purposes in the 1922-34 period. The time frame chosen for this study is purposeful. It spans two different Post-Treaty government administrations and it demonstrates that during this period there were a variety of state sponsored art exhibitions held in Europe, America, and in Ireland Using a case study methodology, this research focuses on a number of national and international events in which the nascent State participated. It employs a political lens to explore how the State used art exhibitions and commissions associated with these events to serve different Irish governmental political agendas nationally and internationally. In doing so, it situates Irish visual art within the broader political, social, cultural and economic context of the early development of the Irish Free State. Events examined include the World Congress of the Irish Race held in Paris in 1922, various national Aonach Tailteanns, Dublin Civic Weeks over the period selected, the 1933 Chicago World's Fair, and participation in the British Empire Marketing Board scheme, the Eucharistic Congress and other endeavours. Looking to previously unused primary sources, this research determines that in this period the State was culturally aware and that administrations were actively engaging with the visual art community to serve its political needs. It shows that the State deployed art to consolidate its sovereignty, to assist its nation building program, to reconcile a people divided by the Civil War, to assert its definition of national identity, and to promote a positive international image of the country. Anxieties over the burgeoning State taking its place in the world - resulting in tensions between essentialist and epochalist stances as the government both looked to the past to assert its identity whilst being intent on modernising the State - are reflected, and to some extent resolved, in these events and art exhibitions. This research also contends that an Irish School of Art was recognised at the time - based on place and an aesthetic language - and it challenges the trope that the thatched cottage was an uncontested official icon of Irish art during this period. Furthermore, a number of neglected Irish Free State government supported art exhibitions and commissions are recovered and re-interpreted. Advisors/Committee Members: Griffith, Angela.

Subjects/Keywords: Irish art politics history diplomacy exhibitions commissions

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APA (6^th Edition):

SHORTALL, W. M. (2020). Art and the Irish Free State - visualizing nationhood (1922 - 1934). (Thesis). Trinity College Dublin. Retrieved from http://hdl.handle.net/2262/93963

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

SHORTALL, WILLIAM MARY. “Art and the Irish Free State - visualizing nationhood (1922 - 1934).” 2020. Thesis, Trinity College Dublin. Accessed March 04, 2021. http://hdl.handle.net/2262/93963.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

SHORTALL, WILLIAM MARY. “Art and the Irish Free State - visualizing nationhood (1922 - 1934).” 2020. Web. 04 Mar 2021.

Vancouver:

SHORTALL WM. Art and the Irish Free State - visualizing nationhood (1922 - 1934). [Internet] [Thesis]. Trinity College Dublin; 2020. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/2262/93963.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

SHORTALL WM. Art and the Irish Free State - visualizing nationhood (1922 - 1934). [Thesis]. Trinity College Dublin; 2020. Available from: http://hdl.handle.net/2262/93963

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Massey University

16. Hansen, Paul. The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand .

Degree: 2003, Massey University

URL: http://hdl.handle.net/10179/249

► Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern… (more)

▼ Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.

Subjects/Keywords: Art museums; Exhibitions

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APA (6^th Edition):

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

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Hansen, Paul. “The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand .” 2003. Thesis, Massey University. Accessed March 04, 2021. http://hdl.handle.net/10179/249.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Hansen, Paul. “The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand .” 2003. Web. 04 Mar 2021.

Vancouver:

Hansen P. The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand . [Internet] [Thesis]. Massey University; 2003. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10179/249.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

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

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Rice University

17. Hooper, Rachel. American Art Histories: Framing Race in Exhibitions, 1842-1876.

Degree: PhD, American Art, 2018, Rice University

URL: http://hdl.handle.net/1911/105636

► In the mid to late nineteenth century, exhibitions in the United States presented histories of art by laying out sequences of objects. Paintings, sculptures, and… (more)

