This dissertation is an account of an internship in paper conservation undertaken at the Auckland City Art Gallery during the period July 1982 to March 1983. It opens with a description of the organisation and functions of the gallery, with particular reference to its management, staffing, financing, displays and acquisition procedures. This is followed, in Part 2, by a general account of the conservation department, its history, staffing, laboratory and tasks. Part 3 details all the conservation work undertaken during the period of internship. It describes the various techniques and procedures employed and the results achieved or observed. It contains a list of 119 objects treated followed by 26 case studies to illustrate the problems encountered and the action taken. It also includes a list of the equipment and materials used. Set out in Part 4 are details of conservation laboratories visited in Wellington. Part 5, after a brief description of conservation services in Christchurch and Dunedin, details the activities of the Interim Committee for the Conservation of Cultural Property and the principal recommendations contained in a report submitted by Dr Nathan Stolow, a conservation consultant engaged by the Interim Committee. This is followed by a report on the New Zealand Conservators' Meeting which took place in Wellington in March 1983.

The contents of this dissertation are a compendium of the conservation work carried out during a six-month internship period, divided between the Textile Conservation Section of the Australian National Gallery and the Conservation Division of the National Library of Australia. During a six-week period at the ANG, served under the Textile Conservator, Miss Josephine Carter, opportunity was provided to work with items from several of the Gallery's major textile collections, including: 1) Precataloguing surveys of articles of costume involving a) removal from temporary storage, sorting, documentation of holdings and repacking of over 500 items of costume from the Dialghev Ballets in the Theatre Arts Collection b) descriptive documentation and repacking of costume and accessories dated between 1900 and 1950 from the Julian Robinson Collection. 2) Assistance with the photography of 10 items of Dialghev Ballet costume and 90 lengths of Indonesian fabric for the Gallery's acquisition records. 3) Preparation for mounting, and hanging of a large Arthur Boyd tapestry in the foyer of Government House. 4) Full conservation of four small articles of costume from the Julian Robinson Collection, and preparation of treatment proposals for future conservation of three additional items. During a 41/2-month period at the National Library of Australia, served under the direction of the Principal Conservator, Mr. Ian Cook opportunity was provided to work with a wide variety of items on paper while participating in virtually all the varied aspects of the Division's work, including: 1) Conservation responsibility for a one-day exhibition held in the Library in conjunction with the ANU conference, "Australian and European Imagination", involving a) conservation and/or condition documentation of 23 bound and unbound prints, watercolours and drawings b) supervision of mounting the exhibition and return of the items to storage. 2) Conservation of four charts by William Bligh from the Maps Division for future display in the Library. 3) Treatment of 18 miscellaneous items on paper requiring conservation for their continued use in the Library, including prints and watercolours from the Pictorial Collection, playbills and bound serials from Australian Reference, and a series of Philippines maps. 4) Testing of laminating tissue and photographic negative envelopes for their suitability for conservation use. 5) Condition surveys of the Ferguson Collection of Rare Maps and of master negative microfilm reels from the Australian Joint Copying Project.

The advancement in technology in the twenty first century has introduced new and exciting ways for artists to self-promote their artwork while traditional methods remain viable. To be competitive in the art market an artist must understand and implement a variety of marketing strategies. Effective marketing is particularly critical for an art teacher who is also a practicing artist in order to sell their artwork. Through a comparative analysis of readily available marketing tools for artwork, I explore in this study a variety of ways that an artist can establish a successful career in art through the use of technology, and create a roadmap that can be used to shorten their route.

