Not until the 60¡¦s did art galleries start to exist in Taiwan. However, they were mostly sporadic, short-lived and weak in operation. It is only in the 80¡¦s when the art gallery industry in Taiwan started to take shape. Different from galleries back in the 60¡¦s and before the lift of Martial Law, galleries mushroomed in the late 80¡¦s and the 90¡¦s. In addition to the growing number of galleries, all the other factors, such as the return of a generation of young artists from Europe and the U.S. back to Taiwan, rising importance of museum establishment, fast expansion of media after the lift of Martial Law and newspaper restrictions as well as rapid changes in the economic and social environments, also helped bring about the unprecedented prosperity of the arts development in Kaohsiung. This prosperity was extremely valuable for Kaohsiung which had been wrongly ridiculed as a ¡§Cultural Desert¡¨ back then. This research focuses on the development and transition of the art galleries in the 90¡¦s with a view to keeping a record of the golden period of the art market in Kaohsiung. There are five chapters in this thesis. Chapter 1 is the introduction to the motivation, goal, scope, limitations, research methods and process of this study. Chapter 2 discusses the interactions and relationships among artists, collectors, art media and museums. Chapter 3 attempts to provide a historical review of art galleries in Kaohsiung and discuss their operations by dividing the history of art galleries in Kaohsiung into five stages: the ¡§Foundation Period¡¨ before the 70¡¦s, the ¡§Taking-off Period¡¨ from the 80¡¦s to the lift of Martial Law, the ¡§Prime Period¡¨ after the lift of Marital Law and before the inauguration of the Kaohsiung Museum of Fine Arts (KMFA), the ¡§Waning Period¡¨ after the inauguration of the KMFA to the outbreak of SARS, and the ¡§Stagnation Period¡¨ after the SARS outbreak up to now. Chapter 4 focuses on the ¡§Prime Period¡¨ of Kaohsiung¡¦s art gallery industry in the 90¡¦s and its impacts on the art market in Kaohsiung. Chapter 5 is the conclusion. The research methods adopted in this study are literature review, in-depth interview and observation. Through data collection, comparison, review and cross-analysis, this study helps reconstruct the history of Kaohsiung¡¦s art galleries and provides an observation of the changes and impacts of the industry in the 90¡¦s as well as its current development so as to help predict the future of art galleries in Kaohsiung. Even though Taiwan is not a large island, the two largest cities in its north and south are actually quite different in their population compositions and city characteristics. The purpose of this study is to break the stereotypical belief in the visual arts industry that ¡§Taipei is the only representative city of Taiwan.¡¨ and to explore from a local viewpoint the history and operations of the art galleries in Kaohsiung and their impacts on the art market in southern Taiwan. Hopefully, this study can provide references for working and future art gallery managers in their operations as well as for related governmental departments in helping healthy development of local art galleries.

This research focuses on revealing the entrance narratives that visitors bring into the process of viewing Korean art. This qualitative case study is based on the Arts of Korea gallery at the Museum of Fine Arts, Houston. Using semi-structured interview as the tool, I gathered narratives related to the Korean artworks on display from sixteen visitors as well as the curator in charge of the gallery. The analysis of the responses shows how visitors’ personal interest, taste, experience, and cultural background affect the viewing of Korean art. The study corroborates the notion that visitors engage with works of art on a very personal level by entering the museum with their own prior knowledge and experience, which could relate to the objects (Falk & Dierking, 1992, 2000, 2009; Hein, 1998, 1999; Hooper-Greenhill, 1992, 1999). Using visitors’ entrance narratives as negotiation points in the gallery will foster a more dynamic interaction between visitors and Korean art. Furthermore, acknowledging what visitors bring into the Korean gallery could serve as a platform to learn what they take away from the exhibition. / text

This thesis presents a novel method to fabricate metallic nanostructures on whispering gallery mode (WGM) cavity surfaces. The unique properties of WGM cavities have shown their promising future in both fundamental research and engineering applications. High sensitivity biosensors are one of the most important applications. Thanks to their ultra high quality factor (Q) and small optical mode volume, the resonant frequency shift of a single nanoparticle binding becomes detectable. The basic principles of a WGM cavity and its coupling mechanism with an optical coupler are discussed in detail. From the WGM sensing principle, people have demonstrated the positive contributions of the surface plasmon to the sensitivity. Furthermore, we implement the localized surface plasmon resonance (LSPR) on the cavity surface by depositing metallic dots. We use the focused ion beam (FIB) to directly deposit metallic nanodots on the spherical cavity surface for the first time. The quality factor of the cavity with metallic dots is above 10^7 in both air and water, which is more than one order larger than other published results. Also, the new method is much more controllable and repeatable than previous methods. It reveals a new fabrication method for potential ultra sensitive sensors based on WGM cavities. In addition, we offer a new mode solver for the toroidal WGM cavity. The microtoroid is a better platform for further investigation of WGM sensing than the microsphere. By expanding cavity modes to a set of normal fiber modes, we formulate the new mode solver based on simple physical principles. The simulation results of the radiative quality factor based on the new mode solver are presented as well. / Graduate