▼ In the mid to late nineteenth century, exhibitions in the United States presented histories of art by laying out sequences of objects. Paintings, sculptures, and prints were aligned or juxtaposed with so-called artifacts and specimens as well as plaster casts of classical sculpture in order to convey a sense of progress or development across epochs and cultures. Each chapter of this dissertation focuses on a sculpture or painting on display in Washington, D.C., New York, Ann Arbor, New Haven, Boston, and Philadelphia and outlines the terms by which the artwork was interpreted in situ. Drawing on installation photographs and previously unpublished lectures, this project reveals the formative role that ideas about race played in art exhibitions open to the public at the National Institute for the Promotion of Science, the Metropolitan Fair, academic art museums, and the 1876 Centennial Exposition during the political upheaval and radical social change surrounding slavery, the Civil War, and Reconstruction. Who should be a part of art history? How would their stories be told? i These questions were central to the organization of nineteenth-century art exhibitions and the answers formulated at that time have powerful ramifications even to this day. The notion that race could be defined by location, time, and physicality suggested that what was then known as the “fine arts” had something to contribute to a scientific study of race. Curators, artists, and scholars in the United States responded by arranging collections to make them speak to ideas of racial progress and categorization. Objects from Africa, Asia, the Americas, and Europe were gathered as points of comparison for modern American art and culture in displays that resulted in a contested racial politics of objects. This dissertation is the first to acknowledge public exhibitions as constitutive of early art historical discourse in the United States and racial categorization as fundamental to the institutionalization of the discipline. Advisors/Committee Members: Costello, Leo (advisor).

Subjects/Keywords: American Art; Art History; Historiography; Museums; Art Museums; Race; Exhibitions

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Hooper, R. (2018). American Art Histories: Framing Race in Exhibitions, 1842-1876. (Doctoral Dissertation). Rice University. Retrieved from http://hdl.handle.net/1911/105636

Chicago Manual of Style (16^th Edition):

Hooper, Rachel. “American Art Histories: Framing Race in Exhibitions, 1842-1876.” 2018. Doctoral Dissertation, Rice University. Accessed March 04, 2021. http://hdl.handle.net/1911/105636.

MLA Handbook (7^th Edition):

Hooper, Rachel. “American Art Histories: Framing Race in Exhibitions, 1842-1876.” 2018. Web. 04 Mar 2021.

Vancouver:

Hooper R. American Art Histories: Framing Race in Exhibitions, 1842-1876. [Internet] [Doctoral dissertation]. Rice University; 2018. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/1911/105636.

Council of Science Editors:

Hooper R. American Art Histories: Framing Race in Exhibitions, 1842-1876. [Doctoral Dissertation]. Rice University; 2018. Available from: http://hdl.handle.net/1911/105636

Rice University

18. Hooper, Rachel. American Art Histories: Framing Race in Exhibitions, 1842-1876.

Degree: PhD, Humanities, 2018, Rice University

URL: http://hdl.handle.net/1911/105635

► In the mid to late nineteenth century, exhibitions in the United States presented histories of art by laying out sequences of objects. Paintings, sculptures, and… (more)

▼ In the mid to late nineteenth century, exhibitions in the United States presented histories of art by laying out sequences of objects. Paintings, sculptures, and prints were aligned or juxtaposed with so-called artifacts and specimens as well as plaster casts of classical sculpture in order to convey a sense of progress or development across epochs and cultures. Each chapter of this dissertation focuses on a sculpture or painting on display in Washington, D.C., New York, Ann Arbor, New Haven, Boston, and Philadelphia and outlines the terms by which the artwork was interpreted in situ. Drawing on installation photographs and previously unpublished lectures, this project reveals the formative role that ideas about race played in art exhibitions open to the public at the National Institute for the Promotion of Science, the Metropolitan Fair, academic art museums, and the 1876 Centennial Exposition during the political upheaval and radical social change surrounding slavery, the Civil War, and Reconstruction. Who should be a part of art history? How would their stories be told? i These questions were central to the organization of nineteenth-century art exhibitions and the answers formulated at that time have powerful ramifications even to this day. The notion that race could be defined by location, time, and physicality suggested that what was then known as the “fine arts” had something to contribute to a scientific study of race. Curators, artists, and scholars in the United States responded by arranging collections to make them speak to ideas of racial progress and categorization. Objects from Africa, Asia, the Americas, and Europe were gathered as points of comparison for modern American art and culture in displays that resulted in a contested racial politics of objects. This dissertation is the first to acknowledge public exhibitions as constitutive of early art historical discourse in the United States and racial categorization as fundamental to the institutionalization of the discipline. Advisors/Committee Members: Costello, Leo (advisor).

