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
This thesis sets out to compare several landscape drawings of artists that went to Italy and those that did not. Both groups are called Italianates, but that does not always mean that they saw the...Show moreThis thesis sets out to compare several landscape drawings of artists that went to Italy and those that did not. Both groups are called Italianates, but that does not always mean that they saw the landscape first hand. What are the differences between these groups and how can we tell them apart via visual analysis? Furthermore, this thesis aims to compare the watermarks of the drawings in order to provide a technical foundation before comparing the drawings on a visual level. The artists that have been selected for this comparison are Jan Both, Thomas Wijck, Nicolaes Berchem and Jacob van der Ulft, who are all born in the Northern Netherlands at the beginning of the seventeenth century.Show less
This Master thesis has conducted a research centring around freedom in videogames. Via means of Ubisoft’s action-adventure videogame Assassin’s Creed II (2009) this thesis aims to determine the...Show moreThis Master thesis has conducted a research centring around freedom in videogames. Via means of Ubisoft’s action-adventure videogame Assassin’s Creed II (2009) this thesis aims to determine the extent in which the player is free and able to experience freedom in both Assassin’s Creed II individually, as well as compared to three videogames to provide a contextualised framework specifically for Assassin’s Creed II as is used in the methodological framework of this thesis. The three compared videogames being Minecraft (2011), The Elder Scrolls V: Skyrim (2011), and Halo Wars (2009) have worked towards providing a contextualised answer in discussed modes of freedom as depicted and present in Assassin’s Creed II. Via both surface layer narrative and underlying structural algorithmic build of videogames, Assassin’s Creed II has been analysed using a philosophical approach via theories and debates on freedom, as well as via the use of algorithmic models and the potential dangers algorithms pose in regards to the player-experience of freedom in videogames. Ultimately, this thesis uncovered the potential dangers of algorithms within Assassin’s Creed II, and thereupon via the compared videogames the potential controlling-tendencies of the use of algorithms in the digital environment.Show less
The Album of Drawings (object number: PK-T-AW-xxx) housed in the University of Leiden's Special Collections presents a compelling enigma within art history. Comprising 80 intricately executed pen...Show moreThe Album of Drawings (object number: PK-T-AW-xxx) housed in the University of Leiden's Special Collections presents a compelling enigma within art history. Comprising 80 intricately executed pen and brown ink drawings embellished with grey wash, these depictions meticulously portray episodes from the Old Testament. The illustration spans Genesis through Judges, highlighting the relationship between God and His people and the latter’s struggles, faith and challenges as they define their identity and purpose, guided by divine intervention and historical context. Measuring around 4.2 × 5.6 cm, each drawing showcases remarkable detail and skill. The elusive identity of the artist adds an intriguing dimension to the collection. This research aims to uncover the album's history, the artist's pictorial references, the drawings' purpose, their likely creation date, and their status as copies or original works. Employing an object-oriented methodology, the study combines visual and iconographical analyses with examination of relevant literature and technical resources, including watermark and transfer techniques. The album consists of two sections: eight drawings of fruits and nuts, believed to be created by the album's owner, and 80 Old Testament drawings attributed to an anonymous Netherlandish artist, potentially originating after 1659. Visual scrutiny suggests that most drawings are adaptations of widely disseminated contemporary prints, drawing inspiration from prominent artists like Antonio Tempesta, Jost Amman, and Pieter Hendricksz. Schut. These drawings display thematic and compositional correlations with identified sources, hinting at the artist's access to a diverse array of visual materials. The sequential arrangement of scenes echoes a picture Bible, possibly intended for broader distribution through printing. The inquiry into whether these biblical drawings are copies or original creations is pivotal. Despite drawing from existing compositions—a prevalent practice—evidence suggests deliberate alterations, infusing them with a distinct style, emotional depth, and focus on human actions. These modifications, coupled with the amalgamation of diverse sources, elevate the drawings beyond mere reproductions. The artist's conscientious choices underscore the intricate interplay between artistic value and intended purpose. In conclusion, this research provides an in-depth exploration of the Album of Drawings, shedding light on its historical context, artistic origins, and potential functions. Through meticulous analysis, the study enhances our understanding of Netherlandish biblical illustration in the seventeenth century and fosters a deeper appreciation for these captivating pen drawings.Show less
This thesis explores the decolonial concept of 'pluriversal' presented in the institution of Framer Framed Amsterdam through the exhibition "To those who have no time to play" by Russian...Show moreThis thesis explores the decolonial concept of 'pluriversal' presented in the institution of Framer Framed Amsterdam through the exhibition "To those who have no time to play" by Russian performance artist Gluklya (Natalia Pershina-Yakimanskaya). It uses concepts, theories, and analysis methods of decolonial praxis and museology. Thus this thesis examines the role of pluriversality in the exhibition through various applications and proceeds to approach the exhibition as decolonially as academically possible.Show less