This thesis covers the construction and characterisation of microlasers based on whispering gallery modes in ytterbium-doped microsphere resonators. The microlasers were made by drawing and fusing Yb-doped silica optical fibre into microspheres of approximately 100 μmin diameter using CO2 laser-induced melting. Access to whispering gallery modes was accomplished using a prism coupled to the evanescent field of the internal cavity modes. Microspheres with Q-factors of up to 10^7 were made using this technique. CW multimode lasing was observed at 1050 nm, with a pump threshold required for lasing estimated to be of the order of 100 μW for a 900 nm pump. Both TE and TM modes were identified in the laser emission and the ability to selectively excite each mode family (TE or TM) is shown to be directly controlled by the pump. Pulsed lasing was also observed at 975 nm and 1050 nm.

The year 2007 is significant for Africa and African artists as “[t]his is the first time a major exhibition of contemporary African art will be held in Africa” (Clive Kellner, curator of the Johannesburg Art Gallery, Africa Remix Exhibition Catalogue 2007:9). Africa Remix, an exhibition of 85 contemporary African artists from all regions of the continent and displaying a variety of skills and styles, provides and overview of contemporary art from Africa and the African diaspora in a single exhibition. Previous exhibitions of contemporary African art, namely Africa Explores (exhibited at New York’s Museum for African Art, 1991) and Seven Stories about African Art (exhibited at London’s Whitechapel Art Gallery, 1995) were never exhibited on the continent. After having toured Düsseldorf, London, Paris, Tokyo and Stockholm, Johannesburg is the last stop for Africa Remix and the only stop in Africa. It is important that Johannesburg managed to host this exhibition, both to show that Africa has the capacity and fortitude to host exhibitions of this scale, and for bringing the art of Africa to Africa. It has taken enormous efforts in fundraising to secure this opportunity. Yet, it also points to the lack of proper exhibition spaces both to host travelling exhibitions of this size and to provide a home for permanent collections of contemporary African art. Africa has long been subject to plundering of her riches: first through outright slavery, then through the exploitation of mineral reserves (often leading to concurrent exploitation of people), and in the contemporary world through the more subtle but potentially no less devastating “harvesting” (supported by the inherently unequal nature of global trade) of intellectual resources, such as items of cultural heritage, indigenous knowledge, and the production of scientists, writers, and artists. Africa needs to take the responsibility for making the most of what we have, here, before exporting it to the rest of the globe. Therefore, for art, there needs to be a gallery to support and exhibit the numerous collections of contemporary African art currently locked in storage. This will allow our art to be housed on the continent of its birth. Furthermore, a gallery such as this will contribute to cultural creation on the continent by the fact of its existence, providing space for and stimulating debate, performance and artistic production. This dissertation will therefore serve as an investigation into the interface between art and architecture. An alternative artspace to exhibit primarily but not exclusively contemporary African art is proposed for the city of Pretoria. The full text of this thesis/dissertation is not available online. Please <a href="mailto:upetd@up.ac.za?subject=UPeTD access required">contact us</a> if you need access. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