Subjects/Keywords: American Art; Art History; Historiography; Museums; Art Museums; Race; Exhibitions

Record Details Similar Records Cite « Share

❌

APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Hooper, R. (2018). American Art Histories: Framing Race in Exhibitions, 1842-1876. (Doctoral Dissertation). Rice University. Retrieved from http://hdl.handle.net/1911/105635

Chicago Manual of Style (16^th Edition):

Hooper, Rachel. “American Art Histories: Framing Race in Exhibitions, 1842-1876.” 2018. Doctoral Dissertation, Rice University. Accessed March 04, 2021. http://hdl.handle.net/1911/105635.

MLA Handbook (7^th Edition):

Hooper, Rachel. “American Art Histories: Framing Race in Exhibitions, 1842-1876.” 2018. Web. 04 Mar 2021.

Vancouver:

Hooper R. American Art Histories: Framing Race in Exhibitions, 1842-1876. [Internet] [Doctoral dissertation]. Rice University; 2018. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/1911/105635.

Council of Science Editors:

Hooper R. American Art Histories: Framing Race in Exhibitions, 1842-1876. [Doctoral Dissertation]. Rice University; 2018. Available from: http://hdl.handle.net/1911/105635

19. May, Cameron. The assembly of liquid : against an excess of order.

Degree: MFA, 2018, Massey University

URL: http://hdl.handle.net/10179/15039

► The Assembly of Liquid is a creative exploration of systems in a prolonged state of irresolution. Using sculpture, electronics and installation, I am creatively investigating… (more)

Subjects/Keywords: Art and computers; Art and electronics; Installations (Art); 21st century; Exhibitions

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

May, C. (2018). The assembly of liquid : against an excess of order. (Masters Thesis). Massey University. Retrieved from http://hdl.handle.net/10179/15039

Chicago Manual of Style (16^th Edition):

May, Cameron. “The assembly of liquid : against an excess of order.” 2018. Masters Thesis, Massey University. Accessed March 04, 2021. http://hdl.handle.net/10179/15039.

MLA Handbook (7^th Edition):

May, Cameron. “The assembly of liquid : against an excess of order.” 2018. Web. 04 Mar 2021.

Vancouver:

May C. The assembly of liquid : against an excess of order. [Internet] [Masters thesis]. Massey University; 2018. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10179/15039.

Council of Science Editors:

May C. The assembly of liquid : against an excess of order. [Masters Thesis]. Massey University; 2018. Available from: http://hdl.handle.net/10179/15039

Stockholm University

20. Högström-Schnee, Linn. Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm.

Degree: Culture and Aesthetics, 2018, Stockholm University

URL: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547

► The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The… (more)

Subjects/Keywords: art history; art museums; history of art exhibitions; museology; Nationalmuseum; permanent exhibitions; public museums; ritual structure; Art History; Konstvetenskap

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APA (6^th Edition):

Högström-Schnee, L. (2018). Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm. (Thesis). Stockholm University. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Högström-Schnee, Linn. “Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm.” 2018. Thesis, Stockholm University. Accessed March 04, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Högström-Schnee, Linn. “Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm.” 2018. Web. 04 Mar 2021.

Vancouver:

Högström-Schnee L. Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm. [Internet] [Thesis]. Stockholm University; 2018. [cited 2021 Mar 04]. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Högström-Schnee L. Treading the Timeline : A Study of the Newly Renovated Permanent Art and Design Exhibition at Nationalmuseum, Stockholm. [Thesis]. Stockholm University; 2018. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165547

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Ryerson University

21. Bélanger, Camille. The status of fashion: towards an autonomous existence:.

Degree: 2013, Ryerson University

URL: https://digital.library.ryerson.ca/islandora/object/RULA%3A3226

► The debate on if fashion can be considered art has been a topic of discussion for many years now. This MRP looks at reasons and… (more)

