A research report submitted to the Wits School of Arts in the Faculty of Humanities at the University of the Witwatersrand, in fulfilment of the requirements for the Masters Degree in Coursework and Research in Arts, Culture and Heritage studies. Johannesburg, 2015 / One of the principal purposes of the Johannesburg Art Gallery (JAG), one of Johannesburg’s public institutions, is to educate the public through the arts. The many changes, including political changes, in South Africa that caused the movement of people from one area to another have affected the audience participation at this museum. The Johannesburg Art Gallery is located in Joubert Park, the southern part of Hillbrow, which has been affected by the changes that have taken place from the time of the museum’s inception to the present day, when the area is inhabited by black people from all over Africa. The concern is therefore to understand the relationship between these two. I plan to interrogate the mission of JAG, to find out if it is relevant to the community that it is located in, and if the community is aware and supportive of JAG’s activities. The purpose of this investigation is to challenge the methods that are used by JAG to obtain and maintain visitors to the museum, and to expand the target market group by shifting focus from the people that used to live within this community to the present-day inhabitants. This is done by finding out from the Joubert Park community what is it that they wish to see in this museum. By observing their everyday life and interviewing them, I explore why or how much the people of Joubert Park are involved in the Johannesburg Art Gallery today. To reach the conclusion of this research, observing the area and interviewing the community will be followed by interviewing the co-ordinators of the Joubert Park Project (started in 2000) that was designed for the purpose of involving this community in the public spaces and institutions around them, and finally the employees of the Johannesburg Art Gallery. In addition, studying recent successful exhibitions would possibly reveal the explanation of what people want to see. In this world of ever-changing technology and culture of cyber space, can a museum attract new audiences by using methods that are contemporary and interactive?

n/a

During the period of internship at the Art Gallery of New South Wales (March, 1982 - January 1983), I had the opportunity to work on paintings from the 20th, 19th, 10th, and 17th centuries. Some of the paintings were privately owned, and usually arrived at the Gallery in much worse condition than any of the Gallery's paintings, therefore I had the chance to carry out major treatments as well as the routine minor treatments associated with the maintenance of a collection. The atmosphere at the Gallery conservation facility is a healthy one. The laboratory supports five fulltime conservators (Alan Lloyd, Peter Gill, Gill McMillan, Susie Bioletti, and Ranson Davies). All the members of staff were willing participants in helping and advising me during my period of internship. The contact with so many points of view and attitudes was instrumental in maintaining a positive and constructive attitude toward the profession. Cathy Lillico (conservator for the Regional Galleries) and Anne Gaulton were also working in the laboratory during my period of internship. Both took an active interest in my work at the Gallery. The work emphasis at the Gallery was placed on practical experience with paintings conservation, and a wide range of techniques and attitudes were considered and implemented. The period was also an opportunity to become involved in other aspects of conservation work apart from treatments. The transport, display, lighting, packaging and handling of painttings are important responsibilities for conservation staff, and I participated in them whenever possible. The routine examination of the Gallery collection and monitoring the light and temperature fluctuations within the Gallery environment were also part of my duties. The exposure also gave me the opportunity to answer public telephone enquiries and participate in advising the public on conservation during the Thursday morning open house, when the public is allowed to bring their works into the Gallery for advice from curatorial and conservation staff. I consider it a valuable and worthwhile exposure to the workings of a major institution. The Gallery conservation facilities include a studio and darkroom that are well equipped for conservation photography. I chose to take advantage of those facilities to improve my standard of photography and increase my understanding of the application of photography to the examination of paintings. The Gallery was very generous to allow me the use of film materials during my period of internship. All the plates and slides in this presentation were photographed, developed, and printed by myself, with the exception of color processing, using the conservation department facilities. Internships are not a tradition within the Art Gallery Conservation Department. Because of this, there is not an established program or itinerary for interns to follow. I am grateful to the entire staff of the conservation department, especially Alan Lloyd, for their support and encouragement in shaping an interesting and rewarding internship. I hope the opportunity will be made available to others who wish to pursue the profession of conservation. Some of the material presented in this dissertation is included for my own reference. This includes the TABLES 1-4 and some of the basic information under the conservation photography section dealing with normal and raking light illumination techniques.

