This thesis explores the power structures in the formation of the canon of Surrealism. The question why female artists are still excluded from the master narrative of Art History is researched...Show moreThis thesis explores the power structures in the formation of the canon of Surrealism. The question why female artists are still excluded from the master narrative of Art History is researched through the actors who were involved in the formation of the canon of Surrealism and in the writing of Art History. The Surrealist art scene in 1930s and 1940s New York is the main topic of this research, together with the question of rereading, differencing or rejecting the canon and the move towards an inclusive Art History anno 2018.Show less
This thesis explores the question of how ethical standards in private art transactions could be improved by examining recent improvements museums have made to their ethical standards.
The age of globalisation has determined the shrinking of geographical distances and the emergence of mass mobility. People from diverse cultures now cohabit the same geographical areas which often...Show moreThe age of globalisation has determined the shrinking of geographical distances and the emergence of mass mobility. People from diverse cultures now cohabit the same geographical areas which often leads to conflicts stemming from fear of cultural diversity. In this respect, the role of modern art museums and biennials concerning the staging of intercultural encounters leading to mutual understanding is key. In this research, Pratt's and Clifford's theories on the contact zone will be combined with Bennett's notion of the exhibitionary complex and Witcomb's theories on the importance of addressing shared human concerns in current curatorial practice to instill empathic responses in the audiences face the realisation that despite cultural diversities, humans worldwide also share similar traits. Curatorial practice focussed on equally highlighting cultural similarities and differences and being more inclusive of the world’s artistic production, it is argued, can lead to the establishment of what can be defined the ultimate contact zone - a space of fruitful intercultural encounters in which diverse communities meet on equal power relations, discover each other, and ultimately re-shape their preconceptions around the surrounding world and the people inhabiting it. Specifically, the ultimate contact zone theory will be here applied to the famous exhibition The Family of Man, held at the MoMA in 1955 and now permanently installed at Clervaux Castle in Luxembourg, and the more recent Self-Portrait as the Billy Goat and The End of Love, held at the Whitechapel Gallery in London. The discussion will then move to biennial curatorial practice with a focus on the 1989 3rd Havana Bienal Tradition and Contemporaneity and the 57th Venice Biennale Viva Arte Viva.Show less
Museums have been traditionally a public sphere of heteronormativity; that is, an institution which privileges the narrative of two sexes from a heterosexual perspective. Recent exhibition makings...Show moreMuseums have been traditionally a public sphere of heteronormativity; that is, an institution which privileges the narrative of two sexes from a heterosexual perspective. Recent exhibition makings around the world have attempted to go beyond this gender norm and coincide with the latest LGBTIQ social rights movements. This thesis asks how LGBTIQ-theme exhibitions can challenge the normalized gender and sexuality in the museum. It addresses this question by proposing a theoretical framework of queer curating based on Judith Butler’s performativity theory and aims to rethink ways of exhibition display. Bringing queer theory into curatorial practice, the thesis explores the critical intervention of the Schwules Museum*(the Gay Museum* in Berlin) and examines how the curators reflect on displaying approaches in exhibition space. To rethink human sexualities in a more nuanced way, critical exhibition makings not only display diverse sexualities but also reveal the institutional neglect of non-conforming gender subjects and open up possibilities of performing diverse sexualities in museums.Show less
This thesis confronts guiding practices to the post-museum concept. Since the second half of the 20th century, a current stream of theories has renewed the museum’s mission in the Western world....Show moreThis thesis confronts guiding practices to the post-museum concept. Since the second half of the 20th century, a current stream of theories has renewed the museum’s mission in the Western world. Some label this new ideal, a ‘post-museum’. This shift has been characterized by focusing on the visitor and his or her experience. Consequently, guiding practices are challenged: alternatives must be offered to their prior model of “school like” transmission. In guided-tours, many opportunities can occur, thanks to the interaction created by the personal guide who seeks after reaching out to all the guided-visitors, including their feedback and input. Those challenges and opportunities for the guides will be analyzed theoretically and through the practical insight of three Dutch case-studies: two art museums, the Rijksmuseum, the Van Abbemuseum and the counterpoint of a commercial institution, the Heineken Experience. Based on interviews, these cases-studies will bring to light common points and inspirations to understand how guides can contribute to achieve the post-museum ideal.Show less