Subjects/Keywords: Fashion and art; Fashion and art – -; Postmodernism; Postmodernism – -; Art museums – Exhibitions; Art museums – Exhibitions – -; Viktor & Rolf (Firm); Viktor & Rolf (Firm) – -; Chalayan, Hussein, 1970- – Exhibitions; Chalayan, Hussein, 1970- – Exhibitions – -; McQueen, Alexander, 1969-2010 – Exhibitions; McQueen, Alexander, 1969-2010 – Exhibitions – -; Aesthetics; Aesthetics – -

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APA (6^th Edition):

Bélanger, C. (2013). The status of fashion: towards an autonomous existence:. (Thesis). Ryerson University. Retrieved from https://digital.library.ryerson.ca/islandora/object/RULA%3A3226

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Bélanger, Camille. “The status of fashion: towards an autonomous existence:.” 2013. Thesis, Ryerson University. Accessed March 04, 2021. https://digital.library.ryerson.ca/islandora/object/RULA%3A3226.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Bélanger, Camille. “The status of fashion: towards an autonomous existence:.” 2013. Web. 04 Mar 2021.

Vancouver:

Bélanger C. The status of fashion: towards an autonomous existence:. [Internet] [Thesis]. Ryerson University; 2013. [cited 2021 Mar 04]. Available from: https://digital.library.ryerson.ca/islandora/object/RULA%3A3226.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Bélanger C. The status of fashion: towards an autonomous existence:. [Thesis]. Ryerson University; 2013. Available from: https://digital.library.ryerson.ca/islandora/object/RULA%3A3226

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Ryerson University

22. Kavanagh, Anne. Private collection & public exhibition: the Art Gallery of Ontario’s Responding to Photography:.

Degree: 2014, Ryerson University

URL: https://digital.library.ryerson.ca/islandora/object/RULA%3A2676

► This paper is a detailed description and analysis of the Art Gallery of Ontario’s 1984 exhibition Responding to Photography: Selected Works from Private Toronto Collections.… (more)

Subjects/Keywords: Photography, Artistic – Canada – Exhibitions; Photography, Artistic – Canada – Exhibitions – -; Photographs – Collectors and collecting; Photographs – Collectors and collecting – -; Art Gallery of Ontario – Exhibitions; Art Gallery of Ontario – Exhibitions – -

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APA (6^th Edition):

Kavanagh, A. (2014). Private collection & public exhibition: the Art Gallery of Ontario’s Responding to Photography:. (Thesis). Ryerson University. Retrieved from https://digital.library.ryerson.ca/islandora/object/RULA%3A2676

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Kavanagh, Anne. “Private collection & public exhibition: the Art Gallery of Ontario’s Responding to Photography:.” 2014. Thesis, Ryerson University. Accessed March 04, 2021. https://digital.library.ryerson.ca/islandora/object/RULA%3A2676.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Kavanagh, Anne. “Private collection & public exhibition: the Art Gallery of Ontario’s Responding to Photography:.” 2014. Web. 04 Mar 2021.

Vancouver:

Kavanagh A. Private collection & public exhibition: the Art Gallery of Ontario’s Responding to Photography:. [Internet] [Thesis]. Ryerson University; 2014. [cited 2021 Mar 04]. Available from: https://digital.library.ryerson.ca/islandora/object/RULA%3A2676.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Kavanagh A. Private collection & public exhibition: the Art Gallery of Ontario’s Responding to Photography:. [Thesis]. Ryerson University; 2014. Available from: https://digital.library.ryerson.ca/islandora/object/RULA%3A2676

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Lethbridge

23. Espezel, Amanda. Working from the body : subjectivity and the artistic process .

Degree: 2011, University of Lethbridge

URL: http://hdl.handle.net/10133/3246

► This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first… (more)

Subjects/Keywords: Human figure in art; Painting; Art, Modern; Art – Exhibitions; Installations (Art); Dissertations, Academic

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APA (6^th Edition):

Espezel, A. (2011). Working from the body : subjectivity and the artistic process . (Thesis). University of Lethbridge. Retrieved from http://hdl.handle.net/10133/3246

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Espezel, Amanda. “Working from the body : subjectivity and the artistic process .” 2011. Thesis, University of Lethbridge. Accessed March 04, 2021. http://hdl.handle.net/10133/3246.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Espezel, Amanda. “Working from the body : subjectivity and the artistic process .” 2011. Web. 04 Mar 2021.

