Dissertationen zum Thema „Jacksonville Museum of Modern Art“
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Alamsjah, Winnie 1974. „Rethinking the modern : imagining the future of the Museum of Modern Art, New York“. Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62954.
Der volle Inhalt der QuelleIncludes bibliographical references (p. 103-105).
The thesis seeks to explore the implications of the emergence of the digital media as a new art form on the museum space. The museum as an institution has faced some ideological and philosophical contradictions in recent times. Economically, heightened competition for dwindling funds has begun to shape programming decisions. Philosophically, the museum's perceived authoritarian role clashes with the critiques of cultural hegemony that are so much a part of the contemporary art world. Contemporary art forms that intentionally subvert the equation of art and object are often less compatible with traditional conceptions of museum space. And socially, museum expansion is often used as a tool for the gentrification of museum neighborhoods, a stratagem that cheers civic boosters and troubles social critics. All these point to a social, philosophical, political critique of the museum as an institution. The thesis does not attempt to resolve all the issues rooted in the current museum culture/structure. Rather, it seeks to study the various museums built historically and propose a new way of understanding the role of the museum in relation to the issues brought up by artists, social critics, historians alike. The exploration involves both spatial and material articulation. What could a museum be?
by Winnie Alamsjah.
M.Arch.
Rasmussen, Briley. „Pedagogy for the modern : Victor D'Amico and the Museum of Modern Art, 1929-1969“. Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/42851.
Der volle Inhalt der QuelleShaw, Nancy (Nancy Alison) 1962. „Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.
Der volle Inhalt der QuelleFloe, Hilary Tyndall. „The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change“. Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
Der volle Inhalt der QuelleNicolescu, Gabriela. „Art, politics and the museum : tales of continuity and rupture in modern Romania“. Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12491/.
Der volle Inhalt der QuelleJohansson, Michael. „Bildhuggaren, soldaten, och modern : Ivar Johnssons ”Arbete och livsbejakelse” (1939)“. Thesis, Linköpings universitet, Avdelningen för kulturvetenskaper, KVA, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-124698.
Der volle Inhalt der QuelleThis essay has touched Ivar Johnson's works "Arbete och livsbejakelse" (1939) which are placed on the facade of Östergötlands museum. The purpose of this thesis is to describe the history about the origin of the artwork and examine its relationship to the working-class themes and ideology. The history about the origin of the artwork has been written by a narrative review of protocol, from the comittee of museum building and the contemporary press. For the survey of the work's content and motives image, an analysis has been made based on Erwin Panofsky and Jan-Gunnar Sjölins methods. A discussion is made after the analysis and the results show that one can see the ideological tendencies in the work and that the motives can be seen following the work themes.
Gray, Campbell Bruce. „Recent design of the modern art museum in London : dissonance in theory and phenomenology“. Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240406.
Der volle Inhalt der QuelleWright, Lesley. „Surviving in New York : an exploration of development at the Museum of Modern Art“. ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/85.
Der volle Inhalt der QuelleUzumyemezoglu, Victoria Stephanie <1992>. „Istanbul Modern Museum: storia e analisi di un’istituzione museale moderna e contemporanea in Oriente“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13043.
Der volle Inhalt der QuelleWasson, Haidee. „Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.
Der volle Inhalt der QuelleBaniotopolou, Evdoxia. „Century city : art and culture in the modern metropolis : a case-study of institutional curating of contemporary art in an urban context“. Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5370/.
Der volle Inhalt der QuellePitman, Krista Chandler. „Understanding space the conceptualization and evaluation of display in Dia:Beacon /“. Birmingham, Ala. : University of Alabama at Birmingham, 2007. https://www.mhsl.uab.edu/dt/2007m/pitman.pdf.
Der volle Inhalt der QuelleBrown, Carol. „"Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study“. Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
Der volle Inhalt der QuelleGeiger, Stephan. „The art of assemblage the Museum of Modern Art, 1961 ; die neue Realität der Kunst in den frühen sechziger Jahren“. München Schreiber, 2005. http://d-nb.info/98913458X/04.
Der volle Inhalt der QuelleFerreira, da Rocha e. Silva Ana Beatriz. „Spectacular architecture, identity crisis, cultural politics and the reinvention of the significance of museums of modern art“. Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5645/.
Der volle Inhalt der QuelleRoda, Erica Andreia da Silva. „A exposição de Arquitetura no MoMA The Museum of Modern Art de Nova Iorque : transformações curatoriais“. Master's thesis, [s.n.], 2013. http://hdl.handle.net/10316/33210.
