The goal of this thesis is to illustrate the importance of video art through a spatial and aesthetic phenomenological framework, revealing the critical nature of aesthetic experiences for forming meaning between art-objects and viewers facilitated through acts of curation. Video art, emerging in the 1960s and heavily intertwined with the museum, marks a unique, novel, and profound disruption of the representative regime of aesthetic experiences and objects through its nature to question cultural systems of the world as a radical medium. By evolving from anti-art movements in tandem with technological innovations, video was distant from art history, discourse, and tradition, allowing for women and people of color to work liberated from fine art limitations and set a new precedent for the art and museum community. Video art allows us to shape the future of the museum, curatorial practices, and aesthetic experiences as well as set a greater model for inclusion of voices often lost in the traditional art institution.
","abstract_html":"<p>The goal of this thesis is to illustrate the importance of video art through a spatial and aesthetic phenomenological framework, revealing the critical nature of aesthetic experiences for forming meaning between art-objects and viewers facilitated through acts of curation. Video art, emerging in the 1960s and heavily intertwined with the museum, marks a unique, novel, and profound disruption of the representative regime of aesthetic experiences and objects through its nature to question cultural systems of the world as a radical medium. By evolving from anti-art movements in tandem with technological innovations, video was distant from art history, discourse, and tradition, allowing for women and people of color to work liberated from fine art limitations and set a new precedent for the art and museum community. Video art allows us to shape the future of the museum, curatorial practices, and aesthetic experiences as well as set a greater model for inclusion of voices often lost in the traditional art institution.</p>","abstract_has_math":false,"creators":["Thurtle, Kamla"],"institution":null,"degree_name":"Master of Arts (MA)","degree_level":"Thesis","degree_discipline":"Film Studies","degree_department":null,"school":null,"contributors":["Kelli Fuery","Stephanie Takaragawa","Jamie Larkin"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2021,"date_issued":"2021-05-01T07:00:00Z","date_published":"2021-05-01T07:00:00Z","updated_at":"2026-07-24T01:38:16Z","subjects":["Film and Media Studies"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://digitalcommons.chapman.edu/film_studies_theses/21","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Kelli Fuery","Stephanie Takaragawa","Jamie Larkin"]},{"key":"dc:creator","label":"Author","values":["Thurtle, Kamla"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_discipline","label":"Discipline","values":["Film Studies"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Film and Media Studies"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://digitalcommons.chapman.edu/film_studies_theses/21"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The goal of this thesis is to illustrate the importance of video art through a spatial and aesthetic phenomenological framework, revealing the critical nature of aesthetic experiences for forming meaning between art-objects and viewers facilitated through acts of curation. Video art, emerging in the 1960s and heavily intertwined with the museum, marks a unique, novel, and profound disruption of the representative regime of aesthetic experiences and objects through its nature to question cultural systems of the world as a radical medium. By evolving from anti-art movements in tandem with technological innovations, video was distant from art history, discourse, and tradition, allowing for women and people of color to work liberated from fine art limitations and set a new precedent for the art and museum community. Video art allows us to shape the future of the museum, curatorial practices, and aesthetic experiences as well as set a greater model for inclusion of voices often lost in the traditional art institution.
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"],"dc:identifier":["https://digitalcommons.chapman.edu/film_studies_theses/21"],"dc:source":["Thurtle, Kamla Lucia. \"Curation of the Video Art Exhibition in the Museum.\" Master's thesis, Chapman University, 2021. https://doi.org/10.36837/chapman.000270"],"dc:subject":["Film and Media Studies"],"dc:title":["Curation of the Video Art Exhibition in the Museum"],"thesis:degree_discipline":["Film Studies"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Arts (MA)"]},"updated_at":"2026-07-24T01:38:16Z"}