In his thinking of culture, French philosopher and sociologist Pierre Bourdieu (1930 – 2002) discusses the role of the dominant class and education in establishing the cultural standards. He claims...Show moreIn his thinking of culture, French philosopher and sociologist Pierre Bourdieu (1930 – 2002) discusses the role of the dominant class and education in establishing the cultural standards. He claims that cultivated audiences, mostly belonging to the higher class can define and access culture, while less educated, and lower classes are not interested in culture because they find it inaccessible. This raises questions such as; Is Bourdieu’s thinking of culture still relevant? Is there a gap between the work of art and the everyday audience and why? And finally, can we re-visit Bourdieu within the light of contemporary theories of knowledge and learning in order to identify strategies for apprehension of art, which could be used to bridge the gap between the work of art and the audience?Show less
Het doel van deze scriptie is om inzicht te krijgen in het gebruik van het concept van het Gesamtkunstwerk als presentatiemodel in Museum Boijmans Van Beuningen. Dit is aan de hand van het...Show moreHet doel van deze scriptie is om inzicht te krijgen in het gebruik van het concept van het Gesamtkunstwerk als presentatiemodel in Museum Boijmans Van Beuningen. Dit is aan de hand van het museumgebouw, de collectie, de visie van de museumdirecteur en de collectiepresentaties In scène gezet en Magritte ontmoet de collectie onderzocht. Met een museumdirecteur die het Gesamtkunstwerk een goed voorbeeld vindt van waar je als museum naar zou kunnen streven, is het niet verwonderlijk dat naast een aanzet hiertoe in de huidige tentoonstellingspraktijk we dit ook terugzien in de toekomstplannen van het museum. Het Gesamtkunstwerk is geen eenduidig of vastgesteld concept, maar eerder een evoluerend concept. Met de theorie van Richard Wagner (1813-1883) als uitgangspunt is het concept uitgewerkt tot een model dat ook toegepast kan worden op museumpresentaties. De scenografische tentoonstelling is een van de belangrijke recente ontwikkelingen binnen musea. Het creëert een multidisciplinaire enscenering dat meer op het proces dan het eindproduct is gericht en die wordt ervaren als een totaalervaring. Scenografie heeft veel overeenkomsten met het Gesamtkunstwerk en lijkt een zeer doeltreffende methode voor het benaderen van het Gesamtkunstwerk in de tentoonstellingspraktijk.Show less
This thesis analysis the meaning making of the Fries Museum and the Fries Verzetsmuseum. The comparison of the results of this analysis to the post-museum concept leads to a conclusion on whether...Show moreThis thesis analysis the meaning making of the Fries Museum and the Fries Verzetsmuseum. The comparison of the results of this analysis to the post-museum concept leads to a conclusion on whether both museums can be seen as post-museums.Show less
This thesis aims to discover the extent to which the exhibition "The Lost Museum: The Berlin Paintings and Sculpture Collection 70 years after WWII" at the Bode Museum can be described as an agent...Show moreThis thesis aims to discover the extent to which the exhibition "The Lost Museum: The Berlin Paintings and Sculpture Collection 70 years after WWII" at the Bode Museum can be described as an agent of political catharsis and historical abreaction both in Germany and in German-Russian relations. Berlin and Germany’s cultural memory is complex, with the preservation of this cultural memory being of importance to city planners, curators and the public by and large. This exhibition represents a way in which this difficult memory can be addressed and used as a means of looking forward. In a sense, the museum undertakes an “abreaction” of painful cultural memory. The use of replicas and the dedication to research in museums, in both Russia and Germany bring about solutions to painful loss and disputed property and “reactivates” the memory of artworks lost at the end of World War II through destruction and theft.Show less
This thesis examines the role architecture has on learning in the “post-museum”. This is done through the analysis of several contemporary museums mainly located in the Western Europe. The...Show moreThis thesis examines the role architecture has on learning in the “post-museum”. This is done through the analysis of several contemporary museums mainly located in the Western Europe. The constructivist theory of education, which is employed to conceptualise learning in the “postmuseum”, recognises the spatial, embodied and contextual nature of meaning making. However, the relationship between learning and museum architecture still lacks attention. This thesis looks not only at the spatial organisation and materiality of museum buildings. It also sees architecture as a Bourdieusian “field of practice”, riddled with various tensions, and as a set of practices that range from design to appropriation. By emphasising the ways museum buildings can serve the needs of their users, the scope of this research is extended beyond the formal and stylistic developments in architecture. This thesis reveals how architecture can create physically and psychologically comfortable museum environment necessary for meaning making. Also, the museum public is understood as diverse and employing various modes of learning. So, the input architecture has in generating a socially and culturally inclusive as well as physically and mentally accessible museum space is of major importance. Museum buildings should also