In this thesis, we design and develop new approximation algorithms and complexity results for three guarding and partitioning problems on orthogonal polygons; namely, guarding orthogonal polygons using sliding cameras, partitioning orthogonal polygons so as to minimize the stabbing number and guarding orthogonal terrains using vertex guards. We first study a variant of the well-known art gallery problem in which sliding cameras are used to guard the polygon. We consider two versions of this problem: the Minimum- Cardinality Sliding Cameras (MCSC) problem in which we want to guard P with the minimum number of sliding cameras, and the Minimum-Length Sliding Cameras (MLSC) problem in which the goal is to compute a set S of sliding cameras for guarding P so as to minimize the total length of trajectories along which the cameras in S travel. We answer questions posed by Katz and Morgenstern (2011) by presenting the following results: (i) the MLSC problem is polynomially tractable even for orthogonal polygons with holes, (ii) the MCSC problem is NP-complete when P is allowed to have holes, and (iii) an O(n)-time exact algorithm for the MCSC problem on monotone polygons. We then study a conforming variant of the problem of computing a partition of an orthogonal polygon P into rectangles whose stabbing number is minimum over all such partitions of P. The stabbing number of such a partition is the maximum number of rectangles intersected by any orthogonal line segment inside the polygon. In this thesis, we first give an O(n log n)-time algorithm that solves this problem exactly on histograms. We then show that the problem is NP-hard for orthogonal polygons with holes, providing the first hardness result for this problem. To complement the NP-hardness result, we give a 2-approximation algorithm for the problem on both polygons with and without holes. Finally, we study a variant of the terrain guarding problem on orthogonal terrains in which the objective is to guard the vertices of an orthogonal terrain with the minimum number of vertex guards. We give a linear-time algorithm for this problem under a directed visibility constraint. / February 2016

Notre étude vise à interroger le goût artistique des financiers du xviiie siècle, à travers l'analyse de leurs comportements face aux différents acteurs du monde de l'art. qu'ils soient financiers collectionneurs, financiers amateurs, financiers artistes, ou encore financiers mécènes, ces manieurs d'argent, parfois jalousés, parfois adulés pour leur fortune, évoluent dans une sphère complexe, où rivalité et excentricité mondaine se mêlent aux codes de bienséance et de magnificence de la société nobiliaire. sévèrement critiqués au xviiie siècle, les financiers du siècle des lumières sont pleinement réhabilités dans la société, grâce, peut-être, à leur conformisme avec les us et coutumes de leurs contemporains. cherchant à égaler leurs semblables dans le paraître, nous pouvons nous interroger sur la manière dont les financiers, qu'ils soient fermiers généraux, receveurs des finances ou encore trésoriers, collectionnent leurs œuvres. ainsi, existe-t-il une manière ' financière ' de collectionner / Our study aims at questioning the artistic taste of the financiers of the eighteenth century, through the analysis of their behaviors vis-a-vis the different actors of the world of art. Whether financial collectors, financial amateurs, financial artists, or financial sponsors, these money handlers, sometimes jealous, sometimes adulated for their fortune, evolve in a complex sphere, where rivalry and eccentricity mundane mingle with the codes of decency And the magnificence of the noble society. Severely criticized in the eighteenth century, the financiers of the age of enlightenment were fully rehabilitated in society, perhaps thanks to their conformity with the habits and customs of their contemporaries. Seeking to equal their fellows in appearance, we may question the manner in which the financiers, whether general farmers, receivers of finance, or even treasurers, collect their works. Thus, is there a 'financial' way of collecting

In the last 30 years in the world of art increased the need to implement the economic strategies for the administration of non-profit organizations. The aim of the thesis is to describe to the readers the application of the marketing tools in the field of gallery management. The thesis consists of three parts. The first part concerns the development of museology and the situation of culture in Czech Republic. In the second part the thesis deals with the development of art marketing and the way in which the world of art perceives the basic differences between product and customer. The third part is the analytical part. It analyzes the different ways in which specific applications of marketing tools are used in five selected Prague galleries. The goal of the thesis is also to illustrate the situation of galleries in Prague and the revision of some basic elements needed to improve their competitiveness in Europe.

I am dealing with implementation of auction system for internet presentation of art gallery in my dissertation. Advertising agency CCD Media Ltd had given an order for solution. In all sphere of business is trend of implementing of auctions, especially electronic in present. Sale of art cannot avoid this trend. Wi will find out advantages of this solution in use.

