The year 2007 is significant for Africa and African artists as “[t]his is the first time a major exhibition of contemporary African art will be held in Africa” (Clive Kellner, curator of the Johannesburg Art Gallery, Africa Remix Exhibition Catalogue 2007:9). Africa Remix, an exhibition of 85 contemporary African artists from all regions of the continent and displaying a variety of skills and styles, provides and overview of contemporary art from Africa and the African diaspora in a single exhibition. Previous exhibitions of contemporary African art, namely Africa Explores (exhibited at New York’s Museum for African Art, 1991) and Seven Stories about African Art (exhibited at London’s Whitechapel Art Gallery, 1995) were never exhibited on the continent. After having toured Düsseldorf, London, Paris, Tokyo and Stockholm, Johannesburg is the last stop for Africa Remix and the only stop in Africa. It is important that Johannesburg managed to host this exhibition, both to show that Africa has the capacity and fortitude to host exhibitions of this scale, and for bringing the art of Africa to Africa. It has taken enormous efforts in fundraising to secure this opportunity. Yet, it also points to the lack of proper exhibition spaces both to host travelling exhibitions of this size and to provide a home for permanent collections of contemporary African art. Africa has long been subject to plundering of her riches: first through outright slavery, then through the exploitation of mineral reserves (often leading to concurrent exploitation of people), and in the contemporary world through the more subtle but potentially no less devastating “harvesting” (supported by the inherently unequal nature of global trade) of intellectual resources, such as items of cultural heritage, indigenous knowledge, and the production of scientists, writers, and artists. Africa needs to take the responsibility for making the most of what we have, here, before exporting it to the rest of the globe. Therefore, for art, there needs to be a gallery to support and exhibit the numerous collections of contemporary African art currently locked in storage. This will allow our art to be housed on the continent of its birth. Furthermore, a gallery such as this will contribute to cultural creation on the continent by the fact of its existence, providing space for and stimulating debate, performance and artistic production. This dissertation will therefore serve as an investigation into the interface between art and architecture. An alternative artspace to exhibit primarily but not exclusively contemporary African art is proposed for the city of Pretoria. The full text of this thesis/dissertation is not available online. Please <a href="mailto:upetd@up.ac.za?subject=UPeTD access required">contact us</a> if you need access. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