This paper explores urban design possibilities for the enhancement of the Vancouver Art Gallery landscape. It is understood that urban public places are necessary for not only the daily functioning of society, but as venues of and for celebrations, demonstrations, and communication. All public urban spaces have the potential to serve as significant locations of human experience. The designed urban landscape should have the capacity to elicit response and heighten our perceptions, thereby furthering our understanding of the world. Understanding the Vancouver Art Gallery landscape as a central urban space of significant civic importance, it is necessary that its design illuminate the interactions between humans and the physical world - the actors, the audience, and the stage. A literature review is conducted in order to discern possible connections between museum processes and designed landscapes. Analogies are drawn between the processes and display of art within and around galleries and museums, and the cultural meanings associated with these displays. These processes also reveal themselves in the designed landscape. Second, museum-landscape analogs are proposed, and from these, precedents are researched in order to identify criteria that support and reinforce these analogs. These analogs are typologies that may serve to inform the urban design, and landscape architectural process. In response to the research, the Vancouver Art Gallery landscape is designed according to one of the types (analogs) identified - Landscape as Theatre. The design provides a model for the expression of the theatrical aspects of urban life that contribute to the vibrancy and cultural richness of the urban landscape. The conclusions drawn herein are suggestive of urban design enhancement opportunities that exist within central downtown Vancouver, in particular the Vancouver Art Gallery landscape. It is recognized that significant investment in our urban spaces is a requirement for ensuring the successful evolution of urban life. In addition to the enhancement of human experiences within the city, successful urban projects that elicit international acclaim and recognition further the economic growth of, and investment in the city. Certainly, when public spaces are used and enjoyed steadily and repeatedly the experiences of places are enriched, and human experience is enhanced.

Šiame darbe apžvelgtos įvairios trimatės galerijos ir jų kūrimo principai. Atlikta programų ir įrankių, skirtų galerijoms kurti, analizė. Atlikta VRML programavimo kalbos galimybių ir jos taikymų trimatės grafikos sistemose analizė. Supažindinama su šablonų generavimo būdais. Atlikta įskiepų, skirtų trimačių galerijų naršyklėse peržiūrai, analizė. Panaudojant ArchiCad projektavimo įrankį ir VRML kalbą, sukurtas trimatis galerijos šablonas. / This paper reviews various three – dimensional galleries and their development principles. There was made an analysis of programmes and tools, which were designed for the creation of galleries. The analysis was also made of VRLM programming language – its options and applications in three–dimensional graphics systems. This work acquaints with methods of template generation. There was made an analysis of plugins, which are intended for the viewing in the browsers of three–dimensional galleries. There was created the three–dimensional template of the gallery, by using ArchiCad and VRML design tool.

This thesis addresses the need for the Vancouver Art Gallery to expand to accommodate its large and ever-expanding art collection. Situated in the current debate of whether to expand on site or move to a new site altogether, this thesis proposes a contemporary addition to the existing neo-classical building which houses the current Art Gallery. To find opportunity in this historic setting, strategies involving scale and perspective, joining the old and the new, and strengthening the connection of art to the downtown core are explored. The site for this thesis is in central downtown Vancouver, BC. The new addition is located adjacent to the existing Vancouver Art Gallery on City Block 51, which is bounded by Robson, Howe, Hornby and West Georgia Streets.

This Creative Project documents and explains the significance of the exhibition space known as the Sandbox and its members. The goal was to bring together a cohesive body of work that commemorated the people and events related to the Sandbox gallery. This was accomplished by using a variety of materials and tools including video tape, slides, bronze, paint, silk-screens, and super 8 film, to name a few. / Department of Art

The advancement in technology in the twenty first century has introduced new and exciting ways for artists to self-promote their artwork while traditional methods remain viable. To be competitive in the art market an artist must understand and implement a variety of marketing strategies. Effective marketing is particularly critical for an art teacher who is also a practicing artist in order to sell their artwork. Through a comparative analysis of readily available marketing tools for artwork, I explore in this study a variety of ways that an artist can establish a successful career in art through the use of technology, and create a roadmap that can be used to shorten their route.

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This diploma thesis extends the theme of bachelor thesis, in which alternative site specific exhibition spaces, called "independent galleries", in the Czech Republic were observed and described in terms of motivation and the reasons for their establishment. The diploma thesis focuses on the study of specific mainly alternative exhibition possibilities of contemporary art and on a description of the contemporary phenomenon of exhibition space abroad regarding the Czech context. These findings are developing into its own site-specific art activity in public space, which is then transformed in educational structure and implemented with the students of a selected high school in Prague in public spaces around the school. The educational part of the thesis is complemented by a qualitative research, which helped to capture mediation specifics of the topic in the educational process.