Vancouver:

Espezel A. Working from the body : subjectivity and the artistic process . [Internet] [Thesis]. University of Lethbridge; 2011. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10133/3246.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Espezel A. Working from the body : subjectivity and the artistic process . [Thesis]. University of Lethbridge; 2011. Available from: http://hdl.handle.net/10133/3246

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Durban University of Technology

24. Baker, Siobhan. Interpretations of the garden in the work of selected artists.

Degree: 2015, Durban University of Technology

URL: http://hdl.handle.net/10321/1695

►

Submitted in partial fulfillment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.

This… (more)

Subjects/Keywords: Gardens in art; Metaphor in art; Pottery – South Africa – Exhibitions

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APA (6^th Edition):

Baker, S. (2015). Interpretations of the garden in the work of selected artists. (Thesis). Durban University of Technology. Retrieved from http://hdl.handle.net/10321/1695

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Baker, Siobhan. “Interpretations of the garden in the work of selected artists.” 2015. Thesis, Durban University of Technology. Accessed March 04, 2021. http://hdl.handle.net/10321/1695.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Baker, Siobhan. “Interpretations of the garden in the work of selected artists.” 2015. Web. 04 Mar 2021.

Vancouver:

Baker S. Interpretations of the garden in the work of selected artists. [Internet] [Thesis]. Durban University of Technology; 2015. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10321/1695.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Baker S. Interpretations of the garden in the work of selected artists. [Thesis]. Durban University of Technology; 2015. Available from: http://hdl.handle.net/10321/1695

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Colorado State University

25. Benedict, James Michael. Exhibition of twenty-three original works of art, An.

Degree: Master of Fine Arts (M.F.A.), Art, 1980, Colorado State University

URL: http://hdl.handle.net/10217/86805

► The concern of this thesis is a personal translation of light and form into an interplay of forces that animate the objects or shapes beyond… (more)

Subjects/Keywords: Art – Exhibitions; Light in art

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APA (6^th Edition):

Benedict, J. M. (1980). Exhibition of twenty-three original works of art, An. (Masters Thesis). Colorado State University. Retrieved from http://hdl.handle.net/10217/86805

Chicago Manual of Style (16^th Edition):

Benedict, James Michael. “Exhibition of twenty-three original works of art, An.” 1980. Masters Thesis, Colorado State University. Accessed March 04, 2021. http://hdl.handle.net/10217/86805.

MLA Handbook (7^th Edition):

Benedict, James Michael. “Exhibition of twenty-three original works of art, An.” 1980. Web. 04 Mar 2021.

Vancouver:

Benedict JM. Exhibition of twenty-three original works of art, An. [Internet] [Masters thesis]. Colorado State University; 1980. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10217/86805.

Council of Science Editors:

Benedict JM. Exhibition of twenty-three original works of art, An. [Masters Thesis]. Colorado State University; 1980. Available from: http://hdl.handle.net/10217/86805

AUT University

26. McIntyre, Peter Gordon. K Girl Vacant: Ethnic Identity Manufactured .

Degree: AUT University

URL: http://hdl.handle.net/10292/10899

► K GIRL VACANT is an exploration of the nature of culture, identity, and ethnicity. The project sets out to create a virtual ethnic entity and… (more)

Subjects/Keywords: Art installations; Exhibitions; Ethnicity; Art

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APA (6^th Edition):

McIntyre, P. G. (n.d.). K Girl Vacant: Ethnic Identity Manufactured . (Thesis). AUT University. Retrieved from http://hdl.handle.net/10292/10899

Note: this citation may be lacking information needed for this citation format:
No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

McIntyre, Peter Gordon. “K Girl Vacant: Ethnic Identity Manufactured .” Thesis, AUT University. Accessed March 04, 2021. http://hdl.handle.net/10292/10899.

Note: this citation may be lacking information needed for this citation format:
No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

McIntyre, Peter Gordon. “K Girl Vacant: Ethnic Identity Manufactured .” Web. 04 Mar 2021.

Note: this citation may be lacking information needed for this citation format:
No year of publication.

