Předkládaná práce se bude snažit podat celistvý pohled na účast československého skla na světových výstavách ve třicátých letech dvacátého století. Na poli třech světových výstav (Brusel 1935, Paříž 1937, New York 1939) porovná jednotlivé přístupy ke sklářské expozici v samostatných československých pavilonech. Diplomová práce se bude snažit předložit seznam sklářských firem, které byly na jednotlivých výstavách ve sklářské expozici zastoupeny a prozkoumat sklářské zejména sklářské artefakty, kter nejvyšších ocenění a nacházejí se v českých sbírkách. Diplomová práce tak seznámí s vrcholnou československou sklářskou tvorbou druhé poloviny třicátých let, poukáže zejména na umělecké předměty, které vznikly právě pro příležitost reprezenta československého státu na světových výstavách.

The Surrey School District has sponsored a District elementary schools science fair (grades 4-7) for 21 years and voluntary participation has increased throughout this time. Despite this popularity, no studies have been conducted regarding the science fair. A survey of the elementary schools in the Surrey School District was conducted. The four areas identified for investigation were: (a) participation in school and district science fairs (b) organization of school science fairs (c) relationship between science instruction and science fair participation, (d) teacher participation in science fairs. Two questionnaires were developed. One was distributed to all elementary teachers in Surrey and the other was distributed to all elementary principals in Surrey. Response rates were 77% (teacher's questionnaire, n=346) and 88% (principal's questionnaire, n=59). Data analysis was in the form of frequencies of response expressed in percentages. Some crosstabulatons were calculated. The major findings of the study were: (a) most schools (95%) participate in the science fair, (b) most schools (85%) Include primary students in the science fair, (c) 4 827 Intermediate students (83%) completed a science fair project, (d) all schools encourage public viewing of their science fair, (e) teachers do not vary their science Instructional activities, lnstructonal materials, or their instructonal time, from the fall to the spring, (f) teachers provide extra instructional time and extra-curricular time to assist students with preparation of science fair projects, (g) teachers evaluate science fair product and not the process of completing a science fair project, (h) most teachers (75%) reported a willingness to attend science fair inservice, (i) teachers and principals have very similar attitudes toward science fair, (j) many teachers (n=89) and principals (n=39) made general comments about the science fair. The study recommends that the Surrey Elementary Schools Science Fair be continued and that further study be conducted regarding the type and amount of assistance that elementary students require to complete a science fair project satisfactorily. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

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The problem addressed in this study was to determine what students, parents, and teachers perceive to be the main reason a school has a science fair, and whether they believe science fairs accomplish their goals. Attitudes toward competition, awarding of prizes, voluntary versus required participation, and alternatives to science fairs were also examined and compared among the groups.

On June 3rd, 2010, I certainly was not aware of what was about to take place. I was in Kandahar, Afghanistan, and at this point in time my unit and I had been in country for five out of the twelve months of our deployment. An ear-splitting boom woke me up, and the smell of iron and blood was so strong it seemed to override my ability to focus on what was really happening. The sounds I heard were lowered and muffled and mostly pain-filled and anguished. Mine was often a voice that joined them. Those cries could also change the course of a life. They are cries that, once heard, can never be erased from memory. I knew my comrades were down in the depths with me. I will never take anything for granted again. Honor and Chaos works across media to transform space and transport viewers. The exhibition incorporates sculptural forms of wire and scrap metal, dark ink drawings interrupted by spray paint, and salvaged plastics to immerse viewers in another place and time. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

The thesis named The Trends in Exhibiting Contemporary Art in Prague galleries deals with the topic of displaying and mediating contemporary art in the galleries and exhibitions. The thesis focuses on the elements of the complex issue and the particular exhibitions held in Prague from 2007 to 2011. Each element is covered in one dedicated chapter - the artwork, the viewer, the curator and the gallery. The chapter about the artwork summarizes the evolution of this term in the 20th century. The chapter about the viewer pursues the biological aspects of the process of seeing and perception and the relationship between the viewer and the image. The chapter about the work of the curator of the contemporary art focuses on the evolution of their part in the galleries' working process from the figure of Harald Szeemann to the term The Crisis of Curator. The gallery is introduced as a three- dimensional term: as a space for exhibitions, an institution and a mediating scope. The examples included in each chapter are derived from the Prague galleries and exhibition spaces and so the thesis also deals with the topic of Prague gallery scene. The final chapter is constituted of ten exhibitions that were held in Prague from 2007 to 2011 and are in my opinion the most important and significant ones for that...

Although the Biennales Internationales de la Tapisserie are widely recognized as important fiber art exhibitions, no history of them has been written. This study endeavors to trace the history of the first through the tenth Lausanne Biennales.

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Queering the Museum: Utopian Futurity in Contemporary Exhibitions expands the history of American art beyond its tightly policed borders to include curators, viewers, artists, and artworks as key players in contemporary queer exhibition surveys in U.S.-based museums. Exhibition histories are not the sole domain of museum or curatorial studies, and are as much a part of art history as artists and art objects yet they remain understudied and under-analyzed within the field. I posit that a queer art history not only analyzes the relationship between works of art, but it also engenders the potential to queer the visitor (through the viewing of artworks), considers the production and circulation of artworks within the institution, and disrupts a normative experience of time and space in the museum. Working interdisciplinarily through queer, feminist, and critical theory, my intervention offers an analysis of exhibitions, not as a history per se, but as a constellation of projects that unfolded across U.S.-based museums located in Philadelphia and New York from 2017 through 2019. Placed within the longer context of queerness in the museum I analyze three case studies: Johanna Burton’s, Sara O'Keeffe's, and Natalie Bell's Trigger: Gender as a Tool and a Weapon (2017) at the New Museum of Contemporary Art, New York; Nayland Blake’s Tag: Proposals on Queer Play and the Ways Forward (2018) at the Institute of Contemporary Art (ICA), Philadelphia; and the collectively curated (Margo Cohen Ristorucci, Lindsay C. Harris, Carmen Hermo, Allie/ A.L. Rickard, and Lauren Argentina Zelaya) exhibition Nobody Promised You Tomorrow: Art 50 Years after Stonewall (2019) at The Brooklyn Museum’s Elizabeth A. Sackler Center. I parse what this particular constellation of exhibitions did at that specific moment in time, one right after the other, all clustered together both physically (within the northeast corridor) and also conceptually. While institutional critique has primarily been applied to the production of artwork by artists who intervene in and critique various artworld structures from museums to galleries, my dissertation proposes the term to encompass the entire exhibition as a critique of normative exhibitions and the institutions that present them. The curators of these queer exhibitions engage in deterritorializing traditional museum spaces thereby reterritorializing them with nontraditional artists and artworks. In doing so, the curators construct queer sites of discourse as heterotopias both within and outside of the museum structure offering glimmers of hope, if only momentarily, for ways of being in the world. / Art History

The problem of this thesis is to determine just what part the museum is playing in the cultural development of Texas. This study presents a detailed investigation of the exhibitions offered by four of Texas' major art museums for the period from 1940-1950. Each of the museums will be discussed separately and then compared so that an over-all picture can be achieved.