Thesis (Ph.D.)--Brown University, 2008. / Vita. Advisor : Jeffrey Muller. Includes bibliographical references (leaves 441-491).

本研究旨在探討校園公共藝術設置的理論意涵、新竹縣校園公共藝術設置案相關程序問題、新竹縣兩所國民中學公共藝術的執行現況、困難及差異並了解學校師生、家長及社區人士對校園公共藝術設置的認知與滿意度，引起大家對校園公共藝術設置的認同。利用文件分析法與調查法（含問卷調查法及訪談法）進行新竹縣國民中學校園公共藝術設置研究，進而分析歸納出新竹縣國民中學校園公共藝術設置的現況及滿意度。本研究獲致以下重要結論與建議： 壹、重要結論 一、校園公共藝術設置的作業流程從成立籌備會議、執行小組、擬定計畫到計畫總檢討共13個步驟。 二、新竹縣兩所國中校園公共藝術各階段執行有主題難定、公共性爭議、觀念整合、招標限制、進度及民眾參與、排課配合等六個困難及升學排擠、經費及專業能力不足、採購法等四個限制。 三、廠商施作能力及配合度為施工順利完工重要關鍵 四、新竹縣兩所國中師生及家長對公共藝術的認知程度是大概了解` 五、兩校對公共藝術的認識相當清楚，並以「設置於開放空間的藝術作品」及「依據文化藝術獎助條例所設置的藝術作品」概念為主 六、兩校認為公共藝術的性質是具親和性趣味性的，除了藝術功能尚具有觀賞功能等五項功能。 七、新竹縣兩所國中校園公共藝術的設置影響學生學習有境教、情意、美學鑑賞等五方面並牽動學校課程在美學融入、潛在課程、校本課程等三方面的規劃與發展。 八、新竹縣兩所國中師生及家長對校園公共藝術相當滿意。 九、公共藝術的維護管理應考慮材質、施工方式、並保留藝品古樸自然風貌。 十、未來各國民中學設置公共藝術首重溝通再以共同參與原則依程序執行。 貳、研究建議 一、對國民中學的建議： （一）應由藝術專業人員去引導公共藝術之設置，由教育和推廣中得到一些東西，不宜放手讓學生自行創作。（二）嚴選有能力肯配合的廠商，建議由藝術家參與工程開標說明施工之難易度及要求，以讓工程順利圓滿進行。（三）為利於大家參與排課應充分配合。（四）為召喚共同記憶，彰顯設置公共藝術精神，可定期在紀念日作維護保養。 二、對教育主管單位建議 （一）廣撥經費補助學校改善校園環境 （二）辦理公共藝術研習或成果發表，經驗傳承協助學校爭取經費補助，廣泛推廣在校園設置公共藝術 （三）新修建改建校舍工程，應撥足經費，以免因設置公共藝術影響工程品質 （四）新修建校舍建築工程公共藝術設置經費，宜降低比例或有上下限，且在招生上課後再實施，以落實師生共同參與校園公共藝術設置理念。 （五）工程應由縣府專業控管，不是交給非專業校方自行摸索，影響品質。 三、對未來研究的建議： （一）針對兩校問卷調查之「公共藝術意見調查」滿意度結果與對公共藝術偏好評比結果相反，可進行後續調查研究。 （二）針對新竹縣九十二年底開始執行以百分比精神設置的校園公共藝術，及教育部或文建會補助之校園公共藝術示範案例進行後續研究。 / The purposes of this study are to examine the theoretical implications of public arts installation on campus, to explore relevant procedures of such project installed on the campuses of two junior high schools in Hsinchu County, and to compare the current execution, difficulties, and differences while installing public arts between the two schools. In addition, this study also surveyed how much the school staff, student parents, and society appreciate the installation of public art in the campus which may result in the realization of the importance of installing public art in the campus. The document analysis and surveys including questionnaire and visitation were employed in this study. The conclusions and suggestions from this study are as follows: I. Significant Conclusions: 1.Installation procedures of public arts in the campus can be divided into 13 steps including finalizing preparatory committee, assigning execution group, drafting action plans and performing execution review. 2.Six obstacles including main topics decision, public dispute, harmonized awareness, bidding constraints, progress and society involvement, and time allotment were needed to overcome during execution in these two junior high schools. In addition, four constraints are needed to take which include pressure of student advancement, limited budget, insufficient knowledge, and purchase regulations. 3.Construction capability and quality compliance are crucial for the completion of artwork. 4.The rating of “roughly understood” was granted to the school staff, students and their parents in terms of their recognition of the importance of public arts to their wholesomeness. 5.The participants from both schools clearly understood how to install public arts. Majority of the participants believe that public arts should be placed in open public locations and should follow the Cultural Arts Promotion Guidelines. 6.The participants from both schools acknowledged public arts to be accessible and lighthearted. They serve artistic and exhibitory functions. 7.Installation of public arts affects the learning of students in both schools in such aspects as environmental education, affection, and aesthetics appreciation. Such installation triggered the arrangement and development of aesthetics involvement, hidden curriculum and lecture curriculum. 8.School staff, student and their parents in both schools showed satisfactory with public arts on campus. 9.Maintenance of public arts should consider material of construction, way to construct, and reservation of natural features of artwork. 10.The installation of public arts in junior high schools in the future should emphasize open communication first and then public involvement following designed procedures. II. Suggestions: 1.To Junior high schools: a. Trained professional fine artists lead the public arts installation, and implement artwork that roots from teaching and spreading, not from student alone. b. Choose a construction company that has adequate capability and flexibility to finish assigned tasks. The fine artists be present in the construction bid-opening meeting to explain the complexity during constructing artwork and its requirements in order to expedite the progress of construction. c. Course hour arrangement be flexible enough to allow more involvement of different groups. d.Regular maintenance be held on the anniversary date in order to remind the audience of the meaning of installing public arts. 2.To education policy making units a. Distribute enough budget for improving the environment of campus. b. Organize short course or achievement show on successful installation of public arts that benefits others. Assist schools to acquire adequate budget for public arts. Promote public arts installation on campus. c. Set aside adequate budget for projects of classroom to be either newly built, partially mended, or rebuilt, lest the public arts installation should affect the quality of classroom construction. d. The budget for classroom construction and public arts installation be set at appropriate percentage. The construction of public arts be executed after school start to allow teachers and students to participate together. e. The construction of public arts be handled by the specialist working at county government, not by school staff, to ensure the quality. 3.To the future researchers a. The results from “Public art questionnaire” and “Public art preference rating” in this study are contradictory. Further studies may be needed. b. Comparison between completed public art on campus in Hsin-chu County since the end of 2003, and demonstrated cases of campus public arts designed by the Ministry of Education and/or the Council for Cultural Affairs.