Der volle Inhalt der QuelleKim, Yon Jai. „The making of the National Museum of Modern and Contemporary Art (MMCA), South Korea, 1969-2016“. Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/41227.
Der volle Inhalt der QuelleAlvarez, Andrea. „Art Criticism, Scholarly Interpretation, and Curatorial Intent: A Reassessment of the 1998 Jackson Pollock Retrospective at the Museum of Modern Art“. VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/439.
Der volle Inhalt der QuelleBarrere, Laetitia. „La photographie documentaire à l'épreuve du modernisme au "Museum of Modern Art" de New York (1937-1970)“. Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010594.
Der volle Inhalt der QuelleThis thesis is dedicated to questions of reception and institutionalization of documentary photography and reportage photography from 1937 through to the 1970s at the New York Museum of Modern Art (MoMA). The first chapter looks at the development and objectives of the advent of straight photography as a canon or an aestheticizing tradition of the medium, and sheds light on the influence of formalist criticism in the emergence of a form of documentary modernism, exemplified by the works of Walker Evans. Many photographers whose practices do not correspond to the ideals of technical perfection of straight photography were excluded from the circuits of institutional legitimization, particularly the members of the New York Photo League, Urban documentary photography, developed outside of the modernist doxa will be the subject of the second chapter of this study. In this respect, particular attention is paid to the critical work of Elizabeth McCausland, a major spokesperson for the social function of photography. The third chapter focuses on the post-war period. ln this new context. The Americans were looking for new artistic canons, which they found in French reportage photography, with Henri Cartier-Bresson leading the fray. Finally, this chapter reveals the diplomatic interests of modernism in Transatlantic exchanges with France, as well as its economic interests, taking André Kertész, as an example, whose exhibition at MoMA caused his works to suddenly rise in value on the inchoate photography market of the 1970s
Kivlan, Anna Karrer. „An eye for vulgarity : how MoMA saw color through Wild Bill's lens“. Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39314.
Der volle Inhalt der QuelleIncludes bibliographical references (p. 67-71).
This thesis is an examination of the 1976 Museum of Modern Art exhibition of color photographs by William Eggleston-the second one-man show of color photography in the museum's history- with particular attention to the exhibition monograph, William Eggleston's Guide. From hundreds of slides, MoMA Director of Photography John Szarkowski dominated the process of selecting the 75 images for the exhibition and 48 to be carefully packaged in the Guide, a faux family photo album/road trip guidebook. It is my contention that, despite their verbal emphasis on the Modernist and universal (rather than Southern) nature of the images, the photographs can be read as being replete with the mythology of the Old South- its decay, vulgarity, and even horror. Through this act of manipulation, the images in the Guide appealed in a voyeuristic way to an elite Northern art world audience, ever eager to reinforce its own intellectual, economic, and ethical superiority over other parts of the country. Due to its presumed "vulgarity" and absence of aesthetic mystique at the time, color photography required for its inaugural moment at the museum a sharp distancing from the documentary tradition and advertising-the complete erasure of social context afforded by a Modernist aesthetic.
(cont.) The two-faced posture maintained by the curator and photographer combined a canny understanding of the cultural power of the images with an overtly Modernist disavowal of it.
by Anna Karrer Kivlan.
S.M.
Caloghirou, Christina 1971. „Marketing the aesthetic encounter : the role of consumption in the design of the new Museum of Modern Art“. Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/64902.
Der volle Inhalt der QuelleIncludes bibliographical references (p. 140-143).
In recent years, museum architecture has been extensively subjected to cultural critique. Perceived as an instance of architects' stylistic yearnings, reflecting control strategies, promoting institutions' economic and cultural power, catering for education through forms that increasingly associate it with commercial environments and building structures, museum architecture is examined in this thesis as a significant ground for articulating the relation between cultural and consumer practices. Assuming that contemporary societies increasingly operate within a highly consumptive culture, where people seek new experiences through travel, leisurely activities and cultural exposure, and considering that the physical environment challenges and affects the perception of our material and immaterial worlds, we investigate the role of consumption in recent museum design. In so doing, this study focuses on the new expansion of the Museum of Modern Art in New York, a project that surprised critics both in its choice of participants and the conceptualization of its design process. We discuss the meaning of consumer culture in the context of cultural institutions, outline its effect on the definition of MoMA's institutional identity and study its role and expression in the conceptual and design phases towards the selection of the final project. The objective is to review and expand our understanding of the relationship between consumption and cultural production in museum spaces while aspiring to develop an operative framework for future thought and practice in the shaping of new architectural identities.
by Christina Caloghirou.