reflect the local realities, because this proves to support learning as a part of identity construction. Furthermore, architecture can create rich sensory experiences that affect visitors’ emotional responses and thus support museological narratives. These narratives are often communicated through theatrical environments that prompt embodied and performative learning. However, theatricality in architecture can also be overwhelming and thus weaken or even override the educational message. This poses a real risk as museums have ethical responsibility towards the society to communicate certain values and bodies of knowledge. Finally, this thesis also suggests that the research should not be limited to museum buildings. It could be extended to urban and natural museum settings in order to evaluate the impact of the physical environment on a bigger scale.Show less
The present dissertation lays between two field of studies, audience research and museum education. It takes into account those educational programs and activities developed by modern and...Show moreThe present dissertation lays between two field of studies, audience research and museum education. It takes into account those educational programs and activities developed by modern and contemporary art museums to attract an audience between the age of 19 and 35. The educational aspects of museum practice are recently undertaking profound changes. Therefore, the first part of this thesis analyses the literature regarding the changing role of museum education in the last decades. The progressive interaction between education and curatorial practice is discussed together with the appearance of innovative learning theories applied to educational programs. Moreover, the discussion of the diversities between formal and informal education underlines the fundamental role of museum in supporting lifelong learning. The second chapter focuses on the analysis of the audience. Through statistics and surveys the present thesis outlines the necessity of attracting young adults aged between 19 and 35 years old. The specificities of this target are discussed in order to understand their precise needs. Hence, it is stressed that a diverse approach towards this generation is necessary to support and enhance their potential interest in contemporary art museums. Customized activities and educational programs could possibly increase their presence in museological institutions. The third chapter examines three case studies, the Stedelijk Museum in Amsterdam, The Gemeentemuseum in The Hague and the van Abbemuseum in Eindhoven. The comparative analysis of these institutions aims to comprehend whether the recent development of learning theories are implemented in the educational offer of museums. Their different approaches delineate whether there is a scarcity of programs especially developed for the target group in analysis. Eventually, possible appropriate strategies of engagement for young museumgoers are proposed as a valuable solutions for their lack of participation in contemporary art museums.Show less
In many art exhibitions dealing with an artist, archival material from the artist’s life is presented next to the artworks. The display cases containing this material, however, seem mostly to be...Show moreIn many art exhibitions dealing with an artist, archival material from the artist’s life is presented next to the artworks. The display cases containing this material, however, seem mostly to be neglected by the curator and treated as a mere concomitant. This thesis detects a change in the treatment and role of archival material in art exhibitions towards an important display element. This development is located in the concept of the post-museum as described by Eilean Hooper-Greenhill. The artist’s archive as a specific form of archive is discussed and placed in an appropriate theoretical framework. In this context, the role of the artist as the author has to be defined anew taking not only Otto Kris, Ernst Kurz, Roland Barthes and Michel Foucault into consideration but also introducing the special role of the anecdote as discussed by Mark Ledbury. When it comes to displaying archival material, various agents have to be considered. The role of the curator, the visitor and the object will therefore be discussed with a special focus on the narrative of the exhibition. In the post-museum, the visitor is allowed independence in interpreting the display and finding his or her own narrative. With the appropriate inclusion of archival material the curator can encourage this independence. Four case studies exemplify the importance of artist’s archival material and its successful inclusion in an art exhibition. With the main example Paul Klee. Life and Work, a recent exhibition at the Zentrum Paul Klee Bern, a way is shown in which archival material could be juxtaposed with the art and what this juxtaposition ultimately could mean.Show less