Vancouver:

McIntyre PG. K Girl Vacant: Ethnic Identity Manufactured . [Internet] [Thesis]. AUT University; [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10292/10899.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

Council of Science Editors:

McIntyre PG. K Girl Vacant: Ethnic Identity Manufactured . [Thesis]. AUT University; Available from: http://hdl.handle.net/10292/10899

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

Montana State University

27. Goetz, Anne Elizabeth. Firewall.

Degree: MFA, College of Arts & Architecture, 1994, Montana State University

URL: https://scholarworks.montana.edu/xmlui/handle/1/7281

► Plaster is the one material which is common to this group of sculptures. Outside of the art world, plaster is seen simply as a building… (more)

Subjects/Keywords: Art Exhibitions.; Sculpture.; Process art.

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APA (6^th Edition):

Goetz, A. E. (1994). Firewall. (Thesis). Montana State University. Retrieved from https://scholarworks.montana.edu/xmlui/handle/1/7281

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Goetz, Anne Elizabeth. “Firewall.” 1994. Thesis, Montana State University. Accessed March 04, 2021. https://scholarworks.montana.edu/xmlui/handle/1/7281.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Goetz, Anne Elizabeth. “Firewall.” 1994. Web. 04 Mar 2021.

Vancouver:

Goetz AE. Firewall. [Internet] [Thesis]. Montana State University; 1994. [cited 2021 Mar 04]. Available from: https://scholarworks.montana.edu/xmlui/handle/1/7281.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Goetz AE. Firewall. [Thesis]. Montana State University; 1994. Available from: https://scholarworks.montana.edu/xmlui/handle/1/7281

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Ryerson University

28. Rigg, Heather. The Public Lives Of Private Family Albums : A Case Study In Collections And Exhibitions At The Art Gallery Of Ontario And Max Dean : Album.

Degree: 2012, Ryerson University

URL: https://digital.library.ryerson.ca/islandora/object/RULA%3A1919

► This thesis uses Toronto artist Max Dean's performance Max Dean: Album, produced in conjunction with the Art Gallery of Ontario, as a case study to… (more)

Subjects/Keywords: Families – Portraits – Exhibitions – Social aspects; Photography of families – Exhibitions – Social aspects; Dean; Max; 1949- – Exhibitions; Art Gallery of Ontario – Photograph collections – Exhibitions

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Rigg, H. (2012). The Public Lives Of Private Family Albums : A Case Study In Collections And Exhibitions At The Art Gallery Of Ontario And Max Dean : Album. (Thesis). Ryerson University. Retrieved from https://digital.library.ryerson.ca/islandora/object/RULA%3A1919

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Rigg, Heather. “The Public Lives Of Private Family Albums : A Case Study In Collections And Exhibitions At The Art Gallery Of Ontario And Max Dean : Album.” 2012. Thesis, Ryerson University. Accessed March 04, 2021. https://digital.library.ryerson.ca/islandora/object/RULA%3A1919.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Rigg, Heather. “The Public Lives Of Private Family Albums : A Case Study In Collections And Exhibitions At The Art Gallery Of Ontario And Max Dean : Album.” 2012. Web. 04 Mar 2021.

Vancouver:

Rigg H. The Public Lives Of Private Family Albums : A Case Study In Collections And Exhibitions At The Art Gallery Of Ontario And Max Dean : Album. [Internet] [Thesis]. Ryerson University; 2012. [cited 2021 Mar 04]. Available from: https://digital.library.ryerson.ca/islandora/object/RULA%3A1919.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Rigg H. The Public Lives Of Private Family Albums : A Case Study In Collections And Exhibitions At The Art Gallery Of Ontario And Max Dean : Album. [Thesis]. Ryerson University; 2012. Available from: https://digital.library.ryerson.ca/islandora/object/RULA%3A1919

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Hong Kong

29. Lee, Yoon Yung. The Joseon Fine Art Exhibition under Japanese colonial rule.

Degree: 2013, University of Hong Kong

URL: http://hdl.handle.net/10722/196493

► 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… (more)

Subjects/Keywords: Art, Korean - 20th century - Exhibitions; Art, Japanese - 1868- - Exhibitions

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APA (6^th Edition):

Lee, Y. Y. (2013). The Joseon Fine Art Exhibition under Japanese colonial rule. (Thesis). University of Hong Kong. Retrieved from http://hdl.handle.net/10722/196493

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Lee, Yoon Yung. “The Joseon Fine Art Exhibition under Japanese colonial rule.” 2013. Thesis, University of Hong Kong. Accessed March 04, 2021. http://hdl.handle.net/10722/196493.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Lee, Yoon Yung. “The Joseon Fine Art Exhibition under Japanese colonial rule.” 2013. Web. 04 Mar 2021.