My thesis examines the policy of the Vancouver Art Gallery (VAG) as it affected the representation of art in its community in the 1960s and '70s. It was begun in order to understand what determined the changes in policy as they were experienced during this period, which saw an enormous expansion in the activities of the Gallery. To some extent the expansion was realized by means of increased cultural expenditure by the federal government, but this only made programmes possible, it did not carry them out. During the 1960s the Vancouver Art Gallery gained a measure of international recognition for its innovative programming, which depended to a degree on the redefinition of its relationship to the local, whether that signified its traditional patronage, Vancouver artists or the "man in the street". VAG's new outreach programme was not unique, but it was contemporary with developments in other locations. Given the popular and critical success of his policy, VAG director Tony Emery pushed it to the relative exclusion of the more traditional type of gallery programme, in this manner angering VAG's "more conservative" audience. With the first indications of a fiscal crisis in the 1970s, the government began reining in public expenditure, including that on the arts. There was first a freeze on funding to the larger arts institutions, which by now included the Gallery, and then the slow withering of government support. VAG's experiments in programming, which had been made possible through this support, became expendable, and there was soon a re-orientation towards more traditional programmes, accompanied by another redefinition of the Gallery's audience. The Gallery's structure, policy and programme were gradually transformed to fit an increasingly corporate model or paradigm in order to secure the extra funds it needed to remain solvent. A crucial aspect of this change was the plan to move the Gallery into larger quarters, which would be more attractive to donors and collectors, and which would allow prestigious exhibitions to be brought into the city. The thesis undertakes to examine the vagaries of Gallery policy with the aid of the current literature on museums and government cultural policy, and with government and Gallery documents. The other major section examines the formation of the reputation of Robert Rauschenberg, as it bears on the reception of a group of his works exhibited at VAG in 1978. Rauschenberg was an artist in frequent contact with Vancouver through exhibitions of his work at a private gallery, and the consolidation of his reputation following the 1976 retrospective of his work by the Smithsonian made his work apt for the promotion of VAG. Rauschenberg's use-value for VAG depends on a particular reading of his work which had become generalized after 1963, and reinforced in 1976, which was appropriate to the new Gallery role promoted by VAG's paladins. This interpretation, which was developed by Alan Solomon in 1963, fixed Rauschenberg's works as celebrations of a way of looking at one's environment and of what was looked at. Solomon's reading became the accepted one, but by an examination of the reception of Rauschenberg's art prior to 1963, and by an analysis of two of his works, I argue that it is neither the only possibility nor even the most accurate one. In the 1970s, critics conflated Rauschenberg's earlier and later work within the context of Solomon's interpretation, which has hardly been expanded upon. They have usually tried to establish an identity of the earlier and later work, based upon Solomon's reading, where I am trying to establish their difference. An analysis of two of the works which appeared in the 1978 Works from Captiva exhibition at VAG indicates the differences with the earlier work and the susceptibility of their iconography to the new role the Gallery was attempting to promote. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

The thesis deals with the business plan for establishing café bar with a gallery. The main goal is to create a feasible business plan and found, if the future company has a chance to succeed in the market based on the conducted analysis. The theoretical part defines the structure of the business plan and conditions for the establishment of a new company. Analytical part analyzes market environment where the company will operate and the factors that will affect the company. The practical part is focused on the development of specific business plan.

This study forms part of the discourse that critiques the current state of colonial museums in a post-colonial, post-apartheid city. The project focuses on a proposed urban vision for the precinct of Joubert Park in Johannesburg and responds to themes of memory, identity, reflection, art and public space. In the process, strategies are investigated to enhance identity in the area using the Johannesburg Art Gallery as a starting point. The gallery is integrated into the public realm, making it more accessible and transparent to its context by introducing pavilions and art installations to the park. These pavilions perform a variety of functions with the main design taking the form of a photographic urban archive. The pavilion archives the city and the people of the park by harnessing one of the current skill sets of the park photographers who are present on site. The project takes the form of a working camera using the principals of pinhole and wet plate photography to tangibly capture and display the happenings and changes of the site and the people who frequent it, over time. Once the pavilion has archived the desired changes in the city it will be dismantled and relocated to a new site to begin its life cycle once more. The movability of the structure acts as a critique on the static nature of buildings situated in cities that are always in flux. By introducing an architecture that allows and facilitates public activity while using people as the subjects for the creation of art by documenting a changing city, the scheme hopes to enhance the public realm by encouraging a collective identity to form. / Hierdie werkstuk is gebaseer op deurlopende gesprekke wat kritiek lewer oor die huidige stand waarin koloniale museums (na die Apartheid era) hulself bevind. Die intrinsieke waarde van hierdie museums het oor tyd verlore gegaan. Die projek het ten doel om op hierdie verwaarlosing te fokus en terselfdertyd die publieke omgewing met betrekking tot identiteit, kuns en sosiale aktiwiteite, op te hef. Voorstelle word gedoen om die vervalle Joubert Park in Johannesburg op te gradeer in n buurt waarop inwonders trots kan wees en sosiaal kan verkeer, terwyl die geskiedkundige verlede terselfdertyd bewaar word. Die Johannesburg Kunsgallery is geidentifiseer as die belangrike spilpunt vir hierdie projek. Hierdie Gallery is sentraal gelee wat dit maklik toeganklik maak vir die publiek. Die oogmerk is om n verskeidenheid kunswerke te installeer asook kamera/beeld-strukture. Hierdie kamerabeelde kan dien as n stedelike fotografiese vertoning van die stad en sy mense. Veranderinge in die stad oor n tydsvlak kan vervolgens so geargiveer word. Die projek se eind doel is om met argitektoniese toepassings, die ou verlede, die hede, en die mense en sy sosiale omgewing, tot voordeel van almal, te integreer. Die sukses van die projek sal bepaal word deur die kollektiewe indentitiet en sosiale integrasie wat bereik gaan word. / Mini Dissertation (MArch (Prof))--University of Pretoria, 2016. / Architecture / MArch (Prof) / Unrestricted

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.