The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

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During the Duke of Alençon's second courtship of Queen Elizabeth the Earl of Leicester emerged as the leading opponent of the marriage. At the same time he began to patronize a circle of writers which included Gabriel Harvey, Edmund Spenser and Philip Sidney, who helped to create the 'golden 1 literature of the English Renaissance. In this thesis I investigate their relations with Leicester and by a detailed examination of their main works, such as the Spenser-Harvey Letters, the Old Arcadia, theShepheardes Calender and theFaerie Queene, and their development, show how they reflect the Earl's intellectual and political concerns. I argue that Alençon was a notable patron and that his growing knowledge of his rival's academic interests encouraged Leicester to maintain his own literary faction. One of his aims was to show the French that English culture was not provincial and he demon- strated this in the entertainment The Four Foster Children of Desire for which he was largely responsible. Having outlined the background of the crisis of the courtship I evoke Leicester's life and circumstances during this period, particularly his relationship with the Queen and patronage at Oxford. I then describe the distinctive interests of his circle in law, history, politics and poetry and go on to establish that Alençon took part in the French academic movement and that his courtiers included distinguished poets and thinkers. The second half of the thesis is a series of detailed studies of Harvey, Spenser and Sidney in relation to Leicester, and their writings during the Alençon court- ship. Finally I examine the court entertainments of this period and argue for the Four Foster Children as a turning-point in Elizabethan literature. My conclusion is that Leicester was a more loyal and discriminating patron than he is usually said to have been and that he played a significant part in introducing the 'golden' age of Elizabethan literature.

This study analyzes two successful exhibitions on American slavery in the South: In Bondage and Freedom: Antebellum Black Life in Richmond, Virginia, 1790-1860 by the Valentine Museum and Before Freedom Came: African American Life in the Antebellum South by the Museum of the Confederacy. It puts the exhibitions in the context of the social history movement, and explains the difficulties exhibiting a sensitive topic. It examines the creation of the exhibitions, the controversies because of the subject, both real and potential, and the overwhelmingly positive reaction.

5 Abstract: The aim of this thesis is firstly to deal with the emergence and development of museums on the Korean peninsula and since 1948 only in the Republic of Korea. Secondly it aims to concentrate on their educational activities. The very first modern museum in Korea called the Imperial Museum was established at the beginning of the 20th century. A year after the museum opened its door to the public, Korea was annexed by Japan. That had a great impact on the development of the first museums in Korea. After the liberation from Japanese rule in 1945 the museums were handed over to Koreans. Museum activity had only just begun when the Korean War broke out. The focus of the following part is the National Museum of Korea (NMK), the most important museum in South Korea. For most of its history the museum moved from one place to another. In 2005 it finally found its place in a newly built modern building in Soul's district called Jongsan. By taking NMK as an example the thesis explores the museum educational activities. It offers a closer look at programs for foreigners and the growing number of immigrants and senior citizens, popular lecture series, wide range of guided tours etc. Finally, some exhibition projects are introduced. Keywords: Korean museums, National Museum of Korea, museum education,...

Avant la fin des années 1980, l’enfant n’était pas encore le public visé dans les musées. Faute d’espaces et d’expositions pour enfants, nous nous demandons si un musée destiné au jeune public est nécessaire. En vue de mettre en œuvre l’éducation muséale pour l’enfant, nous aborderons l’exposition éducative pour comprendre ce qui semble nécessaire à un tel projet. Et face au phénomène des expositions blockbuster, nous verrons comment le musée se met en relation intime avec le marketing qui joue un rôle de communication entre le public, l’éducation, l’exposition et le musée. De ce fait, nous traiterons du modèle de Disneyland qui adopte des méthodes de marketing pour attirer le public enfant et familial. Le fonctionnement du musée semble influencé par ce modèle, et s’oriente vers une tendance à la « disneylandisation ». Le musée, pour mieux remplir l’une des ses missions, la mission éducative, en visant le public enfant, doit-il prendre le risque d’un glissement vers la disneylandisation en adoptant des méthodes de marketing ? Nous traiterons deux grands points : l’analyse BEST étudiera l’environnement afin de comprendre les problèmes existants dans le domaine du musée ; la pratique BEST discutera des possibilités de résolution des problèmes existants dans le fonctionnement du musée. Cette thèse tentera de contribuer à élaborer un modèle de référence d’un système opératoire et offrira des propositions, par une approche renouvelée du marketing, pour répondre à l’équilibre de l’offre éducative du musée et de la demande du public enfant. / Prior to the late 1980s, for example, children were not part of the museum audience. Lacking spaces and exhibitions for children, museum education for young people was absent. In order to support the implementation of museum education for children, we will discuss the types of exhibits appropriate for this endeavor. Recognizing the phenomenon of blockbuster exhibitions in particular, the purpose of this research is to investigate how museums elevate the practice of marketing, and how marketing plays a role in the interplay between the public, educational goals, the exhibit and the museum and influences the operation and presentation of the museum. We discuss the model of Disneyland, which employs marketing methods to attract children and family audiences. Museums seem to be influenced by this model, leading to a tendency of “Disneylandization.” Is it necessary for a museum that wishes to fulfill an educational mission and aim at a child audience to risk “Disneylandization” through its marketing methods? Our study provides an analysis of the methods of art marketing as they relate to educational museum exhibitions for children. We deal with two major issues: the “BEST analysis” to explore the environment and to understand the existing problems in the museum field; and the “BEST practice” approach to possible ways to solve the existing problems in the operation of the museum. The thesis proposes, in conclusion, to demonstrate that marketing gives to museums the means of better fulfilling their social and educational mission. We will show that a renewed approach to marketing makes it possible to use the proposed techniques to better meet the educational objectives of the museums; in other words, to more closely join supply (of education) and demand (by families and children).

Suiting the Modern Woman documented the evolution of women's power dressing in the 20th century by featuring four major components: thirteen period suit silhouettes, the power suits of twenty-eight influential and successful high profile Texas women, a look at the career and creations of Dallas designer, Richard Brooks, who created the professional wardrobe for former Texas Governor Ann Richards, and a media room which showcased images of working women in television and movie clips, advertisements, cartoons, and fashion guidebooks. The exhibition served as an application for contemporary museum education theory. Acting as both the exhibition coordinator and educator provided an opportunity to develop interpretative strategies and create a meaningful visitor experience.

A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the degree of Masters of Arts in Fine Arts (MAFA) Johannesburg, 2017 / This dissertation aims to examine Gerhard Richter and Serge Nitegeka’s artistic practices, in order to understand and identify how artists can potentially use space as a medium and contextualise my own practice within this realm. I position the conventions and principles of space through reference to French theorists’ Henri Lefebvre, Michel de Certeau and Michel Foucault. The thesis begins with a brief overview of the window as a painterly motif and spatially familiar everyday device in the introduction. In the first chapter, I explore the surface and reflection of the medium of glass, the colour gray, the monochrome, as well as the pictorial, in Gerhard Richter’s Eight Gray (2002). The second chapter examines the role of the frame or line in Serge Nitegeka’s Black Lines (2012), as an environment of experience that relies on painted diagrams and the illusion of perspectival space. The third chapter observes a shift in the manner in which Richter and Nitegeka experiment and extend their practices through an engagement with the mirror and the door, respectively, as ways of exploring the threshold. Finally, I discuss my own practice and reflect on the exhibition Through the Extent (2015), which was submitted as the practical component of this research. / XL2018