The United States Centennial was a pivotal event to celebrate the founding of the American nation. People came together to show the unity and progress of the United States, specifically after the division of the Civil War. As the industrial revolution took off in earnest, Americans were keen to show the world that they were united and taking the lead in industrial change. Further, to show that the United States was a force in the world, other nations were invited to participate by displaying their culture at the event. The Women’s Centennial Executive Committee (WCEC) became part of the effort to raise funds early on in the process. A group of thirteen women joined together with Benjamin Franklin’s great-granddaughter selected as their president and they set forth to raise funds and gain publicity for a “Woman’s Section” in the main building. When that prospect was denied them, the women then began to again raise monies, but this time for their own Women’s Pavilion. Determined not to be cut out of the exhibition, the women labored tirelessly to make their ideas reality. To raise funds and to draw attention to women’s contributions to society, the women drew upon the females of the founding generation to gain legitimacy in their efforts as women active in the civic sector. Harkening back to the American Revolution, the WCEC inserted women as active participants in the founding of the nation and they used images of Martha Washington and Sarah Franklin Bache to raise funds and bolster their cause. Women, who had sacrificed as men had for the birth of the nation, were noble members of the republic; in presenting women’s labors and inventions in 1876, the WCEC was making the point that women’s lives and contributions in nineteenth century America were as vital and necessary as they had been in the eighteenth century. The rewriting of the narrative of the American Revolution enabled the WCEC to celebrate women’s accomplishments in the most public manner and to herald their achievement in both domestic production as well as in terms of education and employment. The women of 1876 formed a continuous line backwards to the Revolution, and they showed the world that American women had always been a vital part of the country and that, if afforded their rights, they would continue to do so into the future. / History

[ES] La presente investigación gira en torno a la noción de la curaduría o co- misariado de las artes visuales y su posible aplicación como técnica de producción artística en sí misma. Tras observar que existen múltiples ma- neras de asimilar lo curatorial, la finalidad de esta investigación es analizar la diversidad de sus características cualitativas a partir del estudio de sus diferentes prácticas, principalmente expositivas. Para ello, hemos realiza- do cuatro ensayos sobre la curaduría desde distintos marcos temporales: los tres primeros en términos internacionales y, el último, enmarcado en el contexto español: Exhibir lo creado, Producir para exponer, Curar lo expuesto y Más allá de las definiciones. El primer capítulo, Exhibir lo creado, parte de las Wunderkammern, las pri- meras galerías palaciegas, y los salones franceses, donde eran exhibidos sus correspondientes tesoros como modelos de lo que hoy entendemos como exhibición y exposición y, por ende, como precedente de los mu- seos modernos. De mostrar lo creado, pasamos a Producir para exponer, enmarcado en el siglo XX cuando las exposiciones organizadas por los propios artistas (como las de los impresionistas o surrealistas) y el cubo blanco cambiarían definitivamente el paradigma del aparato expositivo. A continuación, partimos de 1969 como punto de inflexión, con respecto a la desmaterialización del arte en relación al desarrollo curatorial y desem- bocar en Curar lo expuesto, donde proponemos un recorrido a través de una suerte de textos en relación a la autoría y una selección de exposiciones paradigmáticas de la historia del arte que van desde Magiciens de la Te- rre (1989) hasta Modernologías (2009). Por último, terminaremos con la columna vertebral de esta tesis, una selección de proyectos curatoriales organizados en el estado español en los últimos veintiséis años. Para ello, han sido realizadas dieciocho entrevistas a otros tantos profesionales que actualmente trabajan en torno a las diversas formas de curar, analizando sus maneras de trabajar, y buscando el diálogo entre dos generaciones de curadores y curadoras para comprender como algunos de sus proyectos los convierte en artistas, ya que han utilizado lo curatorial como técnica de producción artística. / [CA] La present investigació gira entorn de la noció de curaduria o comissariat de les arts visuals i la seua possible aplicació com a tècnica de producció artística en si mateixa. Després d'observar que existeixen múltiples ma- neres d'assimilar el treball curatorial, la finalitat d'esta investigació és analitzar la diversitat de les seues característiques qualitatives a partir de l'estudi de les seues diferents pràctiques, principalment expositives. Per a això, hem realitzat quatre assajos sobre la curaduria des de diferents marcs temporals: els tres primers en