My thesis examines the policy of the Vancouver Art Gallery (VAG) as it affected the representation of art in its community in the 1960s and '70s. It was begun in order to understand what determined the changes in policy as they were experienced during this period, which saw an enormous expansion in the activities of the Gallery. To some extent the expansion was realized by means of increased cultural expenditure by the federal government, but this only made programmes possible, it did not carry them out. During the 1960s the Vancouver Art Gallery gained a measure of international recognition for its innovative programming, which depended to a degree on the redefinition of its relationship to the local, whether that signified its traditional patronage, Vancouver artists or the "man in the street". VAG's new outreach programme was not unique, but it was contemporary with developments in other locations. Given the popular and critical success of his policy, VAG director Tony Emery pushed it to the relative exclusion of the more traditional type of gallery programme, in this manner angering VAG's "more conservative" audience. With the first indications of a fiscal crisis in the 1970s, the government began reining in public expenditure, including that on the arts. There was first a freeze on funding to the larger arts institutions, which by now included the Gallery, and then the slow withering of government support. VAG's experiments in programming, which had been made possible through this support, became expendable, and there was soon a re-orientation towards more traditional programmes, accompanied by another redefinition of the Gallery's audience. The Gallery's structure, policy and programme were gradually transformed to fit an increasingly corporate model or paradigm in order to secure the extra funds it needed to remain solvent. A crucial aspect of this change was the plan to move the Gallery into larger quarters, which would be more attractive to donors and collectors, and which would allow prestigious exhibitions to be brought into the city. The thesis undertakes to examine the vagaries of Gallery policy with the aid of the current literature on museums and government cultural policy, and with government and Gallery documents. The other major section examines the formation of the reputation of Robert Rauschenberg, as it bears on the reception of a group of his works exhibited at VAG in 1978. Rauschenberg was an artist in frequent contact with Vancouver through exhibitions of his work at a private gallery, and the consolidation of his reputation following the 1976 retrospective of his work by the Smithsonian made his work apt for the promotion of VAG. Rauschenberg's use-value for VAG depends on a particular reading of his work which had become generalized after 1963, and reinforced in 1976, which was appropriate to the new Gallery role promoted by VAG's paladins. This interpretation, which was developed by Alan Solomon in 1963, fixed Rauschenberg's works as celebrations of a way of looking at one's environment and of what was looked at. Solomon's reading became the accepted one, but by an examination of the reception of Rauschenberg's art prior to 1963, and by an analysis of two of his works, I argue that it is neither the only possibility nor even the most accurate one. In the 1970s, critics conflated Rauschenberg's earlier and later work within the context of Solomon's interpretation, which has hardly been expanded upon. They have usually tried to establish an identity of the earlier and later work, based upon Solomon's reading, where I am trying to establish their difference. An analysis of two of the works which appeared in the 1978 Works from Captiva exhibition at VAG indicates the differences with the earlier work and the susceptibility of their iconography to the new role the Gallery was attempting to promote. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This study forms part of the discourse that critiques the current state of colonial museums in a post-colonial, post-apartheid city. The project focuses on a proposed urban vision for the precinct of Joubert Park in Johannesburg and responds to themes of memory, identity, reflection, art and public space. In the process, strategies are investigated to enhance identity in the area using the Johannesburg Art Gallery as a starting point. The gallery is integrated into the public realm, making it more accessible and transparent to its context by introducing pavilions and art installations to the park. These pavilions perform a variety of functions with the main design taking the form of a photographic urban archive. The pavilion archives the city and the people of the park by harnessing one of the current skill sets of the park photographers who are present on site. The project takes the form of a working camera using the principals of pinhole and wet plate photography to tangibly capture and display the happenings and changes of the site and the people who frequent it, over time. Once the pavilion has archived the desired changes in the city it will be dismantled and relocated to a new site to begin its life cycle once more. The movability of the structure acts as a critique on the static nature of buildings situated in cities that are always in flux. By introducing an architecture that allows and facilitates public activity while using people as the subjects for the creation of art by documenting a changing city, the scheme hopes to enhance the public realm by encouraging a collective identity to form. / Hierdie werkstuk is gebaseer op deurlopende gesprekke wat kritiek lewer oor die huidige stand waarin koloniale museums (na die Apartheid era) hulself bevind. Die intrinsieke waarde van hierdie museums het oor tyd verlore gegaan. Die projek het ten doel om op hierdie verwaarlosing te fokus en terselfdertyd die publieke omgewing met betrekking tot identiteit, kuns en sosiale aktiwiteite, op te hef. Voorstelle word gedoen om die vervalle Joubert Park in Johannesburg op te gradeer in n buurt waarop inwonders trots kan wees en sosiaal kan verkeer, terwyl die geskiedkundige verlede terselfdertyd bewaar word. Die Johannesburg Kunsgallery is geidentifiseer as die belangrike spilpunt vir hierdie projek. Hierdie Gallery is sentraal gelee wat dit maklik toeganklik maak vir die publiek. Die oogmerk is om n verskeidenheid kunswerke te installeer asook kamera/beeld-strukture. Hierdie kamerabeelde kan dien as n stedelike fotografiese vertoning van die stad en sy mense. Veranderinge in die stad oor n tydsvlak kan vervolgens so geargiveer word. Die projek se eind doel is om met argitektoniese toepassings, die ou verlede, die hede, en die mense en sy sosiale omgewing, tot voordeel van almal, te integreer. Die sukses van die projek sal bepaal word deur die kollektiewe indentitiet en sosiale integrasie wat bereik gaan word. / Mini Dissertation (MArch (Prof))--University of Pretoria, 2016. / Architecture / MArch (Prof) / Unrestricted

How can modern architecture closely refer back to historical architecture without copying or making flat imitations? My thesis project idea is born out of the discussion on modernism versus traditionalism in architecture brought to the surface by the network Arkitekturupproret. I have investigated this through the proposition of an art gallery building with a big red roof. The red roof acts as a screen where imprints of 3-dimensional fragments from different historical eras are projected. The building has an extroverted outside that echoes of the architectural history of the city of Sundsvall, and the big red roof hides an inside that is introverted and focused on exhibiting art.

The following presents an investigation into questions of spatial direction and continuity. This includes the directing of people via a choreographed sequence of architectural spaces through a site and a building. It further investigates a concept of continuity at various scales. A proposal for an art gallery in downtown Washington DC becomes the vehicle of exploration. The urban scale of this proposal seeks a continuity of relevant existing conditions while also creating opportunities to experience the city as well as the gallery. A serpentine-like continuous band or ribbon becomes the physical element responsible for direction and continuity for the building itself. / Master of Architecture

