The principles of packing a case study of two travelling

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dc.contributor.advisorSkotnes, Pippaen_ZA
dc.contributor.advisorHamilton, Carolynen_ZA
dc.contributor.authorButcher, Clareen_ZA
dc.date.accessioned2014-09-30T13:42:38Z
dc.date.available2014-09-30T13:42:38Z
dc.date.issued2012en_ZA
dc.descriptionIncludes abstract.|Includes bibliographical references.en_ZA
dc.description.abstractThe travelling exhibition was formalised in a series of manuals, The Organization of Museums: Practical Advice (Museums and Monuments Series, IX) published by UNESCO as recently as the 1960s. Promoted as a utility for societies seeking to mediate rapid cultural change to one another in the period following the Second World War, my study highlights how certain elements of this display genre could be seen as inherent to all exhibitions: firstly, that carefully selected objects have the power to transport ideological and aesthetic values; secondly, that exhibitions are transient objects, in themselves worthy of study, as constructs of logistical, conceptual, public and political bolts and joints; and thirdly, that exhibition curators often play the role of diplomat – negotiating and mediating meaning across borders of various kinds. Though seemingly an obscure example, the large-scale international exchange of the Exhibition of Contemporary British Paintings and Drawings (1947-8) and the Exhibition of Contemporary South African Paintings, Drawings and Sculpture (1948-9) between the colonial centre and so-called ‘periphery’ of the South African Union, is a complex case study within a certain trajectory of travelling exhibitions. Never dealt with previously, the occurrence of such an exchange is significant not only because of its political context – in an immediate post-war, pre-apartheid moment – but also because many of the curatorial strategies used in the exchange process are heralded in UNESCO’s manual of Travelling Exhibitions (1953). To unpack this British-South African colonial freight could be easily regarded as a ‘merely’ art historical or archival gesture. If however, we understand the archive to be an historically determined framework within which to arrange cultural knowledge (Hamilton 2011), then an archive of travelling exhibitions makes both actual and contingent those cultural arrangements – the transient curatorial ‘principles of packing’ (UNESCO 1963). This project asserts that whether or not an exhibition is designated as such, travelling, as both an approach and the effect of curatorship, becomes the utility for mobilising not only objects but also ideas between contexts as seemingly disparate as those of the 1940s exhibitions or in today’s expansive ‘art worlds’.en_ZA
dc.identifier.apacitationButcher, C. (2012). <i>The principles of packing a case study of two travelling</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art. Retrieved from http://hdl.handle.net/11427/7804en_ZA
dc.identifier.chicagocitationButcher, Clare. <i>"The principles of packing a case study of two travelling."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 2012. http://hdl.handle.net/11427/7804en_ZA
dc.identifier.citationButcher, C. 2012. The principles of packing a case study of two travelling. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Butcher, Clare AB - The travelling exhibition was formalised in a series of manuals, The Organization of Museums: Practical Advice (Museums and Monuments Series, IX) published by UNESCO as recently as the 1960s. Promoted as a utility for societies seeking to mediate rapid cultural change to one another in the period following the Second World War, my study highlights how certain elements of this display genre could be seen as inherent to all exhibitions: firstly, that carefully selected objects have the power to transport ideological and aesthetic values; secondly, that exhibitions are transient objects, in themselves worthy of study, as constructs of logistical, conceptual, public and political bolts and joints; and thirdly, that exhibition curators often play the role of diplomat – negotiating and mediating meaning across borders of various kinds. Though seemingly an obscure example, the large-scale international exchange of the Exhibition of Contemporary British Paintings and Drawings (1947-8) and the Exhibition of Contemporary South African Paintings, Drawings and Sculpture (1948-9) between the colonial centre and so-called ‘periphery’ of the South African Union, is a complex case study within a certain trajectory of travelling exhibitions. Never dealt with previously, the occurrence of such an exchange is significant not only because of its political context – in an immediate post-war, pre-apartheid moment – but also because many of the curatorial strategies used in the exchange process are heralded in UNESCO’s manual of Travelling Exhibitions (1953). To unpack this British-South African colonial freight could be easily regarded as a ‘merely’ art historical or archival gesture. If however, we understand the archive to be an historically determined framework within which to arrange cultural knowledge (Hamilton 2011), then an archive of travelling exhibitions makes both actual and contingent those cultural arrangements – the transient curatorial ‘principles of packing’ (UNESCO 1963). This project asserts that whether or not an exhibition is designated as such, travelling, as both an approach and the effect of curatorship, becomes the utility for mobilising not only objects but also ideas between contexts as seemingly disparate as those of the 1940s exhibitions or in today’s expansive ‘art worlds’. DA - 2012 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2012 T1 - The principles of packing a case study of two travelling TI - The principles of packing a case study of two travelling UR - http://hdl.handle.net/11427/7804 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/7804
dc.identifier.vancouvercitationButcher C. The principles of packing a case study of two travelling. [Thesis]. University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 2012 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/7804en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentMichaelis School of Fine Arten_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherFine Arten_ZA
dc.titleThe principles of packing a case study of two travellingen_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMAen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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