termes internacionals i, l'últim, emmarcat en el context espanyol: Exhibir el creat, Produir per a exposar, Curar l'exposat i Més enllà de les definicions. El primer capítol, Exhibir el creat, part de les Wunderkammern, les pri- meres galeries palatines, i els salons francesos, on eren exhibits els seus corresponents tresors com a models del que hui entenem com a exhibició i exposició i, per tant, com a precedent dels museus moderns. De mostrar el creat, passem a Produir per a exposar, emmarcat en el segle XX quan les exposicions organitzades pels propis artistes (com les dels impressionis- tes o surrealistes) i el poal blanc canviarien definitivament el paradigma de l'aparell expositiu. A continuació, partim de 1969 com a punt d'inflexió, respecte a la desmaterialització de l'art en relació al desenvolupament cu- ratorial per a desembocar a Curar l'exposat, on proposem un recorregut a través d'una sort de textos en relació a l'autoria i una selecció d'exposicions paradigmàtiques de la història de l'art que van des de Magiciens de la Terre (1989) fins a Modernologías (2009). Finalment, acabarem amb la columna vertebral d'esta Tesi, una selecció de projectes curatorials organitzats en l'estat espanyol en els últims vint-i-sis anys. Per a això han sigut realit- zades 18 entrevistes a altres tants professionals que actualment treballen en torn de les diverses maneres de curar, analitzant les seues formes de fer i buscant el diàleg entre dues generacions de curadors i curadores per a comprendre com alguns dels seus projectes els converteixen en artistas per haver utilitzat lo curatorial com a tècnica de producció artística. / [EN] The present research revolves around the notion of curatorship in the vi- sual arts and its possible application as a technique of artistic production in itself. After observing that there are multiple ways of assimilating the curatorial, the purpose of this research is to analyze the diversity of its qualitative characteristics from the study of its different practices, mainly expository. To this end, we have carried out four essays on curatorship from different time frames: the first three in international terms and the last one, framed in the Spanish context: Exhibiting What Is Created, Produ- cing to Exhibit, Curating What Is Exhibited and Beyond definitions. The first chapter, Exhibiting What Is Created, starts with the Wunderkam- mern, the first palace galleries, and the French salons, where their corres- ponding treasures were exhibited as models of what we understand today as exhibition and exposition and, therefore, as a precedent of modern museums. From showing what has been created, we move on to Producing to Exhibit, framed in the 20th century when exhibitions organized by the artists themselves (such as those of the Impressionists or Surrealists) and the white cube would definitively change the paradigm of the exhibition apparatus. Next, we start from 1969 as a turning point, with respect to the dematerialization of art in relation to curatorial development and end up in Curating What is Exhibited, where we propose a journey through a sort of texts in relation to authorship and a selection of paradigmatic exhi- bitions in the history of art ranging from Magiciens de la Terre (1989) to Modernologies (2009). Finally, we will end with the backbone of this thesis, a selection of curatorial projects organized in Spain over the last twen- ty-six years. To this end, eighteen interviews have been conducted with many professionals currently working on the various forms of curating, analysing their ways of working, and seeking a dialogue between two ge- nerations of curators to understand how some of their projects turn them into artists, since they have used the curatorial as a technique of artistic production. / Fernández Del Castillo Roca, A. (2024). Ensayos sobre lo curatorial como técnica de producción artística. La curaduría en españa a través de dos generaciones, 1997-2023 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203098

This thesis addresses a gap in scholarship by centering curators at often-overlooked university art institutions in the Appalachian region in order to analyze the practical applications of feminist curatorial methodologies in comparison to established feminist curatorial scholarship Three case studies focus on the Reece Museum at Eastern Tennessee State University, the Art in the Libraries initiative at West Virginia University, and the Eleanor D. Wilson Museum at Hollins University. This study uses qualitative and anecdotal data collection methods, such as surveys and one-on-one interviews to demonstrate how feminist methodologies are employed as a theoretically informed curatorial practice, following the framework originally developed in feminist curatorial scholarship. An analysis of feminist curatorial scholarship reveals three core principles of feminist curating: institutional critique, collaboration and engagement, and inventive exhibition strategies. Data analysis found that staff at these three university institutions utilize various intersectional methodologies under the umbrella of feminist interventions when creating