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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 8 of 8 (0.036 seconds)Spelling suggestions: "subject:"rrt exchange"" "subject:"rrt cxchange""
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Making a Mark: negotiations in the commoditisation of authenticity and value at an Aboriginal art dealershipBarbara Ashford Unknown Date (has links)
This thesis is an examination of processes of the dealership regarding Aboriginal art and artists. I take the approach that the art dealership is situated at a nexus of relationships that contest and negotiate culturally informed values and categories of fine art, Aboriginality and commodities. I argue that dealers in Aboriginal art mediate categories of value through their particular practices of representation of the art and through the social relationships they foster with artists and buyers. Therefore, through the relationships formed in the exchange process, dealers both make and mark culture. In this study I acknowledge the agency of Aboriginal artists but approach the process of negotiation of cultural categories from the perspective of the non-Indigenous audience for which the art is intended. The research is specifically concentrated on a particular dealership, Fire-Works gallery in Brisbane. I begin with the premise that buyers are drawn to Aboriginal art for more than aesthetic reasons and that objects and artists’ cultural identities carry high value especially if judged authentically Aboriginal in the current art market. Both the art and the artists are made and marked as commodities in the art market; and while notions of authenticity are central to value, value is itself shifting and authenticity unstable. To establish the tensions and shifts in culture formation, I outline the historical biography of the acceptance of Aboriginal objects as fine art and the genesis of Fire-Works gallery within this socio-cultural and political milieu. In the latter chapters of the thesis I examine social relationships and situated practices chosen by the dealership to facilitate sales through the negotiation of valued cultural categories. The study provides an original examination of how shifting cultural categories are dynamically formed and reformed in the commoditisation of Aboriginal art by social agents.
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Making a Mark: negotiations in the commoditisation of authenticity and value at an Aboriginal art dealershipBarbara Ashford Unknown Date (has links)
This thesis is an examination of processes of the dealership regarding Aboriginal art and artists. I take the approach that the art dealership is situated at a nexus of relationships that contest and negotiate culturally informed values and categories of fine art, Aboriginality and commodities. I argue that dealers in Aboriginal art mediate categories of value through their particular practices of representation of the art and through the social relationships they foster with artists and buyers. Therefore, through the relationships formed in the exchange process, dealers both make and mark culture. In this study I acknowledge the agency of Aboriginal artists but approach the process of negotiation of cultural categories from the perspective of the non-Indigenous audience for which the art is intended. The research is specifically concentrated on a particular dealership, Fire-Works gallery in Brisbane. I begin with the premise that buyers are drawn to Aboriginal art for more than aesthetic reasons and that objects and artists’ cultural identities carry high value especially if judged authentically Aboriginal in the current art market. Both the art and the artists are made and marked as commodities in the art market; and while notions of authenticity are central to value, value is itself shifting and authenticity unstable. To establish the tensions and shifts in culture formation, I outline the historical biography of the acceptance of Aboriginal objects as fine art and the genesis of Fire-Works gallery within this socio-cultural and political milieu. In the latter chapters of the thesis I examine social relationships and situated practices chosen by the dealership to facilitate sales through the negotiation of valued cultural categories. The study provides an original examination of how shifting cultural categories are dynamically formed and reformed in the commoditisation of Aboriginal art by social agents.
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Making a Mark: negotiations in the commoditisation of authenticity and value at an Aboriginal art dealershipBarbara Ashford Unknown Date (has links)
This thesis is an examination of processes of the dealership regarding Aboriginal art and artists. I take the approach that the art dealership is situated at a nexus of relationships that contest and negotiate culturally informed values and categories of fine art, Aboriginality and commodities. I argue that dealers in Aboriginal art mediate categories of value through their particular practices of representation of the art and through the social relationships they foster with artists and buyers. Therefore, through the relationships formed in the exchange process, dealers both make and mark culture. In this study I acknowledge the agency of Aboriginal artists but approach the process of negotiation of cultural categories from the perspective of the non-Indigenous audience for which the art is intended. The research is specifically concentrated on a particular dealership, Fire-Works gallery in Brisbane. I begin with the premise that buyers are drawn to Aboriginal art for more than aesthetic reasons and that objects and artists’ cultural identities carry high value especially if judged authentically Aboriginal in the current art market. Both the art and the artists are made and marked as commodities in the art market; and while notions of authenticity are central to value, value is itself shifting and authenticity unstable. To establish the tensions and shifts in culture formation, I outline the historical biography of the acceptance of Aboriginal objects as fine art and the genesis of Fire-Works gallery within this socio-cultural and political milieu. In the latter chapters of the thesis I examine social relationships and situated practices chosen by the dealership to facilitate sales through the negotiation of valued cultural categories. The study provides an original examination of how shifting cultural categories are dynamically formed and reformed in the commoditisation of Aboriginal art by social agents.
