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This case study explores the collaborative conversation between curators and educators in the Blanton Museum of Art at the University of Texas at Austin, and how these conversations affect didactic texts in the museum galleries. By situating the Blanton Museum in a larger historical framework, the focus of this study maps out the historical perspectives informing the museum during a pivotal integration of collecting areas, including Latin American and American modern and contemporary collections, and explores how the Blanton Museum attempted to facilitate learning and meaning-making for the visitor through didactic wall texts. / text

M.A. (Counselling Psychology) / The aim of this study was to evaluate qualitatively career information as presented at the Careers 2000 exhibition held at NASREC, Johannesburg from 28 April to 6 May 1992. The major reason for doing the research was the lack of data collected in this area, with only one previous project covering such exhibitions in this country. Both qualitative and quantitative data regarding the career information exhibition was collected from 48 pupils and 33 exhibitors. The group of pupils was divided into English, Afrikaans and Black home language groups, with pupils being selected for each group irrespective of race or creed ...

A dissertation in fulfilment of the Degree of Masters of Arts in Fine Arts (MAFA) at the University of Witwatersrand, 2017 / In 2012, the Johannesburg-based artists’ collective, Center for Historical Reenactments (CHR), presented Fr(agile), a social sculpture and public intervention, following a threeday residency at the Alf Kumalo Museum in Diepkloof, Soweto. The Fr(agile) Residency intended to reimagine the archive by searching it for points of interest related to visual artmaking. This research dissertation aims to revisit Fr(agile) in order to explore new ways of engaging the photographic archive, and artist-led processes and methodologies within this archive. The archive was never completely sorted although Kumalo had, had intentions of properly cataloguing his archive and had begun the process of digitising his photographs at his museum. With the archive closed for legal reasons, this research will draw on memory and account, and this dissertation will be presented orally. I feel it is necessary to remember what the archive was like during the residency, but to also propose ways to activate the archive through contemporary visual arts practice. The research further proposes ways in which archives can occupy a space within contemporary visual arts, how they can potentially function when looked at as contemporary objects, and begin to question the ephemeral relationship between the photographic medium, archive and memory. / XL2018

Thesis (M.Arch (Professional)--University of the Witwatersrand, Faculty of Engineering and the Built Environment, 2016 / ABSTRACT The basis of this study pivots around the notion that cultural knowledge holds a certain value and aims to demonstrate that the diversity of cultures within South Africa is the fingerprint of the nation and that this is worth storing. With each passing generation, coupled with inter-cultural relationships, the future of the single cultural practice is gradually dissolving and finding itself transforming into a hybrid culture. I have therefore engaged in a narrative around building meets culture and what spacial requirements it pertains to. The theoretical review hosts a discussion around the surfacing of hybrid cultures in place of the existing Pure Cultures which hold an important intricacy and identity. An analysis of the discussion points towards the necessity of cultural preservation while simultaneously addressing the reality of a surfacing hybrid culture brought about through the post-apartheid ‘born-free’ generation. In order to productively complete the research element of this dissertation, I engaged in a qualitative data collection approach which allowed for insights into problems surrounding the development of possible design ideas. A secondary data collection technique was the visual site analysis conducted by myself and stored in the form of extensive mapping exercises. The combination of these two techniques aided the design extensively allowing for a clear forward-moving design strategy. Finally, the discussions, recommendations and deductions of this thesis point unswervingly towards the construction of a proposed Cultural Knowledge and Research Centre in the Vilakazi Precinct of Orlando West, Soweto. The design of this Center addresses the aims of the study by using the research to govern in which ways architecture can be used as a storage device for the (declining) passing down of cultural knowledge. The performance of this building strives to create a platform whereby the cultures within the city of Johannesburg can be successfully showcased and accessed by the public in an interactive and commemorative manner. / NM (2016)

A tese concentra-se em estudos expositivos, especificamente em proposições curatoriais e artísticas que questionam o topos expositivo contemporâneo. O recorte temporal dessa pesquisa concentra-se em exposições vivenciadas no período 2012-2016, em contextos geográficos distintos: Porto Alegre, Curitiba, São Paulo, Rio de Janeiro, Berlim, Veneza e Londres. A metodologia de pesquisa constrói-se a partir da experiência em exposições visitadas, configurando estudos de caso da tese. Quais são os limites das canonizações ocidentais que reforçam tendências particulares e inscrevem ortodoxias em estudos expositivos? Entre “lá fora” e “aqui dentro”, se lá está a dicotomia, aqui está o hibridismo como matriz experimental das produções expositivas nacionais. Nesse contexto aqui e agora, desenvolve-se o conceito de ‘contraexposição’, que redefine o lugar expositivo através da experimentação direta na investigação, produção, apresentação e documentação de proposições curatoriais e artísticas em sua dimensão pública. Considera-se, ainda, o âmbito das megaexposições, especificamente bienais, debatendo a suposta crise do modelo através do mapeamento dos padrões recorrentes como possível estratégia de reinvenção do formato hegemônico internacional. (Continuação ) Nessa tese, entre exposições, megaexposições, contraexposições, são verificadas tentativas de engatar o sujeito para um primeiro plano das experiências expositivas, fazendo com que o questionamento direcione-se aos endereçamentos expositivos e à produção de associações obra-públicoS. Em tese: seja em instituições culturais – topos expositivo reconhecido como lugar da arte – ou no topos expositivo outro – qualquer lugar –, a exposição contemporânea está em incessante redefinição. / Situated within the realm of exhibition studies, this thesis focuses specifically on those curatorial and artistic proposals which question the topos of contemporary art exhibitions. The research was carried out between 2012 and 2016, visiting exhibitions in different geographical locations: Porto Alegre, Curitiba, São Paulo, Rio de Janeiro, Berlin, Venice and London. The research methodology was built on the experience at these exhibitions, through which the thesis’ case studies have been configured. What are the limits of the Western canons, which reinforce particular trends and generate orthodoxies within exhibition studies? Between the ‘out there’ and the ‘in here’, whether there resides the dichotomy, here lies hybridity, as an experimental matrix for the making of exhibitions in Brazil. It is in this context, here-and-now, that the thesis develops the concept of “counter-exhibition”, redefining the exhibition space through direct experimentation in the investigation, production, presentation and documentation of curatorial and artistic proposals in their public dimension. The thesis also takes into account the context of mega-exhibitions, and specifically biennials, discussing the supposed crisis of the model by mapping its recurring patterns, as a possible strategy to challenge the hegemony of the current international format, and reinvent it. Among exhibitions, mega-exhibitions and counter-exhibitions, the thesis explores attempts to bring the subject of the exhibition experience to the fore, in this way directing the debate towards what or on who the exhibitions are addressing, exhibition approaches, as well as on the associations between artworks and publics that they (seek to) produce. In essence: either within cultural institutions – the exhibition topos recognised as the place of art –, or other exhibition topos – that is, anywhere –, contemporary exhibitions are being constantly redefined.

Master of Visual Arts / The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.

Exhibitions have played a significant role within the dynamics that have been effective in the development of industrial design in the West. Similarly, exhibitions have recently become a significant issue in the history of industrial design in Turkey. This study first looks into the exhibitions in the West and the dynamics that have been effective behind them, and draws an analytical framework accordingly, then presents the historical development of industrial design in Turkey. Through the key factors that have been effective in the development of industrial design in Turkey, this study aims to analyze the relationship between design exhibitions and the development of industrial design in Turkey.

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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