exhibitions in their respective institutions. The concept of "feminist curating," as understood and expressed by the staff, has evolved from traditional gender-centered approaches to address a broader scope of socio-economic inequalities as well as power dynamics within museums It is intended to serve as an entry point for further critique of self-described curatorial feminist methods and their practical implementations, in order to analyze what these strategies and practices look like, and how they are intended to affect the university community. / Master of Arts / This thesis explores the feminist practices of curatorial staff from three university art institutions in Appalachia: the Reece Museum at Eastern Tennessee State University, the Art in the Libraries initiative at West Virginia University, and the Eleanor D. Wilson Museum at Hollins University, and connects their work to the larger landscape of feminist curatorial scholarship. The self-described feminist interventions in these curatorial practices aim to disrupt power hierarchies present in museums and other exhibition spaces. A tradition of feminist curating initially served as a method for highlighting women artists and questioning the underlying societal systems that led to their exclusion from the art world, however, this thesis found that contemporary iterations of feminist curating now have an expanded focus to include other historically marginalized populations. Despite the change in scope, both contemporary and historic feminist curators utilize three primary feminist approaches that are common to a variety of curatorial methods: institutional critique, collaboration and engagement, and inventive exhibition strategies. These three methods are continued threads that link feminist curatorial methodologies over time and provide a basis for analyzing distinctions between traditional feminist curatorial methods, feminist curating in scholarship, and how feminist interventions are implemented in a practical sense at university institutions in the Appalachian region.

How much art is projected into the home and community as a result of art experiences in the school is difficult to determine without some criterion as a standard for judgement. Based upon this premise, the author attempted, with the cooperation of the art committee of the Dallas Junior League, to test the aesthetic judgement of selected groups of children in the Dallas Public Schools by evaluating their reactions to an exhibition of common household articles currently available on the Dallas market.

Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l’étude de la politique de diffusion : celle-ci est l’objet de ma thèse en sciences de l’information et de la communication intitulée « La diffusion culturelle à l’échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ».Le Mnam-Cci est l’un des plus importants musées au monde grâce à sa collection d’art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l’une des stratégies importantes du musée. Dans la perspective d’une étude muséologique, l’analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l’échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l’heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l’échelle internationale à travers la politique de diffusion.C’est ainsi que ce travail montre la diffusion culturelle à l’échelle internationale par l’intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci. / A contemporary museum isn’t any longer a place that is only dedicated to collecting, preserving, and presenting the collections, but a place which is integrated into a network, as the studies of strategies of diffusion are showing. This is the subject of my thesis worked in the field of communication and information science with the title: “International diffusion of culture: the lending strategies of works of art and exhibitions at the National Museum of Modern Art (Georges Pompidou Center) during 2000 and 2007”.The National Museum of Modern Art (Pompidou Center) is one of the most important museums of the world thanks to its modern and contemporary collections. The Pompidou Center does not only present temporary exhibitions, but also a range of other cultural activities: cinema shows, concerts, conferences and spectacles. Its collection comprises 60, 000 pieces of works of art which are borrowed by museums all over the world.Taking its rich collection into consideration, the lending strategies of works of art are one of the important drivers of the museum. The analysis of these lending strategies is crucial from a museology standpoint.The first part of the thesis deals with the circulation mechanism of works of art and the exhibitions in the context of international territories. The second chapter of the thesis looks at the circulation of cultural goods in the context of globalization. The last part of the thesis deals with the development of international communication strategies via the strategy of diffusion.That is how this work shows an international diffusion of culture via the lending strategies of works of art and exhibitions at the National Museum of Modern Art (Pompidou Center).