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Making a Mark: negotiations in the commoditisation of authenticity and value at an Aboriginal art dealershipBarbara Ashford Unknown Date (has links)
This thesis is an examination of processes of the dealership regarding Aboriginal art and artists. I take the approach that the art dealership is situated at a nexus of relationships that contest and negotiate culturally informed values and categories of fine art, Aboriginality and commodities. I argue that dealers in Aboriginal art mediate categories of value through their particular practices of representation of the art and through the social relationships they foster with artists and buyers. Therefore, through the relationships formed in the exchange process, dealers both make and mark culture. In this study I acknowledge the agency of Aboriginal artists but approach the process of negotiation of cultural categories from the perspective of the non-Indigenous audience for which the art is intended. The research is specifically concentrated on a particular dealership, Fire-Works gallery in Brisbane. I begin with the premise that buyers are drawn to Aboriginal art for more than aesthetic reasons and that objects and artists’ cultural identities carry high value especially if judged authentically Aboriginal in the current art market. Both the art and the artists are made and marked as commodities in the art market; and while notions of authenticity are central to value, value is itself shifting and authenticity unstable. To establish the tensions and shifts in culture formation, I outline the historical biography of the acceptance of Aboriginal objects as fine art and the genesis of Fire-Works gallery within this socio-cultural and political milieu. In the latter chapters of the thesis I examine social relationships and situated practices chosen by the dealership to facilitate sales through the negotiation of valued cultural categories. The study provides an original examination of how shifting cultural categories are dynamically formed and reformed in the commoditisation of Aboriginal art by social agents.
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Expanding Opportunities: Applying the Framework of Cultural Geomorphology to Investigate Potential Benefits of International Art ExchangesZupanic, Karen Kovacs 07 August 2023 (has links)
No description available.
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Výstava - VVČSKSU / Exhibition - VVČSKSUHověžáková, Ilona Unknown Date (has links)
The objective of this thesis draws on my experience acquired during the internship in Galeria De Arte Servando in Havana, where I have been given the opportunity to learn about Cuban culture as well as to witness the restrictions and difficulties in gallery activities due to the communist government. The first part of the thesis focuses on historical facts highlighting the art exchange between Czechoslovakia and Cuba, a common part of running the state institution in the past. It was a common practice both in Havana´s House of Czechoslovak Culture and in the House of Cuban Culture in Prague. After the collapse of the Soviet Union, both houses were closed and the Czechoslovak-Cuban relations in art and culture have never been restored. The study subsequently discusses the concept and realization of the exhibition prepared in collaboration with Cuban curator Yenisel Osuna Morales. The aim of the thesis is to try to initiate a dialogue between two countries, Cuba and the Czech Republic (former Czechoslovakia), countries with many differences, and probably even estranged nowadays. However, their relations were warm before, and they could be in many ways an inspiration. The primary outcome of this thesis is the exhibition project aimed at the topic of censorship in independent art, its influence on gallery activities and freedom of artistic expression in Cuba. The selection of cuban artists carried out by curator Yenisel Osuna Morales represents the topic of pluriculturalism, migration and diaspora. By means of exhibition exchange, I would like to refer to the terminated friendship between Cuba and former Czechoslovakia in the field of art. The purpose of these exhibitions is not only to present Czech contemporary art in Cuba but also to present Cuban art in the Czech Republic without any restrictions.
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Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social PracticeLa Follette, Tavia 26 April 2013 (has links)
No description available.
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Conditional Truths: Remapping Paths To Documentary 'Independence'Lang, Ian William, n/a January 2003 (has links)
(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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