Ce mémoire fait l'analyse du phénomène de réactualisation des collections fermées et de ses stratégies en se basant sur trois études de cas : le Isabella Stewart Gardner Museum, le Kettle's Yard Museum & Gallery et la New Art Gallery Walsall. Restreintes par des législations, ces institutions ont développé différentes stratégies leur permettant de réinscrire le contenu de leurs collections fermées à l'intérieur d'enjeux actuels. Dans un premier temps, de la présentation de nos trois études de cas sont apparues des caractéristiques que nous avons réunies pour exposer l'idée de collection fermée et souligner sa valeur esthétique, historique et artistique : les restrictions testamentaires, la vision du collectionneur, l'expérience du visiteur, le type d'accrochage et la mise en exposition des œuvres et des objets. Ces caractéristiques nous ont permis de cerner le contexte à l'intérieur duquel les conservateurs, les directeurs et les commissaires d'exposition interviennent pour réactualiser les paramètres temporels, narratifs et spatiaux de la collection fermée. L'idée de collection fermée est également développée à l'aide de propositions connexes provenant de 1'histoire de l'art et de la culture. Dans un deuxième temps, quatre des principales stratégies de réactualisation ont été dégagées de nos trois cas de figure : la construction d'une nouvelle architecture basée sur la collection fermée, la mise en place de programmes d'artistes en résidence, la création de programmes d'expositions temporaires et l'accumulation d'œuvres à l'intérieur d'une collection parallèle. Ces stratégies permettent une ouverture et une réorganisation des paramètres narratifs, spatiaux et temporels de la collection fermée à partir du présent actuel tout en respectant les restrictions protégeant son intégralité. L'analyse de ces stratégies permet non seulement de marquer les paramètres de la collection fermée sur lesquels la réactualisation s'opère, mais également de mettre en évidence les valeurs esthétiques et conceptuelles des projets d'artistes, architecturaux, d'exposition et de collection menés autour de la collection fermée. Dans un troisième temps, nous avons questionné la constitution et le fonctionnement temporel de la collection fermée et du phénomène de réactualisation pour pointer les changements qui s'opèrent dans le temps sur la collection fermée. De sa constitution par le collectionneur à sa relecture à partir des interventions du présent en passant par son legs restrictif, la collection fermée subit des changements malgré l'immobilité de sa mise en exposition. Enfin, notre recherche ouvre sur de nouvelles hypothèses. La réactualisation serait rendue possible à l'heure actuelle en relation avec une nouvelle conception de l'histoire basée sur une vision anachronique du temps. Cette vision anachronique et son potentiel pour la discipline de l'histoire de l'art développés par Georges Didi-Huberman (2000) nous ont permis d'explorer le phénomène de réactualisation non seulement dans la gestion muséologique des collections qu'il implique, mais également d'en traiter par rapport à la constitution de l'histoire de l'art et du rapport instauré avec le passé. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Collection fermée, Isabella Stewart Gardner Museum, Kettle's Yard Museum & Gallery, New Art Gallery Walsall, réactualisation, exposition

This thesis proposes turning a Toronto subway station into a gallery that will display temporary exhibitions of contemporary art. Islington subway station, on the corner of Bloor Street West and Islington Avenue, will anchor a future civic and cultural centre and will become the social and public focal point of Etobicoke Centre. The building will turn this neighbourhood into a vibrant community, creating a self-sustaining node around which people will live, work, and play. This proposal has been inspired by urban sociologist Ray Oldenburg’s concept of the ‘third place’. In contrast to the first and second places of home and work, the third place encompasses the social realm, being a neutral space where people can gather and interact. The proposal for the Islington Gallery of Art also adapts new urbanist Peter Calthorpe’s theory of the ‘Transit Oriented Development’ where the subway station is the central node in the neighbourhood. Both of these concepts will be discussed further in the thesis. The Islington Gallery of Art will bring commuters a direct connection with culture. This gallery will transform the public space of infrastructure into a setting for informal public life. A third place will be created where one currently does not exist. The thesis combines the three narratives of public space, public transportation, and civic culture in the design of a mixed-use building. It explores how transportation infrastructure and architecture can combine with contemporary art to instigate the development for a new kind of place, one that isn’t a traditional street or square, near the periphery of the City of Toronto.