Esta tese pretende investigar a produção da arquitetura no período entre as décadas de 1960-70. Adota como premissa inserir-se nas questões de cunho metodológico da história da arquitetura, partindo do entendimento de que a arquitetura é fruto da dialética entre a autonomia do projeto e o estado das forças produtivas em determinado momento histórico. As reflexões aqui propostas tentam articular múltiplas relações dentro do processo da produção da arquitetura - o que significa incluir desde a concepção, o desenho, o canteiro e até mesmo seu uso - corroborando para um entendimento mais amplo, aquém da própria disciplina da arquitetura. O Parque Anhembi, um centro de exposições ligado ao turismo de negócios em São Paulo, permite analisar três níveis de produção: a industrialização da estrutura metálica, a pré-fabricação do concreto e a adoção de novas tecnologias do concreto armado executado no canteiro, temas que podem caracterizar a \"pluralidade\" da produção do período pós-Brasilia, ou mesmo, explicitar a preocupação construtiva que intermediava muitas pranchetas naquele momento. A possibilidade que se abre na investigação do objeto tido como uma nova centralidade urbana e a analise de como seria possível abarcar o tema das práticas projetuais naquele momento em que se fortalecia uma relação importante entre urbanismo, arquitetura, engenharia e construção no meio da busca de uma nova produção. Busca que continha um discurso político e ideológico sobre o seu tempo suscitados principalmente pelas questões urbanas evidenciadas com máxima urgência. / This thesis intends to investigate the production of architecture in the Between the decades of 1960-70. It is a premise that it should be included in the Methodological approach in the history of architecture, starting from the understanding that architecture is Of the dialectic between the autonomy of the project and the state of the productive forces in Certain historical moment. The reflections proposed here attempt to articulate multiple Relationships within the architecture production process - which means including from the Design, design, and even use - corroborating Understanding, rather than the discipline of architecture itself. Anhembi Park, an exhibition center linked to tourism Business in São Paulo, allows us to analyze three levels of production: the industrialization of Structure, the pre-fabrication of concrete and the adoption of new Reinforced concrete executed in the bed, themes that can characterize the \"plurality\" Of the post-Brasilia period, or even to explain the constructive concern Which interwoven many boards at that moment. The possibility that opens in the Investigation of the object considered as a new urban centrality and the analysis of how It would be possible to embrace the theme of the design practices at that moment in which Strengthened an important relationship between urbanism, architecture, engineering and construction. In the middle of the search for a new production. It sought to contain a political discourse and Ideological issues about their time that have been raised mainly by urban Evidenced with maximum urgency.