Negotiating Boundaries is an effort to investigate and explore multisensorial environments. Throughout history, architecture is and has always been predominantly visual in nature. The visual dominance of architecture has often been critiqued by philosophers and architects. The thesis presents an argument that all senses " haptic, auditory, olfactory and vision, collectively contribute to experience a space. The thesis is a qualitative approach towards studying the significance of this existential experience of architecture in the built environment. The privilege of the sense of sight over the other senses and its bias in architecture cannot be neglected. Therefore, the experience of the visually impaired or blind has been used as a challenge to study these non-ocular centric spaces. Pallasmaa beautifully puts, Vision reveals what the touch already knows. We see the depth, the smoothness, the softness, the hardness of object; Cézanne even claimed that we see their odor. If the painter is to express the world, the arrangement of his colors must carry with this indivisible whole, or else his picture will only hint at things and will not give them in the imperious unity, the presence, the insurpassable plenitude which is for us the definition of the real. The live encounter with Frank Lloyd Wright Fallingwater weaves the surrounding forest, the volumes surfaces, textures and colors of the house, and even the smells of the forest and the sound of the river, into a uniquely full experience. The thesis presents a case to defend that architecture is not merely a series of visual scenes but has a fully embodied material and spiritual presence.4 Architects and Philosophers whose studies and explorations remain relevant to my interest are Juhani, Pallasmaa, Peter Zumthor, Louis Kahn, Steven Holl, and Carlo Scarpa amongst many others. Juhani Pallasmaa in his book, The Eyes of the Skin writes, "An Architectural work is not experienced as a series of isolated retinal pictures, but its fully integrated material, embodied and spiritual essence. It offers pleasurable shapes and surfaces molded for the touch of eye and other senses, but it also incorporates and integrates physical and mental structures, giving our existential experience a strengthened coherence and significance. / Master of Architecture

Title assigned by the cataloguer. / Consists of books, booklets, articles and catalogues authored or edited by Ron Radford during his career as an art curator and gallery director. / Full list of all the author's published work included in the folder. Not all of these have been physically submitted. / 25 v. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (D.Litt.)--University of Adelaide, School of History and Politics, Discipline of History, 2006

Contemporary art market in China has influenced Taiwan¡¦s art market recently. The number of auction houses and new art galleries has been increased in Taiwan. The researcher discovered that the work of New Media Art has represented by galleries gradually. However, the sale of work of New Media Art is still limited. The reason is that the work of New Media Art lacks of physical form, and it can be easily replicated, which is contradicting to the traditional collectors¡¦ perspectives. This research attempts to understand how the New Media Art be promoted through galleries¡¦ perspectives. Three questions are raised in this research: First, How is the partnership between galleries and new media artists? And what service galleries provide to the collectors? Second, how galleries manage the product of New Media Art? And how it is different from managing other traditional art works? Third, how galleries interact with external environment, such as competitors, governments, enterprises, museums, academic departments, curators and auction houses? And how these environmental factors influence galleries while managing the work of New Media Art? Cross-case studies are used as the research methodology. Eleven galleries were interviewed, including East Gallery, IT Park, Lin & Keng Gallery, Galerie Grand Siecle, Main Trend Gallery, AKI Gallery, Chi-Wen Gallery, VT Artsalon, Soka Contemporary Space, Project Fulfill Art Space, and Gallery 100 (by establishing time). Methods of data collection include observation, document analysis and interviews. Triangulation is used to increase the credibility and trustworthiness. In conclusion, this research shows the New Media Art is still one of the commodities that the galleries sell. In order to respond to variable formats of New Media Art, galleries need to take different actions to promote them. Few suggestions are generated from this research: First, the work of New Media Art can easily be replicated; therefore, the government should assist to develop more effective technology to prevent the work be duplicated. Second, solving the restriction on the circulation of knowledge by promoting the concept of copy left. Third, galleries should have a more clear policy in consignment and licensing. Fourth, encouraging hi-tech corporations to sponsor hardware, and be responsible for equipment repairing. Galleries will only need to responsible for software of the work. Fifth, art education is good way to increase consumers¡¦ understanding on New Media Art. Galleries should connect with the museums effectively. Sixth, curators involve in commercial art galleries improve the value of the exhibitions. Galleries and curators should work on the details of cooperation. Seventh, galleries should host hung events in order to improve the interaction with communities. Eighth, while the Taiwanese contemporary art market is developing, galleries should monitor the quality of art, and develop long-term career path for artists.

Thesis (M.A. (Fine Art)) - Rhodes University, 2009.

This dissertation is an account of an internship in paper conservation undertaken at the Auckland City Art Gallery during the period July 1982 to March 1983. It opens with a description of the organisation and functions of the gallery, with particular reference to its management, staffing, financing, displays and acquisition procedures. This is followed, in Part 2, by a general account of the conservation department, its history, staffing, laboratory and tasks. Part 3 details all the conservation work undertaken during the period of internship. It describes the various techniques and procedures employed and the results achieved or observed. It contains a list of 119 objects treated followed by 26 case studies to illustrate the problems encountered and the action taken. It also includes a list of the equipment and materials used. Set out in Part 4 are details of conservation laboratories visited in Wellington. Part 5, after a brief description of conservation services in Christchurch and Dunedin, details the activities of the Interim Committee for the Conservation of Cultural Property and the principal recommendations contained in a report submitted by Dr Nathan Stolow, a conservation consultant engaged by the Interim Committee. This is followed by a report on the New Zealand Conservators' Meeting which took place in Wellington in March 1983.