Ett nytt kommunhus för Nynäshamn stad, belägen i Stockholms län sydspets, vilket innehåller aktivitetsbaserade kontor, ett konstgalleri, kafé och en plenisal. Byggnaden ligger mellan två olika men kompletterande stadsrum vilket byggnaden bemöter med två olika "ansikten", allt medan den fortfarande uppfattas som samma byggnad. Denna idé, vilken kan liknas vid idén om Janusansiktet, har varit min huvudsakliga ingång i det här projektet. Utvändigt både återspeglar ansiktena de stadsrum som äger rum framför och är aktiva i formandet av dess karaktärer. Sammanflätningen mellan de båda sidorna sker istället inuti byggnaden där övergången ömsom är flytande och ömsom skarp med visuella snarare än fysiska kopplingar. / A new municipal building for the city of Nynäshamn, located in the most southern part of Greater Stockholm, including acitivity based offices, an art gallery, café and council chamber. The building lies inbetween two different but complementary public spaces which it adresses with two different "faces" while still being read as one and the same building. This idea, reminiscent of the image of the roman god Janus, has been my main focus through this project. Outwards, the faces both reflect and take an active roll in forming the character of these public spaces while the interweaving takes places inside the building where they sometimes are visually, although not physically connected, and sometimes closer to fade into one another.

This thesis aims to critically examine the relationship of digital technology and the modern art gallery in order to find the possible role of art galleries in the future. The integration of technology and the modern art gallery can change the way people experience art in built space. In order to examine this, certain questions needed to be asked. The most important of these questions is authenticity and originality in a digital art gallery. What if, in order for the notion of originality to exist, it needs the notion of the copy; a kind of parasite. What if we don’t consider them as opposites, but rather as variables of a knot. What if there was never an original voice, but only writing. The process of writing itself undermines any notion of a primary original. It creates a space of difference, a gap. The space from one letter to the next, from one word to the next, from the graphite to the paper, and to continue to the digital, the space from 1 to 0. The difference described by Derrida in of Gramatology is the idea of difference through “trace.” Derrida says “The trace is in fact the absolute origin of sense in general. Which amounts to saying once again that there is no absolute origin of sense in general. The trace is the difference which opens appearance and signification.” Through a process of language study a series of spatial conditions were derived from a structured process of analyzing trace. This series of spatial conditions were then used to design the interior and exterior spaces along with arranging the buildings program and circulation through the new University Gallery. These spatial conditions allowed for a development of space that looked beyond simple geometric forms to form genuine experiences derived from a process.

This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism. / Doctor of Philosophy (PhD)

Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.

This thesis attempts to analyze the emergence of private art galleries in Turkey by focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquo / s Gallery, and Society of Artlovers&rsquo / Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.

The aim of this dissertation is to contextualise the use of porcelain by the South African ceramist Thelma Marcuson (1919-2009). This paper focuses on her ceramics in the Tatham Art Gallery’s Permanent Collection in Pietermaritzburg. I hope to give recognition to Marcuson as she is considered one of the pioneer South African studio potters by Garth Clark and Lynne Wagner’s in Potters of Southern Africa as she is ranked amongst the top fifteen in that distinct group (appendix 4: Potters’ art demo). This dissertation is divided into three chapters. Chapter one primarily focuses on the influence of contemporary European studio potters on Marcuson’s work, in particular that of Lucie Rie, Mary Rogers and Ruth Duckworth. This chapter also examines the development of ceramics from industrial ceramics, involving mass productions in factories, to the modernist revival of studio ceramics by Bernard Leach, where each piece was handmade and often regarded as an art form, as in the work of the twentieth century British ceramist William Staite-Murray. Chapter two focuses on Marcuson and South African studio ceramics and considers South African potters who had an influence on Marcuson’s early training, and also looks at her involvement with the Association of Potters of Southern Africa (APSA) founded in 1972. In the last section of this chapter I will discuss ceramic practices and technical issues about porcelain and high-firing glazes, specifying how they are made and used, with particular reference to South African developments and local studio potters. As Marcuson was particularly interested in porcelain, this chapter also outlines glaze applications with specific reference to porcelain and firing methods. Chapter three focuses on Marcuson’s ceramics and offers in particular an analysis of the nine pieces of her work in the Permanent Collection of the Tatham Art Gallery in Pietermaritzburg. Through my research I was able to acquire photographic documentation from other South African museums for comparative purposes, such as the Durban Art Gallery and the William Humphreys Art Gallery in Kimberley, as well as some private collections (see appendix 1). / Thesis (M.A)-University of KwaZulu-Natal, Pietermaritzburg, 2012.