Vi lever i en ömtålig vardag. Vi gör den än ömtåligare genom vårt sätt att leva. Det är ingen idé att jag säger det med ord; jag har redan sagt det så många gånger att människorna runt omkring mig har slutat lyssna. Kanske är objekt en bättre ingång till samtal. I det här arbetet har jag, genom såväl text som praktiskt arbete inom corpuskonstfältet, undersökt vad som händer med oss när vardagen faller sönder och kaos utbryter. Genom en startpunkt i klimatkatastrofen år 536, som ledde till att närmare hälften av Nordens befolkning dog, har jag spekulerat kring om samma sak skulle hända idag, eller kanske att det händer idag. Resursbrist leder alltid till våld. Trots att vi vet det fortsätter vi knapra i oss jorden en liten bit i taget. Vad är tanken att vi ska göra när den tar slut? / We live in a fragile everyday. We make it even more fragile by the way we live it. There is no point in saying it with words any more, I've already tried that so many times that people have stopped listening. Maybe objects are a better way to start a conversation. In this project, that consists of this thesis and the physical body of work "Memories from a parallel future", I've been investigating what happens to us when the everyday falls apart and chaos erupts. With a starting point in the climate-crisis of the year 536, that led to the death of almost half of the Norse population, I've been speculating what would have happened today. Or maybe that it is actually happening today. Depletion of resources always results in violence. We know this, but still we keep nibbling at the earth, a little chunk at a time. What do we plan to do when there is nothing left? / <p>Bilder av verk av konstnärerna Iain Baxter&amp;, Naoko Ito och Luiana Rondolini har tagits bort av upphovsrättsliga skäl. Titlarna på verken står dock kvar. </p>

This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examines how the institution has balanced the need to represent a full historical survey of modern art with the desire to engage with the contemporary, and how it has addressed the question of collecting and displaying the work of Scottish artists alongside international art. By providing a close documentary analysis of the evolution of the institution, drawn from within the Gallery’s own archives, combined with extended reflections on the central dilemmas it has had to face, the study constitutes an original contribution to museum scholarship. Various methodologies are employed to assess the diverse factors that have affected the institution’s development. The narrative confirms the close correlation between the architectural frame and the public perception of the institution. It traces the evolution of the acquisitions policy and notes how this shaped the permanent collection, allowing a shift from an aspiration to universal coverage of the international trends of 20th century art to a more targeted specialisation in certain areas, primarily Dada and Surrealism. It charts the attitudes towards temporary exhibitions and the display of the permanent collection, and examines these in the light of current exhibition theory and practice. The analysis concludes that the SNGMA has been largely successful at achieving the aims and ambitions it originally defined for itself, although its role is constantly evolving in response to changes in the broader context of art museums.

In the 1960s, art and business engaged in a sweeping but now largely forgotten romance. Corporations rushed to install art in their foyers and on their urban plazas. Many bought or commissioned works of art to display inside their factories and offices. They reproduced art in their advertisements and annual reports, and profiled it in press stunts and photo ops. They developed promotional art exhibitions that toured across the country and around the world. This dissertation considers how such artworks supported – but also sometimes disrupted – the marketing, public relations, lobbying and personnel strategies of large-scale corporate enterprise. By reconstructing this diverse field, this dissertation contends that art was a key tool for the burgeoning ‘persuasion industry’ of the sixties. Both in the United States and further afield, artists and businesses worked together to make artworks function as ‘forms of persuasion’, instruments by which the consensus of the corporation’s constituents – workers, consumers and regulators – could be secured. The case studies focus on range of companies active in this field, exploring the phenomenon in three thematic chapters, covering the use of pop art by the packaged goods business, the role of abstract painting in the workplace and the value of metal sculpture for the steel industry. It is argued that the practices described through these examples represent a defining cultural phenomena of sixties art, one that challenges the conventional art historical alignment of its avant-garde with the decade’s famed radical politics, protest and counterculture.

This thesis summarizes Danielle Riede's current art practice by detailing her materials, processes and inspiration. It also contextualizes her "Room Paintings" within the context of art history and contemporary art-making.

Student Number : 9406610A - MA(FA) dissertation - School of Fine Art - Faculty of Arts / This thesis is a study of the box constructions of New York artist Joseph Cornell from the early 1930s to the late 1960s, and the influence of his work on that of contemporary American jeweller Thomas Mann, as well as my own artistic production. The key areas of focus are the process of assemblage and the implications of the box format, with the following themes being explored: miniature space and time; preciousness; fetishism and voyeurism. These are followed through into the section on my own work, where the additional subjects of the history of collecting, automata and the stop-frame animation of filmmaker Jan Švankmajer are discussed. The conclusion that I reach is about the potential power residing in found objects, which form the basis of Cornell’s, Mann’s and my own work.

A presente pesquisa tem como objetivo analisar um pequeno conjunto de vestidos denominados alta-costura, presente na coleção Vestuário do Museu de Arte de São Paulo Assis Chateaubriand (MASP) e que foram adquiridos na direção artística de Pietro Maria Bardi (1947 - 1990) e na presidência de Júlio Neves (1994-2008). Tais vestidos, catalogados como advindos das casas Dior e Lanvin, foram incorporados à coleção Vestuário entre os anos de 1951 a 1956 e posteriormente, nos anos de 2002 e 2003. Desse modo, pretende-se analisar o processo de musealização desses vestidos, numa perspectiva histórico-social, além de problematizar a historicidade do colecionismo de vestuário e moda nos anos de aquisição dos objetos, considerando a produção de documentação museológica como um processo curatorial importante na análise empreendida. / The present research aims to analyze a small set of dresses called high fashion, present in the Costume collection of the São Paulo Museum of Art (MASP) and which were acquired in the artistic direction of Pietro Maria Bardi (1947 - 1990) and in the presidency of Júlio Neves (1994-2008). These dresses, cataloged as coming from the houses Dior and Lanvin, were incorporated into the Costume collection between the years 1951 to 1956 and later, in the years of 2002 and 2003. In this way, it is intended to analyze the process of musealization of these dresses, from a perspective historical-social, in addition to problematizing the historicity of collecting clothing and fashion in the years of acquisition of objects, considering the production of museological documentation as an important curatorial process in the analysis undertaken.