M.S.
Chawaga, Mary. „The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube“. Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.
Der volle Inhalt der QuelleSbarra, Wendy M. „New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments“. Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.
Der volle Inhalt der QuelleDoughty, Elizabeth Lynn 1984. „Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.
Der volle Inhalt der QuelleIn 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other.
Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek
Garaycochea, Guido. „Museo de Arte Contemporáneo“. Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/114078.
Der volle Inhalt der QuelleLa siguiente investigación constituye una perspectiva histórica del Museo de Arte Moderno (MoMA) fundado en el año 1929 con apenas 13 obras y cuya concreción histórica revela cómo, a pesar de su modesto origen, el sueño de un pequeño grupo de personas logra convertirse en un referente museológico universal obligado. A lo largo de esta exposición se establecerá un paralelo entre la creación del MoMA, el Museo Metropolitano de Nueva York, el New Museum de Nueva York y el recientemente renovado Museo del Barrio en el Harlem, este último un reflejo del museo orientado la comunidad inmediata. Se considerará la inserción de internet en el panorama cultural de los Estados Unidos en general y su importancia en la difusión del contenido del museo, ya sea como herramienta de apoyo o como plataforma para determinados contenidos.
Shen, Kairos. „Design as a context for research : the design of a museum of modern art as a vehicle for studying Alvar Aalto's work“. Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/79014.
Der volle Inhalt der QuelleIncludes bibliographical references (p. 179-180).
The premise of this thesis is that there is valuable knowledge embedded in the buildings and related work of an architect that can only be understood in the context of some specific design setting. This thesis is an inquiry into the work of Alvar Aalto conducted through the process of two separate design exercises. The objective of the enquiry is to demonstrate that a reflective and self-critical design process can be a useful tool for extracting design knowledge embedded in Aalto's buildings. The method of this study uses Aalto's work as a critical reference for confronting specific architectural issues and dilemmas raised by the two design exercises. The designs borrow organizational and formal strategies from Aalto's buildings which can be seen to have confronted similar architectural issues. Aalto's work is studied primarily to further each of the designs. Therefore the enquiry of Aalto's work is necessarily topical, limited, biased towards understanding the issues of physical form making since it revolves around specific architectural design issues. The thesis itself is composed of six parts: --Section One introduces the premises for this enquiry. It discusses the kinds of design knowledge embedded in buildings and elaborates on using design as a context for extracting this specific kind of knowledge. --Section Two describes the two design exercises. It introduces the sites in Helsinki and Boston and discusses the pedagogical intention behind conducting two design exercises for this enquiry. It also includes the interpretation of the program of a Museum of Modem Art used in the design exercises. --Section Three presents the specific design of the Helsinki project in plan and section. --Section Four is a collection of some of the general observations on Aalto's work which emerged during the enquiry. These observations are grouped under 12 subjects. --Section Five presents selected examples from both the Helsinki and Boston design exercises to illustrate the design setting of these decisions and their relationship to the parallel enquiry into Aalto's work introduced in section four. --Section Six is a critical reflection on this enquiry. It highlights some of the most important questions raised by this investigation and offers some proposals for how this kind of design research can be continued.
by Kairos Shen.
M.Arch.
Benlian, Michèle. „Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle“. Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
Der volle Inhalt der QuelleThe thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
Pienoski, Christine Marie Pienoski. „Pyramids of Lake Erie: The Historical Evolution of the Cleveland Museum of Art's Egyptian Collection“. Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461522282.
Der volle Inhalt der QuelleЛукін, А. А. „Будівництво музею сучасного мистецтва в місті Чернігові“. Thesis, Чернігів, 2021. http://ir.stu.cn.ua/123456789/25322.
Der volle Inhalt der QuelleДаний проєкт передбачає будівництво музею сучасного мистецтва в місті Чернігові по вулиці Музейній. Конструкція будівлі являє собою повнокаркасну ригельну систему з поперечно розташованими ригелями. Фундаменти будівлі представляють собою стовпчасті та плитні фундаменти. Покрівля плоска, з організованим внутрішнім водовідводом. Стіни будівлі виконані із збірних залізобетонних тришарових панелей товщиною 200 мм. Будівля музею запроєктована двоповерховою з підвалом, в якому розташовані фондосховища для зберігання колекцій музею. Також будівля має експлуатовану покрівлю. Музей розрахований на 20-100 тисяч відвідувачів на рік та буде зберігати 10-30 тисяч одиниць експонатів.