Vancouver:

Lee YY. The Joseon Fine Art Exhibition under Japanese colonial rule. [Internet] [Thesis]. University of Hong Kong; 2013. [cited 2021 Mar 04]. Available from: http://hdl.handle.net/10722/196493.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Lee YY. The Joseon Fine Art Exhibition under Japanese colonial rule. [Thesis]. University of Hong Kong; 2013. Available from: http://hdl.handle.net/10722/196493

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

30. Louzada, Heloisa Olivi. Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970.

Degree: Mestrado, Estética e História da Arte, 2013, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;

►

A arte brasileira durante a década de 1970 se destacou pelo alto grau de experimentalismo e de contestação aos cânones tanto artísticos como museológicos. As… (more)

▼

A arte brasileira durante a década de 1970 se destacou pelo alto grau de experimentalismo e de contestação aos cânones tanto artísticos como museológicos. As exposições anuais Panorama da Arte Atua Brasileira e Jovem Arte Contemporânea, organizadas respectivamente pelo Museu de Arte Moderna de São Paulo e pelo Museu de Arte Contemporânea da Universidade de São Paulo, se dedicaram a expor e legitimar determinadas tendências da arte dita jovem e atual durante esse período. A análise comparativa proposta por essa pesquisa revela e discute os mecanismos de seleção, organização, premiação e apresentação de obras em ambas as exposições. O foco da pesquisa dá-se no ano de 1972, momento em que a edição da Jovem Arte Contemporânea apresenta grandes inovações, ano de intenso crescimento do mercado de artes paulistano, auge da repressão militar e em que o Panorama discute as categorias escultura e objeto. Buscou-se analisar as exposições dentro desse contexto maior, apontando como referências os encontros internacionais de diretores de museus e outras exposições paradigmáticas para o período realizadas na Europa e na América Latina.

Brazilian art from the 1970s is known for its high degree of experimentation and for challenging both artistic and museological canons. The annual exhibitions Panorama da Arte atual Brasileira and Jovem Arte Contemporânea, organized respectively by the Museum of Modern Art of São Paulo and the Museum of Contemporary Art of the University of São Paulo, are dedicated to exposing and legitimizing certain art trends during this period. The comparative analysis proposed by this research reveals and discusses the mechanisms of selection, organization, and presentation works in both exhibitions. The focus of the research takes place in 1972, when the show Jovem Arte Contemporânea presents major innovations and the Panorama discusses sculpture and object categories, the year is also marked by intense growth of the a São Paulo art market, the increase of military repression. We sought to examine the exhibitions within this larger context, taking as references the discussions that occurred in the international encounters of museums directors, and also other paradigmatic exhibitions for the period held in Europe and Latin America.

Advisors/Committee Members: Freire, Maria Cristina Machado.

Subjects/Keywords: Art exhibitions; Art museums; Arte conceitual; Conceptual art; Exposições; Museus se arte

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APA (6^th Edition):

Louzada, H. O. (2013). Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;

Chicago Manual of Style (16^th Edition):

Louzada, Heloisa Olivi. “Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970.” 2013. Masters Thesis, University of São Paulo. Accessed March 04, 2021. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;.

MLA Handbook (7^th Edition):

Louzada, Heloisa Olivi. “Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970.” 2013. Web. 04 Mar 2021.

Vancouver:

Louzada HO. Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970. [Internet] [Masters thesis]. University of São Paulo; 2013. [cited 2021 Mar 04]. Available from: http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;.

Council of Science Editors:

Louzada HO. Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970. [Masters Thesis]. University of São Paulo; 2013. Available from: http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;

Open Access Theses and Dissertations