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'Culture Warriors': Education and Awareness at the Inaugural National Indigenous Art Triennial, organized by National Gallery of Australia, 2007--2009.

机译:“文化战士”:首届全国土著艺术三年展的教育和意识,澳大利亚国家美术馆,2007--2009。

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摘要

This thesis discusses the inaugural National Indigenous Art Triennial: Culture Warriors organized and hosted by the National Gallery of Australia and provides a critical analysis of the National Indigenous Art Triennial: Educational Resource that accompanied the exhibition. The aim of this discussion and analysis is to identify elements from the educational program at the National Gallery of Australia (NGA) that effectively increase knowledge and appreciation of Indigenous art at the Gallery. The premise behind my analysis consists of the possibility and feasibility of using similar educational programs in a Canadian context. Using an exploratory approach, this thesis brings attention to elements that could potentially be of benefit to the National Gallery of Canada (NGC) in the development of future educational programs associated with Indigenous Art exhibitions.;It is well-known that, in the past, the NGC has been criticized for its exhibition, collecting, and dissemination practices with regards to Indigenous art. Having undergone considerable changes since the 1990's, the NGC is beginning to look like a different institution especially with the establishment of an Indigenous Art Department in August 2007. One particular area criticized in the past about the NGC has been public access to and information about Indigenous art at the Gallery. As stated by Alfred Young Man, Department Head of Indian Fine Arts, at the First Nations University of Canada, in 2008; "There needs to be a better way for people who are looking for Aboriginal art at the National Gallery to find it, and learn about it."1 Today, the NGC's mandate seeks to "increase the knowledge, awareness and appreciation of Indigenous art in Canada and internationally."2 With its Indigenous Art Department currently in a relative stage of infancy, it is a logical time to be looking at the educational tools being developed and implemented at similar institutions, such as the NGA, for ideas as to how the NGC can fulfill its present-day mandate.;1Alfred Young Man, (Department Head, Indian Fine Arts, First Nations University of Canada) in discussion with Jacinthe Soulliere, June 2008 as quoted in her MA Thesis; The Stone that Cracked the Wall between the Institution and the First Nation Artist: the National Gallery of Canada, 1980-2008, (Montreal: Concordia University, 2009), 68. 2National Gallery of Canada, A Brief History: National Gallery of Canada Indigenous Art Collection, (Ottawa: NGC, 2009), http://www.gallery.ca/irnages/History_IndigenousArt.pdf.
机译:本文讨论了由澳大利亚国家美术馆组织和承办的首届“国家土著艺术三年展:文化勇士”,并对伴随展览的“国家土著艺术三年展:教育资源”进行了批判性分析。讨论和分析的目的是从澳大利亚国家美术馆(NGA)的教育计划中找出有效增加美术馆内土著艺术知识和欣赏的元素。我的分析背后的前提包括在加拿大使用类似的教育计划的可能性和可行性。本文采用探索性方法,将注意力集中在可能与加拿大国家美术馆(NGC)进行未来与土著艺术展览相关的教育计划的开发中的元素上。众所周知,过去,NGC因其在土著艺术方面的展览,收集和传播做法而受到批评。自1990年代以来发生了很大的变化,NGC开始看起来像一个不同的机构,尤其是在2007年8月成立了土著艺术部门之后。过去有关NGC的一个批评领域是公众获取和了解土著居民信息。画廊的艺术。正如加拿大第一民族大学印度美术系系主任阿尔弗雷德·扬曼(Alfred Young Man)所说,2008年; “需要在国家美术馆寻找原住民艺术品的人们找到一种更好的方法,并对其进行了解。” 1如今,NGC的任务是“增加当地居民对原住民艺术品的知识,认识和欣赏。加拿大和国际上。” 2鉴于其土著艺术部门目前还处于起步阶段,现在应该考虑在类似机构(例如NGA)中开发和实施的教育工具,以寻求关于如何NGC可以履行其今天的任务。1Alfred Young Man(加拿大第一民族大学印度美术系系主任)与Jacinthe Soulliere进行了讨论(2008年6月发表在她的硕士论文中);打破机构与第一民族之间壁垒的石头:加拿大国家美术馆,1980-2008年,(蒙特利尔:康科迪亚大学,2009年),第68页。2加拿大国家美术馆,历史简介:加拿大国家美术馆艺术收藏,(渥太华:NGC,2009年),http://www.gallery.ca/irnages/History_IndigenousArt.pdf。

著录项

  • 作者

    Peron, Marie.;

  • 作者单位

    Concordia University (Canada).;

  • 授予单位 Concordia University (Canada).;
  • 学科 Art history.
  • 学位 M.A.
  • 年度 2010
  • 页码 147 p.
  • 总页数 147
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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