Spelling suggestions: "subject:"exhibition techniques"" "subject:"xhibition techniques""
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Free-Standing PaintingsHettel, John J. January 1965 (has links)
No description available.
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Bases for Sculpture: A Discussion of Varied Techniques, Materials and Methods of DisplaySchmidt, Dale F. January 1965 (has links)
No description available.
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An investigation of the techniques of exhibiting art in the high schoolReese, Donald Merritt, 1921- January 1963 (has links)
No description available.
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A series of viewer interactive sculpturesVorhees, Chris January 1997 (has links)
The challenge of creating a dialogue between a viewer and an artwork is the next logical step in the evolution of my artwork. The problem is to find a way of creating art that does not only remain visual. By the same token, also to create something that does not remain purely conceptual and out of touch. In order to make the experience of encountering artwork more meaningful, a merging of physical and mental interaction in the viewer is strived for.This project serves as a tool for reflection on myself and understanding a way of working. It also provides an opportunity to clarify many of the beliefs and positions that I hold to be true in what I do in theory and practice. This project attempts to provide viewers new experiences with art through interaction. / Department of Art
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Submission to shelterPage, Patrick J. January 1999 (has links)
The goal of this project was to create a mobile structure in which a suite of paintings could be transported and viewed. When the structure and paintings are arranged as an "installation," they will create a more active role for a "viewer" who could then be defined as a "participant." The participant would be involved in the assembly of the environment and would find more opportunities for interaction in the assembled environment than he or she would in a traditional gallery or museum setting. A description and explanation of the processes involved in the creation of this project is preceded by a discussion of different historical, cultural, and methodological ways by which artwork is or has been presented. Also referenced are different artists and philosophies that informed this project. / Department of Art
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Experiencing Science in Action: The Use of Exhibition Techniques in Guided Tours to a Scientific LaboratoryKeilman, Thomas January 2004 (has links)
The current paper presents a study conducted at CERN, Switzerland, to investigate visitors' and tour guides' use and appreciation of existing panels at visit itinerary points. The results were used to develop a set of recommendations for constructing optimal panels to assist the guides' explanation.
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Hanging Emily : exhibition strategies and Emily CarrKnutson, Karen Leslie 05 1900 (has links)
This study examines the impact of new museological theory on museum education
practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a
case study that concerns both the negotiation of meanings around Emily Carr's work as they
are situated within current and traditional art historical/ historical beliefs, and the desire to offer
museum visitors a more sufficient or comprehensive educational experience.
The dissertation examines the installation of Carr in a variety of galleries across
Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver
Art Gallery) as a means of contextualizing a range of problems associated with museum
practice. The National Gallery chapter explores issues of ideology raised by the new
museology. The chapter concerning the display at the Art Gallery of Greater Victoria
concerns the particularities of site and place (Victoria was Carr's birthplace) as well as
notions of resonance and contextualization in art displays. The discussion of the Art Gallery
of Ontario concerns contextualization of a different sort, the display created with a solid
foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with
that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of
subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the
Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in
the earlier chapters, by the challenges of post-modem theorists to historical understanding,
historiography, and museum practice.
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Hanging Emily : exhibition strategies and Emily CarrKnutson, Karen Leslie 05 1900 (has links)
This study examines the impact of new museological theory on museum education
practice at the Vancouver Art Gallery in relation to a re-installation of Emily Carr's work. It is a
case study that concerns both the negotiation of meanings around Emily Carr's work as they
are situated within current and traditional art historical/ historical beliefs, and the desire to offer
museum visitors a more sufficient or comprehensive educational experience.
The dissertation examines the installation of Carr in a variety of galleries across
Canada (National Gallery, Art Gallery of Ontario, Art Gallery of Greater Victoria, Vancouver
Art Gallery) as a means of contextualizing a range of problems associated with museum
practice. The National Gallery chapter explores issues of ideology raised by the new
museology. The chapter concerning the display at the Art Gallery of Greater Victoria
concerns the particularities of site and place (Victoria was Carr's birthplace) as well as
notions of resonance and contextualization in art displays. The discussion of the Art Gallery
of Ontario concerns contextualization of a different sort, the display created with a solid
foundation in educational literature. A temporary exhibition of Carr's work juxtaposed with
that of Lawrence Paul Yuxweluptun in Vancouver offers an entry point into a discussion of
subjectivity and curatorial epistemic authority, while the resulting re-installation of Carr at the
Vancouver Art Gallery (the case) is explored as one possible approach to issues raised in
the earlier chapters, by the challenges of post-modem theorists to historical understanding,
historiography, and museum practice. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate
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Constructing Perception-Using What We Know to Make Sense of What We See: Implicit Effects of Presentation on Perceptions of Abstract and Representational ArtFaye, Allison January 2024 (has links)
While new approaches to displaying art free both the art and the viewer from overly didactic forms of curation, there have been very few attempts to examine how viewers negotiate meaning from art when no goal or directive is provided. While some see difference as the critical factor, others use similarity as a way to introduce new narratives.
This dissertation research takes a close look at the kinds of things people observe in visual works of art to expose the specific ways that the offerings in the work are made knowable by its viewer and how different modes of presentation might affect the process. A paired design was developed to find out how juxtaposing works on dimensions of similarity and difference might affect what people see in individual paintings and whether the presence or absence of depictive content would be a factor.
In three online experiments, participants were tasked with generating as many single words or short phrase responses as they could over a two-minute time period from a selection of modern and contemporary paintings – 32 abstract and 32 representational. In the first study, paintings were presented sequentially. In the next study, the same pictures were purposefully matched for color, composition, style, and thematic content. In the third study, the same pictures were re-paired to maximize difference.
Pairing effected an overall decline in number of total comments for representational paintings compared to isolated single-view sequences. In contrast, significant increases were found for abstract art when the adjacent painting was also abstract. Significant consistency in response patterns for both art types across all three studies provide quantitative and content-based evidence for a normative level of engagement, with specific processing effects relative to art type.
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Gränslöst. En global utställning på Historiska museetLundell, Linnéa January 2011 (has links)
This thesis is a report concerning the practical aspects on exhibition techniques. During an internship at the National History Museum in Stockholm I participated in the work with their new, temporary exhibition Gränslöst - en global utställning på Historiska museet [Boundless - a global voyage of discovery at the National Historical Museum]. I was part of a small project team of museum staff. The purpose of this exhibition was to show how cultures have met and influenced each other throughout history. The National Historical Museum has in its collections and exhibitions several examples of objects that has been imported from or inspired by other cultural areas. The primary goal was to give the visitors a new perspective, to show that these “Swedish” objects have a long history of trading and cultural exchange. Additionally, Gränslöst is an attempt to draw the visitors into the permanent exhibitions; it is not an independent production and shares some characteristics with so- called “Hot spot” exhibitions. My ambition is to describe the planning, implementation and delivery of the exhibition and highlight problems and solutions that arise during that process.
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