Thesis (Ph. D.)--University of Hong Kong, 2005. / Also available in print.

Thesis (Ph. D.)--University of Hong Kong, 2005.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript. Sponsor: Edwin Ziegfeld. Dissertation Committee: Ruth M. Strang, Mildred L. Fairchild, . Type C project. Includes bibliographical references (leaves 216-221).

Thesis (M. Arch.)--University of Hong Kong, 1998. / Includes special report study entitled: Four notions of tea in Chinese landscape architecture. Includes bibliographical references.

No description available.

Thesis (M.Arch.)--University of Hong Kong, 1998. / Includes special report study entitled : Four notions of tea in Chinese landscape architecture. Includes bibliographical references. Also available in print.

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaves 39-40).

Made available in DSpace on 2016-12-08T16:19:05Z (GMT). No. of bitstreams: 1 resumo.pdf: 40429 bytes, checksum: 21e964b79109b9d23cea71954005b907 (MD5) Previous issue date: 2009-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of this research is the Brazilian museums of art, mainly in that concerns to their policies. It has, as specific subject, the educational policies and actions resulting from them. So data that were obtained from eight Brazilian museums of art, from different regions of the country whose information about their policies and actions were obtained through questionnaires sent by e-mail, were analyzed. This study stemmed from uneasiness born in the professional exercise within a museum of art space and in it the educational function of museums is discussed. For the development of the study, it was adopted the exploratory research of qualitative and documental nature. Thus, it was organized data about the historical context of the museum of art space, about some concepts that permeate this institution, as well as fundamental issues were investigated in what concerns to the educational function of museums. In relation to the techniques used in the research, in the stage of data collection, it was resorted to the interview, using the resource of two questionnaires: one was answered by a representative of the Administrative sector and other by the representative of the Educational sector from the participating museums. In the data analysis, it was verified, among other results, that the eight museums develop several cultural and educational actions and that they interact with enough heterogeneous publics; however the educative actions in some of them are involved in many problems. They concern to the lack of professionals in the educational sector in determined museums; to the absence of systemized evaluation of the educational actions and others, as well as the lack of conceptual definition and theoretical support in some Educational sectors that were studied. And yet it was verified that some of these museums do not have clear and defined policies, because do not even have an official document that determines policies in relation of their practices and actions / O objeto desta pesquisa são os museus de arte brasileiros, principalmente no que diz respeito às suas políticas. Tem, como recorte específico, as políticas educacionais e as ações delas decorrentes. Foram, para tanto, analisados dados obtidos de oito museus de arte brasileiros, de diferentes regiões do país, cujas informações acerca de suas políticas e ações foram obtidas por meio de questionários enviados via correio eletrônico e-mail. O presente estudo originou-se de inquietações nascidas no exercício profissional dentro de um espaço museal da arte e nele discute-se a função educacional dos museus. Para o desenvolvimento do estudo, adotou-se a pesquisa exploratória de natureza qualitativa e de caráter documental. Desse modo, organizaram-se dados sobre o contexto histórico do espaço museal da arte, sobre alguns conceitos que o permeiam, assim como se investigaram questões fundamentais no que tange à função educativa dos museus. Quanto às técnicas empregadas na pesquisa, na etapa da coleta de dados, recorreu-se à entrevista, utilizando-se o recurso de dois questionários, sendo que um foi respondido por representante do setor Administrativo e outro por representante do setor Educativo dos museus participantes. Na análise dos dados, constatou-se, entre outros resultados, que os oito museus desenvolvem diversas ações culturais e educativas e que interagem com públicos bastante heterogêneos; entretanto, as ações educativas em alguns deles estão envoltas em muitas problemáticas. Elas dizem respeito à falta de profissionais no setor Educativo, em determinados museus; à ausência de avaliação sistematizada das ações educativas em outros, bem como à falta de definição conceitual e sustentação teórica em alguns setores Educativos estudados. E ainda constatou-se que alguns desses museus não possuem políticas claras e definidas, pois não dispõem nem mesmo de um documento oficial que determine diretrizes em relação às suas práticas e ações

This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.

Made available in DSpace on 2016-03-15T19:42:58Z (GMT). No. of bitstreams: 1 Rita de Cassia Demarchi.pdf: 6041347 bytes, checksum: cee4d6e458be14e5e95ef700807dc145 (MD5) Previous issue date: 2015-02-24 / Theoretical reflections and images/photographies approach in this research the complex domain which involves the visitors and art exhibition museums in Brazil and abroad. Based on research methodologies in Arts (Róldan & Marin-Viadel, 2012), single images or compound as photoshoots are considered a mode of knowledge and foster studies and reflections. Apart from the dialogue among images, the experience lived and the thought of scholars from different areas, the lightness of poetry and metaphors is also included in this work as well as reflections from contemporary art and Art history. Some issues concerning the contemporary scenario which can impede the meeting between the individual and art are discussed, such as excess, spect cle, consumerism, speed, tourism. These issues constitute what was named as penumbra and nourish the attitudes of the fugitive subject visitors. There must be both for the visitor and the researcher an openness for the aesthetical experience, land of the pilgrim, in order to unveil penumbra, ambivalence, maze and twilight. This openness inspires the research as a path of pilgrimage in order to search for the understanding of the complexity of phenomena and the poetic work of capturing the images shots at the exhibitions. This research of phenomenological nature adopts the theoretical framework of authors who reflect upon contemporaneity, such as Calabrese (1988), Bauman (2001); as well as authors who value sensibility and experience, such as Bachelard (1988), Dewey(2010), Merleau-Ponty(1975), Ferreira Santos (2005), Maffesoli (1998). / Reflexões teóricas e imagens/ fotografias abordam nesta pesquisa o complexo território que envolve os visitantes e os museus de exposições de arte, no Brasil e no exterior. Com base nas metodologias de pesquisa em arte (Róldan & Marin-Viadel, 2012), imagens individuais ou compostas como foto-ensaios são consideradas uma forma de conhecimento e impulsionam o estudo e a reflexão. Além do diálogo entre as imagens, a experiência vivida e o pensamento de estudiosos de diferentes áreas, inclui-se a leveza da poesia e das metáforas, além de reflexões derivadas da arte contemporânea e da história da arte. São discutidas algumas questões acerca da paisagem contemporânea que podem dificultar o encontro do sujeito com a arte, tais como o excesso, o espetáculo, o consumo, a velocidade, o turismo, que constituem o que foi nomeado de penumbra e alimentam as atitudes dos visitantes sujeitos fugidios. Tanto para o visitante, quanto para a pesquisadora, a fim de desvelar em meio à penumbra e as ambivalências, ao labirinto e ao crepúsculo, há que se ter a abertura para a experiência estética, terreno do peregrino. Abertura que inspira a pesquisa como uma trajetória de peregrinação em busca de compreensão da complexidade dos fenômenos e o trabalho poético de captura das imagens - flagrantes nas exposições. A pesquisa de cunho fenomenológico adota como referencial teórico autores que abordam reflexões sobre a contemporaneidade tais como: Calabrese (1988), Bauman (2001); e autores que valorizam a sensibilidade e a experiência, entre eles: Bachelard (1988), Dewey(2010), Merleau-Ponty(1975), Ferreira Santos (2005), Maffesoli (1998).