In the nineteen nineties, former Yugoslavia, went through a series of interstitial disputes, both religious and political, which evolved into hatred amongst its own people and ultimately into an unforgiving civil war. Rising demonstrations of the groups with different religious and cultural views within the country’s boundaries amalgamated into a war which divided the state into separate countries and left many cities and villages in despair, economic desolation and poverty. Although some have been directly affected by the physical casualties of war, others have suffered indirectly. One of the villages affected is Ruski Kerestur, found in the Republic of Serbia where more than ninety percent of the residents are non-Serbian. Many of its people fled the country due to political and economic uncertainties. This minority group is of the Carpatho-Rusyn decent which are the heart and soul of the village. Inspired by personal motive and desire to heal communities in distress, this thesis presents an opportunity to reconcile Carpatho-Rusyn people from the social diaspora in attempt to reclaim their national identity and give them the courage to persist on and continue the cultural legacy that has been nurtured for generations. Leaning on the speculation that ‘a spirit in people and belief in the future comes from the very foundation of a building’; it utilizes an architectural intervention as basis to conceive a quintessential communal space that redefines social and practical functions necessary for cultivating Rusyn traditions, ethics and domestic values. To develop an understanding of their public realm, the thesis dips into the crevices of time searching for Carpatho-Rusyn progress of development and migratory movement from their homeland in the Carpathian Mountains to the present day conditions. It tends to explore the idea of ‘adaptation’, the ideology that defines an architectural type through the process of transformation and negotiation of a community and its direct effect on public space, urban system and architectonic form. These theories will become a kernel for producing a useful and meaningful civic landmark that will strengthen the spirit of people giving hope and new life to the wounded village. The new ‘living monument’, Carpatho-Rusyn Art Gallery and Reconciliation Centre, presents a new gateway for Ruski Kerestur and its people into the healthy future shedding light on their moral values which were tamed for centuries by wars, ethnic cleansing and inexorable conviction of their non existence. The design proposal reintroduces a Rusyn way to the world and echoes the emotion of pride which permeates every Rusyn soul.

This thesis proposes turning a Toronto subway station into a gallery that will display temporary exhibitions of contemporary art. Islington subway station, on the corner of Bloor Street West and Islington Avenue, will anchor a future civic and cultural centre and will become the social and public focal point of Etobicoke Centre. The building will turn this neighbourhood into a vibrant community, creating a self-sustaining node around which people will live, work, and play. This proposal has been inspired by urban sociologist Ray Oldenburg’s concept of the ‘third place’. In contrast to the first and second places of home and work, the third place encompasses the social realm, being a neutral space where people can gather and interact. The proposal for the Islington Gallery of Art also adapts new urbanist Peter Calthorpe’s theory of the ‘Transit Oriented Development’ where the subway station is the central node in the neighbourhood. Both of these concepts will be discussed further in the thesis. The Islington Gallery of Art will bring commuters a direct connection with culture. This gallery will transform the public space of infrastructure into a setting for informal public life. A third place will be created where one currently does not exist. The thesis combines the three narratives of public space, public transportation, and civic culture in the design of a mixed-use building. It explores how transportation infrastructure and architecture can combine with contemporary art to instigate the development for a new kind of place, one that isn’t a traditional street or square, near the periphery of the City of Toronto.

In the nineteen nineties, former Yugoslavia, went through a series of interstitial disputes, both religious and political, which evolved into hatred amongst its own people and ultimately into an unforgiving civil war. Rising demonstrations of the groups with different religious and cultural views within the country’s boundaries amalgamated into a war which divided the state into separate countries and left many cities and villages in despair, economic desolation and poverty. Although some have been directly affected by the physical casualties of war, others have suffered indirectly. One of the villages affected is Ruski Kerestur, found in the Republic of Serbia where more than ninety percent of the residents are non-Serbian. Many of its people fled the country due to political and economic uncertainties. This minority group is of the Carpatho-Rusyn decent which are the heart and soul of the village. Inspired by personal motive and desire to heal communities in distress, this thesis presents an opportunity to reconcile Carpatho-Rusyn people from the social diaspora in attempt to reclaim their national identity and give them the courage to persist on and continue the cultural legacy that has been nurtured for generations. Leaning on the speculation that ‘a spirit in people and belief in the future comes from the very foundation of a building’; it utilizes an architectural intervention as basis to conceive a quintessential communal space that redefines social and practical functions necessary for cultivating Rusyn traditions, ethics and domestic values. To develop an understanding of their public realm, the thesis dips into the crevices of time searching for Carpatho-Rusyn progress of development and migratory movement from their homeland in the Carpathian Mountains to the present day conditions. It tends to explore the idea of ‘adaptation’, the ideology that defines an architectural type through the process of transformation and negotiation of a community and its direct effect on public space, urban system and architectonic form. These theories will become a kernel for producing a useful and meaningful civic landmark that will strengthen the spirit of people giving hope and new life to the wounded village. The new ‘living monument’, Carpatho-Rusyn Art Gallery and Reconciliation Centre, presents a new gateway for Ruski Kerestur and its people into the healthy future shedding light on their moral values which were tamed for centuries by wars, ethnic cleansing and inexorable conviction of their non existence. The design proposal reintroduces a Rusyn way to the world and echoes the emotion of pride which permeates every Rusyn soul.

Diss.--Philosophy (Musicology)--Columbia (S.C.)--Univ. of Southern Carolina, 1999. / Bibliogr. p. 99-106.

Thesis (M.A.(St.Art.Hist.))--University of Adelaide, Master of Arts (Studies in Art History), 2004? / "November 2004" Bibliography: leaves 102-108.