Modern museums are not absent from attempts to create revered spaces within their walls. Museums in the West have generally encouraged the understanding of being a space with the power to enable...Show moreModern museums are not absent from attempts to create revered spaces within their walls. Museums in the West have generally encouraged the understanding of being a space with the power to enable transcendent encounters through art, architecture, and heritage, walking on a fine line between the sacred and the secular. The concept of museum sacrality – museum spaces’ ability to evoke a sense of reverence or significance, akin to a spiritual or religious experience – has gained increasing attention as museums evolve to cater to the attitudes and desires of the public. The Buddha Room in the Wereldmuseum in Leiden is an example of this intersection, and attention will be paid to the overlap between the sacred as approached from a conceptual perspective and the generalized sentiment of sacrality as approached from a new museological perspective. By framing this room within a lens of museum sacrality this paper looks to explore curators’ perspective on the sacred and propose theories regarding the design and function of sacrality within the museum. How do the Buddha statues and the Buddha Room at the Wereldmuseum in Leiden operate to heighten museum sacrality, and what visual and design language does the Wereldmuseum employ to perpetuate this feeling? This paper will focus on how these statues are understood by the museum, as seen through curator interviews and curation analysis, and explore their highlighted place in the collection.Show less
The German born Maria Sibylla Merian (1647-1717) is receiving a lot of attention in the 21st century, three hundred years after her death. This thesis intends to investigate her life and legacy in...Show moreThe German born Maria Sibylla Merian (1647-1717) is receiving a lot of attention in the 21st century, three hundred years after her death. This thesis intends to investigate her life and legacy in order to understand this ongoing interest. Merian is well known for her artistic skills and her lifelong passion to study the metamorphosis of moths and butterflies. Her dedication brought her to the Dutch colony Suriname to research the tropical specimen. After her return to Amsterdam, she published her master piece Metamorphosis insectorum Surinamensium containing sixty plates with accompanying texts of the life cycles of the insects together with their host plants. She was the first ecologist not only showing the diversity of the tropical nature but also representing its interaction and connectedness. This book made her famous in the whole Western world. By the end of the 18th century her fame faded away for almost two centuries. She came back into the limelight during the World War II. After the war at the time of the second wave of feminism she made a true revival. Ever since, there is an increasing interest in her and her work evidenced by many expositions, congresses, auctions of her work, and the founding of the international Maria Sibylla Merian Society. This thesis investigates which features of Merian and her legacy resonate with the social issues and challenges of the 21st century, such as (eco)feminism, destruction of ecological systems and climate change. Last but not least, what is the role of the beauty of her artistic and scientific illustrations?Show less
This thesis investigates the contributions of female employees at Museum Boijmans van Beuningen in Rotterdam between 1935 and 1956. Despite the historical omission of their contributions, this...Show moreThis thesis investigates the contributions of female employees at Museum Boijmans van Beuningen in Rotterdam between 1935 and 1956. Despite the historical omission of their contributions, this research explores their roles both within and outside the museum through archival and literary analysis. The thesis first examines female staff members' societal networks and educational backgrounds. Many were connected to upper-class cultural societies, such as the Rotterdamsche Kunstkring, and some received art history education from scholars like H.P. Bremmer and Willem Vogelsang. These connections often facilitated their entry into the museum and informed their cultural contributions. The second section focuses on their roles inside the museum, distinguishing between scientific and non-scientific positions. Women contributed to scholarly work, cataloguing collections, and publishing academic materials. Despite their qualifications, they often held subordinate roles, with the first female curator appointed only in 1956. Some began as volunteers in hopes of securing paid positions. The final chapter explores the motivations behind their involvement. Social constraints, such as marriage laws and class privilege, played a role, as did their desire to remain within elite cultural circles or pursue professional careers in the arts. Ultimately, these women challenged traditional gender roles by asserting themselves in the generally male-dominated museum space. Their efforts as scholars, curators, and benefactors significantly contributed to the development of Museum Boijmans and laid the groundwork for future generations of female museum professionals.Show less
This paper opens a discussion into sustainable practices and their influences on museums. It specifically examines how museums have used fashion and textile exhibitions to advocate for...Show moreThis paper opens a discussion into sustainable practices and their influences on museums. It specifically examines how museums have used fashion and textile exhibitions to advocate for sustainability while further presenting suggestions on how museums can proceed with sustainable goals in mind. Understanding that sustainability in museums needs collaborative and international aid to be implemented successfully, this research hopes to deepen scholarly pursuits in this subject by analysing how European museums have fostered environmental awareness and how they have used collective action to educate audiences on the interplay of materials and sustainability ethics.Show less