This is a project to build the museum of the Contemporary Art in Chernihiv on the Muzeyna street. The construction of the building is a frame-based system with transversely placed crossbars. The foundations are represented as pillar foundations and slab foundations. The roof is flat, with an organized internal water supply. The walls of the building are made of the reinforced concrete three-layer panels with a thickness of 200 mm. The building of the museum has been projected with a two-floor scheme with a cellar, in which the museum can store exhibits of the museum collection. Also the building has exploited roof. The Museum is ready for 20-100 thousand visitors in the year, and be able to store 10-30 thousand exhibits.
Jacečko, Tomáš. „Středoevropské forum Olomouc“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-394003.
Der volle Inhalt der QuelleO'Toole, Erin Kathleen. „No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art“. Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/204109.
Der volle Inhalt der QuelleStatzer, Mary Kathryn. „"Photography into Sculpture": Peter Bunnell, Robert Heinecken and Experimental Forms of Photography Circa 1970“. Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556851.
Der volle Inhalt der QuelleLamb, Jacquelyn R. „The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987“. Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
Der volle Inhalt der QuelleImbert, Clémence. „Oeuvres ou documents ? : un siècle d’exposition du graphisme dans les musées d’art moderne de Paris, New York et Amsterdam (1895-1995)“. Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080084/document.
Der volle Inhalt der QuelleThis dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use
Mosako, Daniel Rankadi. „A study to identify and evaluate the roles and challenges of modern art museums - with special reference to the incorporation of digital technology in art museums in the Gauteng province of South Africa“. Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/61392.
Der volle Inhalt der QuelleMini Dissertation (MCHS)--University of Pretoria, 2017.
Department of Arts & Culture
University of Pretoria
Visual Arts
MHCS
Unrestricted
Dobranszky, Diana de Abreu. „A legitimação da fotografia no museu de arte : o Museum of Modern Art de Nova York e os anos Newhall no Departamento de fotografia“. [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285150.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Departamento de Fotografia do Museum of Modern Art de Nova York foi fundado em 1940 e seu primeiro curador foi Beaumont Newhall. Através de exposições e aquisições ele e sua esposa Nancy - que o substituiu nos anos em que ele serviu nas forças armadas durante a Segunda Guerra Mundial - estruturaram esse que foi o primeiro Departamento de Fotografia independente em um museu de arte. A importância do fato está no apoio institucional que o meio fotográfico recebeu e que possibilitou o reconhecimento da fotografia como arte. Ao mesmo tempo, pouco antes de ser indicado curador, Beaumont organizou a exposição Photography 1839-1937, cujo catálogo transformou-se no conhecido livro The History of Photography. O processo que levou ao Departamento assim como o trabalho desenvolvido pelos Newhall no MoMA entre 1940 e 1946 é tema de nossa pesquisa
Abstract: The Photography Department of the Museum of Modern Art (New York) was created in 1940, and its first curator was Beaumont Newhall. With exhibitions and acquisitions he and his wife Nancy, who replaced him while he served the Navy during the World War I, structured this that was the first independent Photography Department in an art museum. The importance of this fact lies in the institutional support that established photography as an art form. At the same time, shortly before Beaumont was appointed curator he assembled the Photography 1839-1937 exhibition. Its catalogue evolved into the seminal book History of Photography. The process that led to the Department as well as the work developed by the Newhalls at the MoMA between 1940 and 1946 is the subject of this study
Doutorado
Doutor em Multimeios
Lima, Vera Ferreira 1967. „Espaços expositivos contemporâneos“. [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285317.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de, preliminarmente, conceituar esta tipologia arquitetônica para, na sequência, apresentar suas transformações ao longo dos anos, fruto da constante busca por adequar o continente ao conteúdo e a sociedade. Enfatizando que as produções artísticas foram as causadoras das diversas necessidades de alterações espaciais também foi dedicada uma parte da monografia para apresentação do experimentalismo existente no período de reflexão. Cabe ressaltar que as variações nos suportes artísticos criaram novos desafios para os arquitetos no desenvolvimento dos projetos de museus, além da contaminação do seu imaginário com uma gama de infinitas possibilidades criativas. Para a criação destes espaços, por vezes, devem-se ponderar demandas antagônicas tais como: grandes ou pequenas áreas, claridade ou escuridão, silêncio ou ruído, cores ou neutralidade. Com o propósito de melhor entender estas edificações foram analisadas três instituições que apresentam condições específicas para a exibição de arte contemporânea, destacando-se duas distintas exposições em cada para melhor avaliarmos a conformação dos espaços às atuais demandas