O trabalho analisa como a produção arquitetônica e a atuação política de quatro engenheiros contribuiu para o processo de modernização espacial da cidade de Campinas nas décadas de 1930 e 1940. O período estudado coincide com o momento de elaboração e implantação do Plano de Melhoramentos Urbanos, desenvolvido pelo urbanista Prestes Maia, sob encomenda do poder municipal. Entre o grupo restrito de atores envolvidos no projeto de modernização da cidade, destacou-se a participação dos engenheiros Eduardo Badaró, Hoche Néger Segurado, Lix da Cunha e Mário Penteado. O primeiro, funcionário da prefeitura, foi responsável pela implantação do plano, e os demais representavam os escritórios de engenharia mais operosos da cidade. Estuda a forma como a produção arquitetônica desses engenheiros foi realizada e investiga os fatores envolvidos no processo de sua constituição: referências artísticas e conceituais influenciadas pelos ecos tardios do embate teórico entre modernos e acadêmicos, travado nas primeiras décadas do século XX e que motivou engenheiros e arquitetos na busca por novos paradigmas inspirados nas vanguardas europeias; os meios materiais tendo no concreto armado um novo definidor do sistema construtivo; a herança das formações acadêmicas distintas; os jogos econômicos atrelados à industrialização da cidade; as estratégias políticas para a legitimação da implantação do plano de modernização urbana; as ações dos recém-fundados órgãos de classe no processo de afirmação da categoria profissional e, por fim, as demandas e aspirações de suas clientelas. Ao abordar as circunstâncias que envolveram a transformação do espaço urbano, tendo como corresponsáveis esses profissionais, a investigação dá ensejo a uma reflexão sobre ideias de modernidade que ultrapassam o campo das artes, que não obedecem a uma linha evolutiva homogênea e, sobretudo, que reconhecem a existência de várias categorias arquitetônicas, representantes das muitas correntes envolvidas em um processo de modernização mulltifacetado. / This paper analyses how the architectural production and political action of four engineers contributed to the spatial modernization process of the city of Campinas in the 1930s and 1940s. The studied period coincides with the time of the preparation and implementation of the Urban Improvement Plan, developed by the urban planner Prestes Maia and commissioned by the municipal power. Among the group of professionals involved in the modernization project of the city, the participation of the engineers Eduardo Badaró, Hoche Neger Segurado, Lix da Cunha and Mario Penteado stood out. The first engineer, who worked for the city hall, was responsible for implementing the plan, and the other engineers represented the most distinguished architecture offices in the city. It is of great interest to understand how the architectural production of these engineers was carried outand investigate the factors involved in its creation: conceptual and artistic references influenced by the late echoes of the clash between modern and academic in the early decades of the twentieth century that motivated engineers and architects in the search for new paradigms inspired by the European avant-gardes; the material resources having in the reinforced concrete a new determinant in the construction system; the inheritance of different academic backgrounds; the economic relations closely related to the industrialization of the city; the political strategies for the legitimation of the implementation of the urban modernization plan; the actions of the newly founded professional entities in the process of assertion of the professional category, and finally, the demands and aspirations of their clientele. By addressing the circumstances surrounding the transformation of the urban space, having these professionals as mutually responsible for all these changes, the investigation brings up a reflection on an idea of modernity that goes beyond the arts, does not follow a smooth evolutionary path and, above all, that recognizes the existence of various architectural categories, representing many streams of a multifaceted modernity.

Chow Man Cheong. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2000-2001, design report." / Subtitle from p. [1]. / Includes bibliographical references (leaf 40). / Chapter 1. --- Prolog --- p.P.3 / Chapter 2. --- Goals --- p.P.12 / Chapter 3. --- Precedents Study --- p.P.13 / Chapter 4. --- Concept --- p.P.16 / Chapter 5. --- Site --- p.P.18 / Chapter 6. --- Program --- p.P.21 / Chapter 7. --- Users --- p.P.22 / Chapter 8. --- Project Development --- p.P.22 / Chapter 9. --- Final Presentation --- p.P.34 / Chapter 10. --- References --- p.P.40

The thesis examines the evolving realtions of the aesthetic and conceptual aspects in exhibition-making after the 'conceptual turn' that took place in the late-1960s and instigated key transformations in the aesthetic condition of art and contemporary curatorial practice. Drawing on a broadly construed and variously manifested conceptualism pervading the growing field of curating since 1990s, the thesis focuses on investigating the relation between the aestheti and conceptual dimensions of three exhibitions that have had a significant impact on the postconceptual development of curating. In doing so, it aims to construct an alternative genealogy that reaffirms the significance of the aesthetic element, and so to reconstruct curatorial practice from the perspective of an Aesthetics of Curating. This trajectory unfolds a non-unitary Curatorial Aesthetics that emerges and develops together with the conceptual shift offering a revisionist perspective to dominant practices and discourses today that tend to devalue or repress aesthetic modes of production. The driving force of the thesis is neither to affirm aestheticism nor simply reversing the received positions. Instead, the investigation of aesthetics - as the poetics of an exhibition and a philosophical understanding of the experience offered - provides a reading that contests the emphasis placed upon conceptualism in order to revise those relations and established assumptions, and enable us to understand contemporary aspects of curating that have been downgraded. The thesis focuses on three case-studies, which mark important shifts in the conceptual development of curating from 1969 to 2007: When Attitudes Become Form: Works-Processes-Concepts-Situations-Information (Live in Your Head), curated by Harald Szeemann. Kunsthalle Bern (1969); Les Immateriaux, co-curated by Jean-Francois Lotard and Thierry Chaput, Centre George Pompidou, Paris (1985); Documenta 12, under the artistic directorship of Roger Buergel and chief curatorship of Ruth Noack, Kassel (2007). By exploring the different ways in which these exhibitions accommodate, engage with, and define aesthetic experience in relation to their conceptual modes, the study provides an alternative account of Curatorial Aesthetics that attains its transformative potential and political efficacy in the present through the invention of new sensations that incite new modes of thinking and acting.