This thesis delves into the captivating world of Dutch genre prints from the 16th and 17th centuries, focusing on the communicative meaning of eye contact made by the depicted figures with the...Show moreThis thesis delves into the captivating world of Dutch genre prints from the 16th and 17th centuries, focusing on the communicative meaning of eye contact made by the depicted figures with the contemporary viewer. Through several case studies, divided into the categories: “stereotypes”, “companies” and “couples”, it investigates how eye contact is used to capture attention, deliver commentary and prompt the contemporary beholder to reflection. The meaning behind the returned gaze aligns with the dual role of genre prints as sources of entertainment and moral instruction. This study affirms that “eyes speak”: conveying emotions and the complexities of 16th and 17th-century society. The conclusion highlights the need for further research on the gaze in different media.Show less
In this thesis, I examine two contemporary art exhibitions curated by the German research group Beauty of Oil, presented in Kunstmuseum Wolfsburg and Brutus Rotterdam. The art exhibitions treat the...Show moreIn this thesis, I examine two contemporary art exhibitions curated by the German research group Beauty of Oil, presented in Kunstmuseum Wolfsburg and Brutus Rotterdam. The art exhibitions treat the subject matter of petroleum and how the material has influenced our habits, belief systems and cultural values. I have anchored my research in the academic debate of energy humanities and petrocultures, in which questions are posed on the influence of petroleum and how we ought to rethink our energy consumption in the current climate crisis. I have argued that especially museums and other cultural institutions ought to engage explicitly with the debate on petroleum to reach the broader public. By working together with the audience, exhibition spaces can be considered to be a valuable and constructive asset to the discourse on the necessary energy transition.Show less
Museums are affective. During the museum experience, we might encounter something that affects us. Sometimes this something lies in the autonomous qualities of an object on display. But sometimes,...Show moreMuseums are affective. During the museum experience, we might encounter something that affects us. Sometimes this something lies in the autonomous qualities of an object on display. But sometimes, it is purposefully fostered by a curatorial intervention. This rather recent museological trend, theorised as affective curatorship, justifies its contemporary relevance by the didactic function of affects. Mostly implemented in museums dealing with difficult histories and their memory work, this thesis explores the potential of affects for feminist curations. Addressing the specific experience of affective dissonance, this work aims to contribute to the current understanding of museums as spaces of collective healing and well-being, and suggests affective dissonance as a methodology for feminist curators. Grounding its argument on the analysis of two exhibitions from the personal experience of deep affective dissonance, the research project argues for its efficiency in raising patriarchal consciousness and empowerment within the visitors identifying as women, and proposes a toolbox of curatorial strategies designed to foster its experience.Show less
This thesis examines a collection of drawings by Abraham Delfos (1731-1820), an eighteenth-century engraver and draftsman from Leiden. Housed in the Print Room of Leiden University Libraries, these...Show moreThis thesis examines a collection of drawings by Abraham Delfos (1731-1820), an eighteenth-century engraver and draftsman from Leiden. Housed in the Print Room of Leiden University Libraries, these drawings predominantly consist of reproductions made after seventeenth-century paintings. Despite the fact that reproductions were a common practice and a typical eighteenth-century phenomenon, they have received limited attention from researchers. By examining Delfos' drawings within the broader context of his time, including his role as a director and his involvement in the establishment of drawing academy Ars Aemula Naturae, as well as his art dealership, this research uncovers the historical significance of these artworks. The study explores the factors that influenced changing attitudes towards reproductions and their growing popularity in the eighteenth century. Through a comprehensive analysis of Delfos' drawings, insights are gained into the influences shaping his artistic approach, the role of art education, and the perception of reproductions. These drawings serve as valuable windows into the past, offering a unique perspective on the interplay between art, education, societal development, and the evolving status of reproductions in the eighteenth century. The exploration not only highlights Delfos as an artist but also enriches our understanding of the artistic and cultural landscape of the time.Show less
This thesis explores the future of community-focused programming in art museums, emphasising the potential of art for psychological healing, digital tools for social sustainability, and...Show moreThis thesis explores the future of community-focused programming in art museums, emphasising the potential of art for psychological healing, digital tools for social sustainability, and participatory design. Examining two primary case studies: the House of Memories and Meet Me at MoMA programs, it analyses their approaches towards inclusion, participation, and accessibility whilst drawing lessons for connecting theory with practice. It explores the ideas behind participatory museology through concepts such as ‘third space’ theory, and its influence on each initiative. The Meet Me at MoMA program, focusing on the soothing power of art for Alzheimer's patients, exemplifies successful inclusivity and accessibility in the museum. The House of Memories program serves as a participatory and community-focused model that uses digital museology to its advantage. The thesis assesses the museums' social responsibility, particularly when it comes to co-collaboration with underrepresented groups and those with unique needs. Delving into the therapeutic nature of art, it argues that art museums can be recommended as ‘social prescriptions’. It contends that this approach is a form of intersectional care, as an improvement of wellbeing is a common need across all communities, specifically those who have been historically underrepresented in museums. The complexities concerning the museum’s status as a ‘custodian’ of memory and identity are addressed, as well as the many challenges regarding diversification. It highlights the role of digital tools in museum evolution, advocating for digital innovation as an essential instrument for the future of community programming. The concluding remarks emphasise the need for art museums to introspectively use lessons from each case studies’ program, and assesses the role of the therapeutic nature of art for creating relevant community initiatives for diverse audiences. The thesis provides a comprehensive assessment of the evolving role of art museums, offering insights into community intersection, and possible paths for shaping inclusive, accessible, and community-focused institutions through the examination of Alzheimer’s and dementia initiatives already in circulation.Show less
