Thesis (M.P.A.S.)--University of Southern California, 2005. / Includes bibliographical references (p. 60-61). Also available on the Internet.

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

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

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

Throughout their history in America, museums, including those of art, have adapted according to their environment. One result of this adaptability is that objects in art museum collections are not as permanent as those outside the museum field tend to believe. As scholarship, funding, and audiences change, objects which at one time were considered pertinent to a museum collection may be deaccessioned, the term used for when a museum removes an accessioned object from its permanent collection. Yet deaccessioning in America tended to remain the exception, rather than the rule, until the last three decades of the twentieth century. How deaccessioning became a normal element of collections management in the late twentieth century can be understood as a consequence of a number of factors, including a change in the institutional and economic climate in which art museums operated. Examining some of the factors leading to the normalization of deaccessioning, at least for those in the museum community, can help us better understand the implications of such a shift.

Thesis (PhD(Visual Studies))--University of Pretoria, 2007. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Thèse (M.A.)--Université Laval, 2004. / Bibliogr.: f. 106-111. Publié aussi en version électronique.

Drawing upon rhetorical evidence of three art education activities in Worcester, Massachusetts at the close of the 19th century−The Public School Art League, evening drawing classes, and School Arts magazine−it is argued through this research that the many active facets of art education that occurred in Worcester at this time were constructed in great part as response to the economic climate of the city. This thesis argues that the activities were representative of art education for the improvement of public taste, patience, and the recognition of beauty. In this study, parallels are drawn between these three organizations and activities in Worcester, demonstrating many common initiators and motivations. Exploring art education motivations in Worcester at the turn of the 19th century, this investigation also advocates the need for the study of Japanese influence on art education activities in New England during this same period. / text

This dissertation deals with a study conducted in the public spontaneously University Museum of Art. For this, we research on the history of the Museum. This research took place at the University Museum of Art with the exhibition \"Concrete Animals\" artist Alex Hornest. We use as theoretical research on university museums Adriana Mortara Almeida, researchers John Falk and Lynn Dierking and his theory of interactive experience in museums, on public research studies of Pierre Bourdieu and Alain Darbel. Abigail Housen\'s research with the theory of aesthetic development in the study and assisted in the analysis of audience responses. We develop scripts of interviews for the research field. We analyzed the answers of the interviews in order to define profiles typical visitor found within this museum. In order to propose ways and materials to continue the study and research about the visiting public of art museums. / Este trabalho de dissertação trata de estudo do público espontâneo realizado no Museu Universitário de Arte. Para isso, realizamos pesquisa sobre a história do Museu. Tal pesquisa teve como cenário o Museu Universitário de Arte com a exposição Animais de Concreto do artista Alex Hornest. Utilizamos como referenciais teóricos sobre museus universitários a pesquisa de Adriana Mortara Almeida, os pesquisadores John Falk e Lynn Dierking e sua teoria de experiência interativa em museus, sobre os estudos de público a pesquisa de Pierre Bourdieu e Alain Darbel. As pesquisas de Abigail Housen com a teoria do desenvolvimento estético auxiliaram no estudo e na análise das respostas do público. Desenvolvemos roteiros de entrevistas para a realização da pesquisa de campo. Analisamos as respostas das entrevistas com o objetivo de delinear perfis típicos de visitantes encontrados no espaço deste Museu. Ao fim propomos formas e materiais para dar continuidade ao estudo e a pesquisa acerca do público visitante de museus de arte. / Mestre em Artes

The aim of this study is to analyse the contemporary art critical reception of Siri Derkert’s Ristningar i naturbetong (translates to Engravings in natural concrete) (1965) at the metro station of Östermalmstorg in central Stockholm, and further contextualising the reception within the art debate of modern and public art in 1960’s Sweden. Using linguist Norman Fairclough’s three step-discourse analysis as both methodological and theoretical starting points, combined with art historian Wolfgang Kemp's reception aesthetics, archived newspaper articles, principally from the year 1965, are read and analysed in the study. Aided by a thematic division of the analysis through the themes expression, content, material and permanence some broad conclusions can be made. The results of the study conclude the reception of Derkert’s public work of art as generally positive. There is a consensus in the view of Ristningar i naturbetong in its originality, expressivity, modernity and, in regards to material and technique, experimentality. The artwork’s musical elements, political statements and use of the Norwegian natural concrete, are to a high extent represented in the analyzed articles. In several places the language connotes religious themes in its comparisons of Derkert’s artwork to churches and cathedrals, an element in the reception that is interpreted as a way to enhance the future understanding and potential of the work of art.