Abstract In this thesis an analysis of the social impact of ethnological museums in a multicultural society is presented. It discusses how exhibitions can act as agents of mutual understanding...Show moreAbstract In this thesis an analysis of the social impact of ethnological museums in a multicultural society is presented. It discusses how exhibitions can act as agents of mutual understanding between adult visitors of various cultural and ethnic backgrounds. It specifically analyzes different methods of display and incorporated learning strategies used in temporary exhibitions in the two major ethnological museums, Longing for Mecca in Museum Volkenkunde in Leiden and Black&White in the Tropenmuseum in Amsterdam. These exhibitions engage past and current issues concerning Muslim and black citizens respectively - ethnic groups that are largely represented in Dutch society. The first chapter argues that current debates about integration and racial discrimination in the Netherlands often lack a reasonable and respectful approach that is based on mutual understanding and could be fostered by museums. It furthermore illustrates the difficult legacy of ethnological museums as creators of master-narratives that promoted colonial policy and racial stereotypes. Museums are shown to have advanced from oppressive and elitist structures of the past and developing towards more democratic institutions that recognize not only visitors of various backgrounds but also increasingly search for cooperation with cultures whose heritage they exhibit. It will be illustrated that currently, temporary exhibitions appear to bear greater potential to involve and cater to diverse audiences and offer room for individual interpretations than permanent displays that often still bare traces of colonial thinking. The following chapter will argue that contemporary museums, that attempt to facilitate inclusion and mutual understanding, first of all have to enable practical accessibility and present themselves as worthwhile and inviting institutions. Next, barriers that might prevent intellectual or cultural access to museums are revealed and museums are shown to be aware of and responsive to the big impact that cultural frameworks have on interpretation processes. The chapter makes an argument for the use of multi-sensory and interactive displays that cater to different learning types. The final theoretical section of this thesis elaborates on the notion that museums are understood as institutions that can increase the visitor’s knowledge and affect his values, attitudes and worldview. A large-scale visitor study, combining quantitative and qualitative data, carried out by the Research Center for Museums and Galleries (RCMG) at the University of Leicester is presented as a beneficial approach for detecting potential learning outcomes. The five categories of interconnected Generic Learning Outcomes (GLOs), emerging from this study serve as a framework for the analysis of possible visitor experiences in the case studies. It is stated that museums need to undertake more large-scale visitor research that also considers individual experiences, in order to learn which exhibition strategies result in the most desirable learning outcomes. Both analyses of the case studies illustrate that the museums cooperate with the communities they cater to and present their exhibitions in a way that connects to the experiences of the people whose cultural heritage or present-day situations are represented while enabling all visitors to draw connections to their own realm of experience. The outline of the exhibitions, the practical, cultural and intellectual accessibility, the use of objects, the impact of narratives and personal stories, possibilities for physical engagement and the potential learning outcomes are thoroughly analyzed. It will be argued that by showing many personal stories and displaying various perspectives alongside each other, the museums dedicate themselves to a democratic manner of exhibition making and enable the visitors to get into indirect or direct contact with people and viewpoints they might not encounter in their daily lives. The museums themselves provide information, establish contact between these parties and open up a forum for exchange in which mutual understanding can begin. Black&White will be presented as an outstanding example for an exhibition that facilitates mutual understanding by preventing misunderstanding and acts as the moderator of a reasonable discussion. It will be concluded that while it appears that museums can direct their exhibitions to such broad outcomes as ‘understanding’, they do not have the potential to predict specific long-term results for all visitors since they bring various learning styles, motivations and interpretive frameworks to the museum. Some shortcomings are found in the educational units of Longing for Mecca that appear to not take full advantage of their educational potential. The thesis closes with a call for a thorough modernization of all exhibitions in the museums in order to create fully inviting environments for the diverse audiences of the 21st century.Show less
Musea moeten tegenwoordig niet alleen concurreren met vrijetijdsinstellingen, maar door de digitalisering van de samenleving, ook met het internet. Dankzij onder andere musea zelf is het mogelijk...Show moreMusea moeten tegenwoordig niet alleen concurreren met vrijetijdsinstellingen, maar door de digitalisering van de samenleving, ook met het internet. Dankzij onder andere musea zelf is het mogelijk om de beroemdste schilderijen digitaal en in detail te bekijken. De toegang tot kunst is hiermee laagdrempelig geworden. De mogelijkheden om kunstobjecten van dichtbij te bekijken en om ze aan te raken zijn in het museum beperkt. Hierdoor zou men zich kunnen afvragen wat tegenwoordig de toegevoegde waarde nog is van een museumbezoek, wanneer alle werken ook online te zien zijn.Om er achter te komen wat de toegevoegde waarde van een museumbezoek is, spelen drie aspecten een grote rol in een kunstbeleving, namelijk: de rol van de toeschouwer, de rol van het kunstobject en de rol van authenticiteit.Show less