This research project takes the form of a creative, reflective and analytic investigation 'through theory and practice' into the role of the artist in enabling 'sustainable' urban environments. My initial focus on a spatial public art practice?s potential contribution to social sustainability should be understood as involving the capacity to contribute lasting benefits toward social well being whether of the individual or the community. My research later challenges the efficacy of this focus and argues for a more holistic approach to sustainability which addresses social, environmental, cultural and economic concerns simultaneously.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 123-130). Also available in electronic format on the Internet.

Thesis (M. A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 196-202).

Exegesis (MA--Art and Design) -- AUT University, 2008. / Includes bibliographical references. Also held in print (130 leaves : col. ill. ; 30 cm. + 1 booklet + 2 discs) in the Archive at the City Campus (T 709 KAI)

Thesis (Ph. D.)--University of Chicago, Department of Art History, June 2003. / Includes bibliographical references. Also available of the Internet.

Η παρούσα μελέτη εστιάζει σε καλλιτεχνικές πρακτικές αρχειακού τύπου οι οποίες στο τέλος του 20ού και στις αρχές του 21ου αιώνα έχουν λάβει σταδιακά κεντρική θέση στην ευρύτερη κατηγορία της τεκμηριωτικής πρακτικής (documentary art practices). Οι αρχειακές πρακτικές, σε πιο εναλλακτικές εκφράσεις, συνδέθηκαν με ακτιβιστικές και επιτελεστικές μορφές τέχνης. Η ολοένα και πυκνότερη παρουσία αρχειακών έργων στο πεδίο της τέχνης έχει ως αποτέλεσμα να είναι εφικτός ο προσδιορισμός κοινών φορμαλιστικών, εννοιολογικών, τεχνικών χαρακτηριστικών, σε βαθμό που να μπορούμε να κάνουμε λόγο για την παρουσία ενός διακριτού καλλιτεχνικού είδους. Παράλληλα, όμως, διαπιστώνει κανείς ότι τα έργα αυτά διακρίνονται από πλήθος διαφορετικών προσεγγίσεων και στρατηγικών. / --

My research explores the concept of visual art as a form of critical inquiry and the gallery as a site for critical dialogue and social change. I argue that art galleries can be spaces of change and can be used to mount a critique of contemporary society’s dominant narrative of neoliberalism that is being incorporated into our public and private lives. Art galleries are public spheres for civil society that offer citizens opportunities to engage in debate on contemporary issues, where we can expose ourselves to new ideas, stimulate our minds, and explore other ways of knowing and becoming agents of change. My investigation takes the form of researching, developing, and presenting an exhibition of selected photographs as part of the exhibition, Open Conversations. This exhibition explored the art practice of Canadian photographers Carole Condé and Karl Beveridge, who have developed an artistic process that involves direct collaboration in the production of art employing a participatory, socially engaged framework. I claim the role of “insurgent curator” (a person who challenges the current state of affairs) through my attempt to locate my inquiry within my current praxis as curator, that is, within a critical form of creative inquiry. As an insurgent curator, I attempt to insert alternative histories and perspectives in a public art gallery as a means of offering different ways of knowing contemporary society. The concept of critical inquiry and the use of dialogical aesthetics underlie my concept of insurgent curatorial practice. I propose that the use of dialogue has important implications in helping to situate art galleries as public spaces that invite participation, dialogue, and community, and thereby have a profound impact on visitors’ meaning making. Through the use of critical creative inquiry, I ask how this research can generate individual transformation and help create progressive forms of social action. / Graduate / scottmarsden@haidagwaii.ca

Since being designated in 2001 as a natural World Heritage Site the Jurassic Coast managers have worked for it to be recognised as the Creative Coast. This thesis explores and challenges the entanglements of policy and practice in the process of the site becoming creative. Through archival research, interviewing and ethnographic methodologies this project has sought to develop a site-specific approach to creative arts policy. Research has integrated investigation of the embodied and quotidian geographies of decision-making with policy discourse analysis. Following formal and informal, public and private artistic practices, this research has traced how the Jurassic Coast is constructed by the creative activities of those who inhabit it. In this research, relationships between the arts, creativity and geological heritage become complicated due to a paradox inherent within the site’s policy. The geological heritage preserved through the Jurassic Coast’s designation is acknowledged to be under continual processes of change. In response, this research illustrates how creativity can be used as a tool to illuminate tensions between the need to preserve natural processes of erosion and retreat and the desire to provide access and promote engagement with the site. Furthermore, it is argued that using a site-specific and critical approach to everyday creativity allows geographers to understand how people engage with place in a multitude of ways. This is especially significant as the heritage value of this site lies in the ways in which different communities engage with it. It is through these day-to-day creative encounters that the Jurassic Coast is culturally constructed.