Neste projeto estudamos algoritmos de aproximação para o problema da árvore de Steiner com coleta de prêmios. Trata-se de uma generalização do problema da árvore de Steiner, onde é dado um grafo com custos positivos nas arestas e penalidades positivas nos vértices. O objetivo é encontrar uma subárvore do grafo que minimize a soma dos custos das arestas mais a soma das penalidades dos vértices que não pertencem à subárvore. Em 2009, os autores Archer, Bateni, Hajiaghayi e Karloff obtiveram pela primeira vez um algoritmo com fator de aproximação estritamente menor do que 2. Além de analisarmos este algoritmo, estudamos também a implementação de algoritmos 2-aproximação para o problema da árvore de Steiner e da árvore de Steiner com coleta de prêmios. / In this project we analyze approximation algorithms for the prize-collecting Steiner tree problem. This is a generalization of the Steiner tree problem, in which it is given a graph with positive costs in edges and positive penalties in vertices. The goal is to find a subtree of the graph that minimizes the sum of costs of edges plus the sum of the penalties of the vertices that don\'t belong to the subtree. In 2009, the authors Archer, Bateni, Hajiaghayi e Karloff described, for the first time an algorithm with approximation factor strictly less than 2. Besides analyzing this algorithm, we also study the implementation of 2-approximation algorithms to the Steiner tree problem and prize-collecting Steiner tree problem.

鄧民亮. / 論文(碩士) -- 香港中文大學硏究院藝術學部,1995. / 參考文獻: leaves [1-9] (2nd group) / Deng Minliang. / 前言 --- p.2 / Chapter 第一章 --- 吳中地區的復興對書法好¯‘ة之影響 --- p.4 / Chapter 第二章 --- 文徵明的交遊與吳中文苑 --- p.22 / Chapter 第三章 --- 吳中地區的書法收藏槪況與 文徵明的鑑藏活動 --- p.72 / Chapter 第四章 --- 文徵明的書學 --- p.103 / Chapter 第五章 --- 文徵明的書法風格與所見藏品之關係 --- p.122 / 總結 --- p.157 / 參考書目 / 附錄一文徵明家藏及題跋書法名蹟 / 附錄二著錄所見及傳世文徵明所書《千字文》 / 附錄三文徵明題跋所見引用書目 / 附錄四吳寬《匏翁家藏集》所載書法題跋 / 附錄五都穆《寓意編》所載書法收藏 / 附錄六華夏所藏書法 / 附錄七《珊瑚網》所載王世貞書法收藏 / 附錄八《珊瑚網》所載王世貞收藏碑帖 / 附錄九《珊瑚網》所載王世懋收藏書法 / 附錄十項元汴所藏書法 / 附錄十一《鈐山堂書畫記》所載書法收藏 / 附錄十二《珊瑚網》著錄書法收藏 / 附錄十三詹景鳳《東圖玄覽編》所載書法收藏 / 圖版

This thesis investigates the donation of books made by Alexander Thistlethwayte (?1718–1771), a Hampshire grandee and bibliophile, to the Fellows’ Library of Winchester College, the oldest of the English public schools. The first two chapters demonstrate the largely untapped potential of two unique books in the Thistlethwayte benefaction to advance scholarly understanding of topics relating to the copying and transmission of early modern literary texts. The second part of the thesis examines the collecting habits which shaped the physical configuration of Thistlethwayte’s books and the contents of his library. Chapter Three rediscovers the role of the anthology in late seventeenth- and eighteenth-century cultures of compilation, through a comparison of Sammelbände assembled by Thistlethwayte with those that he acquired from an Oxford graduate of the 1690s. Chapter Four traces the growth of Thistlethwayte’s library in the context of his life as a gentleman, taking in evidence from Thistlethwayte’s later donation of books to his alma mater, Wadham College, Oxford. The thesis concludes by reflecting on the conditions of access to the Fellows’ Library from which this doctoral project has benefited, and considers ways of extending the benefits of access and community engagement to scholars and the wider public.

This thesis situates the issue of representing minority groups in the debate over the role of museum spaces in the contemporary society. In particular, the thesis explores the shifting relationships between the indigenous peoples and the wider Taiwanese society which is considered to be influential in forming indigenous representations. I conducted fieldwork in case-study museums, which are considered to be leading museums that are more resourceful and influential, and places beyond museum spaces, such as local cultural centres, indigenous communities and public occasions. In this thesis, I suggest that indigenous representations cannot be understood without considering the power relationships between the represented subjects and their surrounding parties, for example, colonial history and political changes. Because of the nature of museums, this thesis has shown that although there are limitations of museum representations, museums still play a symbolic role in Taiwanese society. I also expanded my examination of indigenous representations beyond museum spaces. I discovered that compared to museum representations, these representations are more responsive to the needs of both indigenous peoples and their audience. I also argued that although indigenous peoples obtain a greater autonomy in self-representing, internal power relationships and hierarchy also play a critical role in these self-representations.