Tyrimo objektas – etnografinio muziejaus kaip ugdymo erdvės funkcionavimas. Tyrimo tikslas – pasitelkus Lietuvos liaudies buities muziejuje taikomų eksponavimo formų, priemonių, rengiamų edukacinių programų analizę, atskleisti etnografinio muziejaus kaip ugdymo erdvės funkcionavimo specifiką. Tikslui įgyvendinti siekiama šių uždavinių: 1. išsiaiškinti prioritetines muziejų veiklos kryptis Lietuvos muziejų veiklą reglamentuojančiuose dokumentuose ir atskleisti Lietuvos liaudies buities muziejaus veiklos prioritetų ištakas bei kaitą; 2. nustatyti eksponavimo formų Lietuvos liaudies buities muziejuje specifiką; 3. ištirti mokymo bei mokymosi neformalioje Lietuvos liaudies buities aplinkoje galimybes; 4. išsiaiškinti, ar esama komercijos elementų savitoje Lietuvos liaudies buities muziejaus edukacinėje programoje – tradicinėse šventėse; 5. atskleisti ugdymo medijų naudojimo muziejuose kaitą ir tos kaitos pasekmes ugdymo procesui. Paskutiniais dešimtmečiais pasaulinėje praktikoje ugdymas yra laikomas yra visų muziejų veiklos pagrindu. Nors Lietuvos muziejų veiklą reglamentuojančiuose įstatymuose bei Lietuvos liaudies buities muziejaus statute daugiau akcentuojamos paveldosauginės muziejaus kaip institucijos funkcijos, atgavus nepriklausomybę, muziejus pradėjo teikti pirmenybę edukacinei veiklai. Nuo 1991 metų čia rengiamos veikiančios ekspozicijos, kuriose eksponatai naudojami pagal paskirtį. Jos ne tik suteikia lankytojui didesnes išmokimo bei susipažinimo su praeities kontekstu... [toliau žr. visą tekstą] / Subject of investigation: The functioning of the ethnographic museum as an educational space. Goal of investigation: To determine the specific nature of the functioning of the ethnographic museum as an educational space through an analysis of the forms and methods of exhibition and educational programs of the Open Air museum of Lithuania. The following tasks were pursued to implement this goal: 1. to determine the fundamental direction of priority activities of museums in documents regulating the activity of Lithuanian museums and to determine the source and changes of priority activities at the Open Air museum of Lithuania; 2. to determine the specific character of forms of exhibition at the Open Air museum of Lithuania; 3. to examine the prospects for learning and teaching within the informal environment of Open Air museum of Lithuania; 4. to determine whether there are commercial elements in the educational program of the Open Air museum of Lithuania, during traditional celebrations; 5. to elucidate changes in the use of educational media at museums and the effects of those changes on the educational process. Over the preceding decades in global practice education has been considered the foundation for all museum activities. Although laws regulating the activities of Lithuanian museums and the statute of the Open Air museum of Lithuania place greater emphasis on the heritage protection functions of the museum as an institution, following Lithuanian independence the museum... [to full text]