Abstract: This dissertation aims to identify the ideal contemporary exhibition space, specifically museums, for showing contemporary art produced since the 1950s. In the research process, we primarily conceptualize this architectural typology and then presented its historical development related to its adequacy to social and artistic alterations. Considering that exhibition spaces must be adequate to show the wide range of artistic creations we also dedicated a chapter to understand and analyze all that happened in arts universe during the period. It¿s necessary to highlight that artistic developments in addition to being a big challenge to architects design are also a huge inspiration, mainly due to presenting infinity new possibilities. To design these spaces sometimes one must deal with antagonist forces like: amplitude or cosines, clarity or darkness, silence or noise, colorful or neutral. In this dissertation three reckon contemporary art institutions were analyzed highlighting two different shows in each one. The objective was to study the space adequacy to the art it contained
Mestrado
Artes Visuais
Mestra em Artes Visuais
Tabibi, Baharak. „Exhibitions As The Medium Of Architectural Reproduction "“. Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606077/index.pdf.
Der volle Inhalt der QuelleAndrade, Rodrigo Vivas. „Os salões municipais de belas artes e emergencia da arte contemporanea em Belo Horizonte : 1960-1969“. [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280775.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Encontra-se, nessa tese, o estudo das obras premiadas nos Salões Municipais de Belas Artes (SMBAs) de Belo Horizonte na década de 1960 e a transformação do SMBA em Salão Nacional de Arte Contemporânea (SNAC) em 1969. Para tanto, tornou-se necessário o entendimento das modificações do cenário artístico de Belo Horizonte iniciadas pelos confrontos entre acadêmicos, representados por Aníbal Matos, e os modernos reunidos nas exposições: Zina Aita em 1920, Salão Bar Brasil 1936, Exposição Moderna em 1944. Entende-se como a consolidação da arte moderna a vinda de Alberto da Veiga Guignard para fundar uma Escola de Artes, assim com as medidas modernizadoras de Juscelino Kubstchek, enquanto prefeito da capital mineira. Esse cenário e pinturas desses artistas são estudados na primeira parte da tese. Na década de 1960, os SMBAs abandonam o viés regional e passam a contar com a participação de artistas e críticos fundamentalmente do Rio de Janeiro e São Paulo. Para a compreensão desses acontecimentos, são analisadas as pinturas premiadas, nos Salões Municipais de Belas Artes, responsáveis por constituir o acervo do Museu de Arte da Pampulha. Para finalizar a tese, buscou-se compreender a emergência da arte contemporânea, na capital mineira, através do estudo das manifestações: Vanguarda Brasileira (1966), Objeto e Participação e Do Corpo à Terra (1970) que propunham a destruição do suporte do objeto artístico, da desmaterialização da obra de arte, assim como o questionamento dos SMBAs.
Abstract: This thesis is about the study of masterpieces awarded at the Fine Arts Municipal Salons of Belo Horizonte (SMBAs) in the 1960s and the transformation of the SMBA into The Contemporay Art National Salon (SNAC) of Belo Horizonte in 1969. To make it possible, it was necessary to understand the modifications of the artistic scene of Belo Horizonte considering the relations among the academic experts, represented by Aníbal Matos and the modern ones present in exhibitions such as: Zita Aita 1920, Salão Bar Brasil, 1936, Exposição Moderna 1944. The starting points of the modern art consolidation can be considered when Alberto da Veiga Guignard inaugurated a School of arts and the fact that that Juscelino Kubstchek, the major of Belo Horizonte (the capital of the State of Minas Gerais) had modern politics. That scene and the paintings of the artists are studied in the first part of this thesis. In the 1960s, the SMBAs spread their influence beyond the region and receive participations of artists and critics especially from Rio de Janeiro and São Paulo. To understand these events better, some awarded paintings are analyzed in the SMBA, responsible for keeping the Pampulha Art Musem objects. To conclude the thesis, there was an attempt to understand the emergency of the contemporary arts in the capital of Minas Gerais through the study of some art events such as: Vanguarda Brasileira 1966, Objeto e Participação and Do Corpo à Terra 1970. These events had the aims of destroying the support of the artistic object, the dematerialization of masterpiece and the questioning of the SMBAs.