The importance of the labelling of clothes in the late nineteenth century is often associated with couturiers. Their use of labels was aimed at branding both their fashion houses as well as...Show moreThe importance of the labelling of clothes in the late nineteenth century is often associated with couturiers. Their use of labels was aimed at branding both their fashion houses as well as themselves as artist designers. Little attention has been paid to the labelling practices of nineteenth-century dressmakers, although it is known to have been widely applied. Just as few women have been identified while the dressmaking trades were a female dominated industry. For the Netherlands in particular, it is interesting to examine dressmakers and their labelling practices as the lack of Dutch couturiers made Dutch dressmakers the most important figures in the Dutch dressmaking trades of the nineteenth century. This thesis aims to identify Dutch dressmakers through their labels while questioning to what extent late nineteenth-century Dutch dressmakers used their labels for branding their fashion houses and how this related to the Western European fashion practice. The Dutch labelling and dressmaking practices are contextualised and compared with their Western European counterparts through literature analysis and stylistic object-based analysis of labels found in five Dutch museums and seven museums from across Western Europe. The exceptionality of these labelling practices in a female dominated industry is explored as a notion of female agency through the concepts of feminisation, female individualisation and authorship. In addition, this thesis examines how the commercial significance of a dressmaker’s name as a brand name manifested itself in a dressmaker's labels and advertisements. This research results in fourteen biographies of Dutch dressmakers whose labels, together with the Western European labels, can be divided in three stylistic categories. It shows that the strength of the label as a branding tool laid in the continuous use of the same design, just like a signature. This thesis argues that the strongest example of female agency lies in the dressmaker’s name on the label which speaks of an awareness of her own originality and individuality, while at the same time publicly claiming her authorship.Show less
For this research, I investigated a selection of prints of Atlas Van Stolk, to substantiate the claim that they encourage critical thought and public debate. With an art-historical analysis of...Show moreFor this research, I investigated a selection of prints of Atlas Van Stolk, to substantiate the claim that they encourage critical thought and public debate. With an art-historical analysis of these works, I demonstrate that the cooperation between Atlas Van Stolk and the Rotterdam Public Library makes them as a whole greater than a sum of its parts. A brief overview of the task that the Rotterdam City Council has set to make Atlas Van Stolk publicly accessible, provides insight into the future aims of the Van Stolk collection. A historical analysis of the origins and collection policy explains the role and function of the collection to serve both historical and public interest: now and in the future. A subsequent analysis of the library as a public space sheds light on its mission and public policy and explains its position to expose heritage to a wide audience. The outline of the history, present, and future substantiates the connection between Atlas Van Stolk and the Rotterdam Public Library to actively pursue social development and education. An art-historical analysis of nineteen newsprints from the time 1500-1815 demonstrates that the combination of entertainment and education in these prints makes newsprints an inherently publicly engaging medium. Theoretical analysis of the intermediality of a selection of prints explains their educational and entertaining function because of the interplay between text and image. The public sphere and the public space come together because the library functions to create a democratic environment that stimulates critical thought, active citizenship, and community participation. The outcomes of the theoretical analysis and the methodology are translated into present-day cultural values of democracy and critical citizenship within the public sphere by means of the exhibition proposal.Show less
This study reconfigures museum visitors’ art experience in the digital age through a transdisciplinary analysis based on digital ethnography, media phenomenology, and affect theory. Through...Show moreThis study reconfigures museum visitors’ art experience in the digital age through a transdisciplinary analysis based on digital ethnography, media phenomenology, and affect theory. Through interviewing visitors of the Nxt Museum, Amsterdam, this thesis investigates the ways in which persons engage with and are present in front of the hypermediated installation art in the exhibition Unidentified Fluid Other (June 2022–September 2023). The immersive and spatial qualities of the installations retain an enticing quality that are a popular photographic motif for visitors and designate the institution as a heterotopic environment. Moreover, the installations possess an alluring aesthetics of hypermediation that provokes profound, embodied and affective sensations in their viewers. Instagram usage and smartphone photography hereby significantly reshape and restructure visitors’ attention and behavior in the gallery space, resulting in a remediation of their embodied experiences via the hand-held device that oscillates between a desire for immediacy and profuse hypermediation. In renegotiating their sense of presence and sense of selves in the art experience, visitors resort to a dual engagement with the installations whereby they actively experience the art with and without their phones. This research therefore identifies smartphone photography as an additional trajectory in the contemporary museum experience, as an extension of the visitors’ selves. The effects of smartphone remediation on embodied affectivity and presence of visitors in art spaces thus retain beneficial qualities which may inform cultural institutions and art historical research at large.Show less
JODI, a famous artist duo and one of the pioneers of Internet art, started exploring the Internet as an artistic practice in the mid-nineteen nineties. The work wwwwwwwww.jodi.org (1995) will be...Show moreJODI, a famous artist duo and one of the pioneers of Internet art, started exploring the Internet as an artistic practice in the mid-nineteen nineties. The work wwwwwwwww.jodi.org (1995) will be exhibited in the upcoming exhibition REBOOT, among other influential works from the Netherlands. However, how is an online, non-physical artwork exhibited in the context of a physical exhibition? This thesis will look at five different exhibitions in which Jodi.org was displayed and analyze how the work behaved differently depending on the social context and time. By looking at the social biography, through different behaviors of the work, across these five different moments, this thesis aims to design a display model for the upcoming exhibition REBOOT. The designed display is an innovative way of approaching the online work wwwwwwwww.jodi.org and carrying it out into the physical realm.Show less
This thesis demonstrates that the famous British painter J.M.W. Turner should not just be seen as a painter of landscapes and marine paintings, but also as a topographical artist. Topography, the...Show moreThis thesis demonstrates that the famous British painter J.M.W. Turner should not just be seen as a painter of landscapes and marine paintings, but also as a topographical artist. Topography, the representation of specific places or monuments, played a major role throughout his career. Proof of this can be found not only in the sketches, drawings, and paintings that he produced, but also in his training and teaching. Moreover, this thesis touches upon the influence of reproduction techniques and the importance of his social network for Turner's topographical production.Show less