The present research will illustrate the connection between art history and alchemy in Renaissance Italy through the analysis of art historian Giorgio Vasari’s (1511-1574) Le vite de’ più...Show moreThe present research will illustrate the connection between art history and alchemy in Renaissance Italy through the analysis of art historian Giorgio Vasari’s (1511-1574) Le vite de’ più eccellenti pittori, scultori ed architetti, which will be referred to as Le Vite in the rest of this research. The research question is the following: How did alchemical themes - especially rebirth - manifest in art history in Renaissance Italy, particularly through Vasari’s writings? The question concerns how alchemic themes and most notably rebirth, were manifest in Italian Renaissance art history and most specifically in Le Vite. The aim of this research is a new interpretation of Le Vite through parallels with alchemy. The structure of the thematic chapters is inspired by Vasari’s definition of the phases art went through from antiquity to his own time, the Renaissance: “perfezzione e rovina e (...) rinascita”, perfection, ruin, and rebirth (Vasari, Le Vite, 1986, ed. Bellosi and Rossi, p.125).Show less
This thesis examines the paintings of Henry Scott Tuke (1858-1929) against the backdrop of late Victorian and Edwardian Britain, exploring how his depictions of naked youths at the British seaside...Show moreThis thesis examines the paintings of Henry Scott Tuke (1858-1929) against the backdrop of late Victorian and Edwardian Britain, exploring how his depictions of naked youths at the British seaside navigated and subverted dominant cultural narratives of gender and sexuality. The study employs a multidisciplinary approach, integrating the lens of “the queer gaze,” multiple social-historical contexts in relation to the seaside, and critical reception. The first chapter delves into Tuke's portrayal of naked youths, revealing layers of homoerotic desire and voyeurism. Through visual analysis, Tuke's paintings are shown to evoke both childhood innocence and charged intimacy, inviting viewers to question and interpret the subtle sensuality within them. The second chapter examines the significance of the British seaside in Tuke's work, highlighting its idealized portrayal as a utopia of leisure and a masculine homosocial space. The final chapter explores the reception of Tuke's paintings during his lifetime and in current perspectives, revealing a nuanced tension between tradition and innovation in both style and subject. Tuke's depictions of naked youths at the beach occupy a liminal space between convention and novelty, both accepted by the critics of his time as well as the Royal Academy and celebrated by queer fringe groups. Overall, this research contributes to a deeper understanding of Tuke's work while shedding light on broader discussions surrounding the representation of gender and sexuality in art history.Show less
This thesis conducts a detailed exploration of transcultural curation through the lens of the controversy surrounding Taring Padi's People's Justice at Documenta Fifteen. It delves into the...Show moreThis thesis conducts a detailed exploration of transcultural curation through the lens of the controversy surrounding Taring Padi's People's Justice at Documenta Fifteen. It delves into the thematic and artistic choices of Documenta, focusing on the co-curation model spearheaded by ruangrupa and its impact on transcultural exhibitions. The analysis extends to Germany's historical context concerning Documenta and the response to People's Justice. Additionally, it highlights the influence of Indonesia's Reformasi movement on the art collectives Taring Padi and ruangrupa, shaping the narrative of Documenta Fifteen. This study probes the diverse interpretations and reactions to People's Justice in Germany, alongside the media's depiction of these cultural exchanges. It further explores the 'politics of belonging' concept by Yuval-Davis, shedding light on the complex dynamics of curating politically charged art. By emphasising the critical need for curators and artists to deeply understand the cultural and historical contexts of their work in different contexts, the research advocates for the use of interpretive tools—like spatial arrangements and thematic groupings—to address the complexities of artworks such as People's Justice. Concluding with acknowledging the evolving challenges in the art world, this thesis highlights the tension between artistic freedom and cultural sensitivity. It calls for further research into transcultural curation, audience reception studies, and the impact of co-curation models.Show less
The incorporation of other-than-human agencies in artistic practice has become increasingly popular within artistic institutions worldwide. The proliferation of exhibitions involving living things...Show moreThe incorporation of other-than-human agencies in artistic practice has become increasingly popular within artistic institutions worldwide. The proliferation of exhibitions involving living things signals the willingness to challenge traditional understandings of the human and its positioning in the world. Particular scrutiny will be directed towards the hosting space of such creative endeavors, seeking to shed light on how alternative art institutions, rather than conventional art galleries, provide a particularly promising and prolific context for the overall meaning-making process of multispecies artistic interventions; more specifically, it will be described how those latter provide venues where heightened levels of exploration and ethicality can be attained. The aim of the study is to highlight how cultural institutions’ experimentations with multispecies placemaking lay foundations for the emergence of unprecedented community formations, conscious of the complex and interlinked nature of the societies we cohabit. Simply put, the core inquiry that anchors this thesis is: how do alternative art spaces contribute to our understanding of multispecies coexistence in urban communities?Show less
