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Decade of progress: origins of the Pérez art museum MiamiUnknown Date (has links)
This dissertation reconstructs and investigates the origins of the Pérez Art
Museum Miami. In 2013, the museum re-opened in a new, county-funded building to
great acclaim and international attention, but the museum’s origins in the 1970s have
been largely forgotten. A result of the 1972 “Decade of Progress” bond vote by county
taxpayers that allocated funds to build a new art museum, the museum opened as the
Center for the Fine Arts in 1983 as a non-collecting institution dedicated to displaying
traveling exhibitions. The new institution represented the combined efforts of local
government, business, and art to construct not only a place in which to view art but also
as part of an overall plan to create a great metropolitan area. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection
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Identities, memories, histories and representation : the role of museums in twentieth century KwaZulu-Natal.Dlamuka, Mxolisi Chrisostomas. January 2003 (has links)
The history of museums in South Africa dates back to 1825 when the South African
Museum (SAM) was established in Cape Town. Initially museums in South Africa were
established for science and local history was seen as peripheral. Nevertheless, this began
to change during the early 1920s as artifacts of historical nature gained popularity, saving
them from historical oblivion in museums. Museums themselves broadened their role to
become major centres of both scientific and historical knowledge.
When museums started to include historical artifacts, they entered a terrain which was
influenced by a racist ideology of segregation and then apartheid. Thus, they became
centres of political discourse and mirrors of the white domination in South Africa. From
the 1920s museums served to propagate certain myths which was based on the subjugation
of Africans by white settlers. Museums played a pivotal role in entrenching ideas of white
settlement in Natal as a triumph over barbarism, savage and heathenism. Exhibitions
within the museums reflected certain identities at the expense of others. It was not until the
1980s that the political scenario forced museums to examine their role and adapt to the
new order. This marked the beginning of a new dispensation in the politics and poetics of
museum displaying. During the 1990s issues of representation in museums became
popular. Historians were among those who became interested in the question of how to
represent the South African a turbulent past in a post apartheid South Africa. This era was
characterized by new displays which are more accommodative and represent diverse
population groups of South Africa.
Exhibitions in museums always involve political ramifications and ideas within
exhibitions draw reference to the powerful groups in the making of political and social
discourse. During the post- apartheid era, KwaZulu-Natal museums reflect new identities
which are based on non-racialism and interaction of diverse people of the province. They
no longer serve as reference point for white domination and educational programmes are
more multidimensional and appeal to all sectors of our society. The thesis adopted in this
piece of work is that museums are political institutions and reflect the political identities of
the society that they live. They cannot be divorced from their time and circumstances. / Thesis (M.A.)-University of Durban-Westville, 2003.
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Dr. Soanes' Odditorium of Wonders : the 19th century dime museum in a contemporary contextEdmundson, Jane, University of Lethbridge. Faculty of Fine Arts January 2013 (has links)
19th century dime museums were a North American phenomenon that flourished in urban
centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime
museums provided democratic entertainment that was promoted to all classes as
affordable and respectable. The resulting facilities were crammed with art, artifacts,
rarities, living human curiosities, theatre performances, menageries, and technological
marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit
and aesthetic of the dime museum to invoke wonder in the viewer and to combine art,
artifacts, and oddities to provoke questions about the boundary between education and
amusement. Both the academic and curatorial texts utilize a mix of methodological
approaches appropriate to museology, art history and cultural history: theoretical research
into historiographical issues concerning theories of display and spectacle; archival
research and discourse analysis of historical documents, and material culture analysis
(including the semiotics of display). / iv, 60 leaves : ill. ; 29 cm
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The Impact of Native American Activism and the Media on Museum Exhibitions of Indigenous Peoples: Two Case StudiesUnknown Date (has links)
This thesis is a critical study of two exhibits, First Encounters Spanish Exploration in the Caribbean and A Tribute to Survival. The objective of the thesis was to understand if and how indigenous activists, using the media as tool, were able to change curatorial approaches to exhibition development. Chapter 1 is broken into three sections. The first section introduces the exhibits and succinctly discusses the theory that is applied to this thesis. The second section discusses the objectives of the project and the third provides a brief outline of the document. Chapter 2 discusses the historical background of American museums in an attempt to highlight changes in curatorial attitudes towards the public, display, interpretation, and authority. Chapter 3 gives a more in-depth overview of the methodology and materials utilized in the thesis. Chapter 4 is a critical analysis of the literature for both First Encounters and A Tribute to Survival. Chapter five is a summary of the thesis and offers a conclusion of the effectiveness of using the media as a tool. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection
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The Doulgas Summerland collectionFitzpatrick, Peter Gerard, Media Arts, College of Fine Arts, UNSW January 2007 (has links)
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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The Doulgas Summerland collectionFitzpatrick, Peter Gerard, Media Arts, College of Fine Arts, UNSW January 2007 (has links)
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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