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.

Interior and exterior interconnection. Aerodynamic shape.

A thesis project that investigates layeredness in space in a museum for sketches on Djurgården in Stockholm. The thesis tries to explore spatial overlay, and how space can be created with the intention of achieving layered qualities. References of layered space have been gathered and investigated in order to further the analysis. The program of the sketch museum corresponds with the thesis question and is intended to act as another driving factor in the investigation.

This thesis is a proposal for a large contemporary art museum on the Presidio Parade Grounds in San Francisco, California. The site is small and historic, thus my solution was to build primarily underground. Through my exploration of designing a subterranean art museum I addressed the challenges of natural lighting, circulation, and curation. The following images document the result of my studies. / 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

Ce mémoire fait l'analyse du phénomène de réactualisation des collections fermées et de ses stratégies en se basant sur trois études de cas : le Isabella Stewart Gardner Museum, le Kettle's Yard Museum & Gallery et la New Art Gallery Walsall. Restreintes par des législations, ces institutions ont développé différentes stratégies leur permettant de réinscrire le contenu de leurs collections fermées à l'intérieur d'enjeux actuels. Dans un premier temps, de la présentation de nos trois études de cas sont apparues des caractéristiques que nous avons réunies pour exposer l'idée de collection fermée et souligner sa valeur esthétique, historique et artistique : les restrictions testamentaires, la vision du collectionneur, l'expérience du visiteur, le type d'accrochage et la mise en exposition des œuvres et des objets. Ces caractéristiques nous ont permis de cerner le contexte à l'intérieur duquel les conservateurs, les directeurs et les commissaires d'exposition interviennent pour réactualiser les paramètres temporels, narratifs et spatiaux de la collection fermée. L'idée de collection fermée est également développée à l'aide de propositions connexes provenant de 1'histoire de l'art et de la culture. Dans un deuxième temps, quatre des principales stratégies de réactualisation ont été dégagées de nos trois cas de figure : la construction d'une nouvelle architecture basée sur la collection fermée, la mise en place de programmes d'artistes en résidence, la création de programmes d'expositions temporaires et l'accumulation d'œuvres à l'intérieur d'une collection parallèle. Ces stratégies permettent une ouverture et une réorganisation des paramètres narratifs, spatiaux et temporels de la collection fermée à partir du présent actuel tout en respectant les restrictions protégeant son intégralité. L'analyse de ces stratégies permet non seulement de marquer les paramètres de la collection fermée sur lesquels la réactualisation s'opère, mais également de mettre en évidence les valeurs esthétiques et conceptuelles des projets d'artistes, architecturaux, d'exposition et de collection menés autour de la collection fermée. Dans un troisième temps, nous avons questionné la constitution et le fonctionnement temporel de la collection fermée et du phénomène de réactualisation pour pointer les changements qui s'opèrent dans le temps sur la collection fermée. De sa constitution par le collectionneur à sa relecture à partir des interventions du présent en passant par son legs restrictif, la collection fermée subit des changements malgré l'immobilité de sa mise en exposition. Enfin, notre recherche ouvre sur de nouvelles hypothèses. La réactualisation serait rendue possible à l'heure actuelle en relation avec une nouvelle conception de l'histoire basée sur une vision anachronique du temps. Cette vision anachronique et son potentiel pour la discipline de l'histoire de l'art développés par Georges Didi-Huberman (2000) nous ont permis d'explorer le phénomène de réactualisation non seulement dans la gestion muséologique des collections qu'il implique, mais également d'en traiter par rapport à la constitution de l'histoire de l'art et du rapport instauré avec le passé. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Collection fermée, Isabella Stewart Gardner Museum, Kettle's Yard Museum & Gallery, New Art Gallery Walsall, réactualisation, exposition

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.

This thesis centres on the debates informing the progress of three public art galleries in South Africa between 1990 and 1994. This was a period of great change in the country, spanning from the unbanning of left-wing political parties and Nelson Mandela’s release from prison, to the first democratic elections which resulted in his inauguration as President of South Africa. The study focuses specifically on the Johannesburg Art Gallery, the South African National Gallery, and the Durban Art Gallery, delineating the events and exhibitions held, the programmes initiated, and the artists represented by these galleries during this post-apartheid/pre-democracy phase of the country’s history. The debates relevant to these galleries linked to those prevalent in the arts, museology, and politics at the time. Many contemporary South African artists called attention to apartheid oppression and human rights abuses during the 1980s. After 1990, with these pressures alleviating, there was a stage of uncertainty as to the role, responsibility, and focus of visual art in a post-‘struggle’ context, however there was also an unprecedented upswing in interest and investment in it. On a practical level, the administration of the arts was being re-evaluated and contested by both independent and politically-aligned arts groups. Public art museums and sponsored art competitions and exhibitions made increasing efforts to be ‘representative’ of South Africans of all races, cultures, creeds, sexes and genders. The many conferences, committees, and conventions created during this transitional era focused on the creation of policies that would assist in nation-building; historical and cultural redress and regeneration; and the education and representation of previously disadvantaged groups. This coincided with a revolution in museological discourses internationally, from the theorization of a museum as a place of commemoration and conservation, to a forum for discussion and revision between both academic and non-academic communities. With the sharing of the process of constructing history and knowledge, came the challenging dynamics involved in the representation of identity and history. In all of these groups - the arts, museology, and South African politics - the predominant issue seemed to be a negotiation between the bid to open up control to more parties, and the reluctance of some parties to relinquish control. While the emphasis is on significant changes that were implemented in the transitional period, the study locates the changes at the Johannesburg Art Gallery, the South African National Gallery and the Durban Art Gallery within their historical, geographical, and socio-political context. Various artists working in these locations during this era are also discussed, as the changes in their status, and the progressions in their subject matter, materials, and concerns are interesting to examine more nuanced definitions of the ‘political’, probing the politics of identity, sexuality, gender, race, geography, and belief systems. Some artists also focused specifically on post-apartheid preoccupations with territory, trauma, conflict, memory and freedom. This kind of artwork was assiduously acquired during the early ‘90s by public art galleries, whose exhibitions and collecting focus and policies were undergoing considerable revision and redress. This thesis examines these changes in light of their socio-political contexts, as well as in light of shifting national and international imperatives and conceptions of museums and museum practice.

This thesis explores the design of a space for opioid addicts in recovery that combines an art therapy studio with a gallery space. It would provide a new type of therapy available to the area, engage and educate the Richmond community and spread awareness of the disease of opiate addiction. It will also enable addicts to express themselves in a non-verbal, creative format that allows for them to create a legacy and leave an imprint on the community.

During the first half of the nineteenth century in many cities in Germany, England and the United States, free and public galleries were opened to encourage the purchase of art works. Some sponsoring organizations were controlled by artists and some by interested lay persons. All of the sponsors hoped to educate the public and to elevate artistic taste as well as to sell works of art. Many of the organizations offered a premium in the form of a yearly engraving to induce interest and to promote membership. Often there was an annual distribution of paintings and other works of art by lottery. In several cities in the United States these organizations, which were called art unions, began offering memberships. The largest and most influential in the United States was the American Art-Union in New York. However, their success was short lived; by the mid-eighteen fifties, they had closed their doors.