Doutorado
Historia da Arte
Doutor em História da Arte
Almeida, Carolina Barros de. „O Museu de Arte Moderna da Bahia e suas contemporaneidades: de Lina Bo Bardi a Solange Farkas“. INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS, 2018. http://repositorio.ufba.br/ri/handle/ri/26722.
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A presente dissertação analisa o Museu de Arte Moderna da Bahia (MAM-BA) e sua gestão no contexto das recentes mudanças e avanços ocorridos nas políticas culturais baianas. O recorte temporal está concentrado no período entre 2007 a 2010, quando o Estado passou a ter uma Secretaria de Cultura autônoma, independente do turismo. Nesse período a curadora de arte Solange Farkas esteve à frente do museu e buscou dinamizá-lo com uma intensa programação de atividades, com o objetivo de inseri-lo no sistema nacional e internacional de arte contemporânea. A investigação leva em consideração a concepção original do MAM-BA, conforme idealizada pela arquiteta italiana Lina Bob Bardi, como um importante elemento legitimador da instituição na cena das artes visuais. Nesse sentido, confrontam-se aspectos entre as gestões Farkas (2007-2010) e a gestão Bo Bardi (1959-1964), visando identificar aproximações e diferenças. Para compreender diferentes aspectos da gestão, as influências das políticas culturais implementadas e a referência ao pensamento de Lina, foram realizadas entrevistas com gestores, artistas, curadores e pesquisadores atuantes no cenário cultural baiano.
This dissertation analyses the Museum of Modern Art of Bahia (MAM-BA) in its contemporary context and the relationship that existed between its management and the recent changes and advances in the cultural policies of the state of Bahia. The temporal cut is concentrated in the period between 2007 and 2010, when the State of Bahia reorganized its administration to have an autonomous Secretariat of Culture, independent of Tourism activities. During this period the curator Solange Farkas took over the management of the museum and sought to energize it with an intense activity, with the objective of inserting it into the national and international scenario of the contemporary art. The research considers the original MAM-BA, as originally designed by the Italian architect Lina Bo Bardi as a legitimating element of the institution in the scene of the visual arts. In this sense, aspects are confronted between the Farkas administration (2007-2010) and the Bo Bardi management (1959-1964), to identify approximations and differences. To understand the different management aspects, the influences of cultural policies and the reference of the Lina’s thought, interviews were carried out and a questionnaire was applied with managers, artists, curators and researchers in the Bahia’s cultural scene.
Nastari, Danielle Misura. „A gênese da coleção de arte brasileira do MoMA: a década de 1940, Portinari e artistas seguintes“. Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-07032017-102630/.
Der volle Inhalt der QuelleThis study presents a pioneering effort to set out the formation processes of the Museum of Modern Art in Ney York (MoMA) Brazilian art collection, revealing the sequence of events that lead artworks from Brazil to be acquired by this institution from 1939 to 1949. Its aim is to understand the historical scenarios that allowed these artworks to be received by the museum in the delimited time, as well as to comprehend the reasons that propelled MoMA to promote Brazilian art in the 1940s. The investigation work was based on correspondence of key people in this process Nelson Rockefeller, Alfred H. Barr Jr., Lincoln Kirstein and Cândido Portinari as well as on documents produced by the MoMA; the results of this research opens new possibilities of understanding the relations between Brazil and the United States, in the fields of art, culture and politics.
Armaos, Georges. „L'exposition de l'histoire de l'art : recherches sur vingt-quatre expositions contemporaines organisées et/ou tenues au Musée National d'Art Moderne, Paris et au Museum of Modern Art, New York, 1977-1999“. Paris 1, 2002. http://www.theses.fr/2002PA010535.
Der volle Inhalt der QuelleWest, Kim. „The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977“. Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.
Der volle Inhalt der QuelleSpace, Power, Ideology
Gresh, Kristen Ann. „The Family of man : histoire critique d'une exposition américaine“. Paris, EHESS, 2010. http://www.theses.fr/2010EHES0132.
Der volle Inhalt der QuelleIn 1955, Edward Steichen organized the historic exhibition "The Family of Man" at the Museum of Modem Art (MoMA) in New York. Under the auspices of United States Information Agency, it was exhibited throughout the world and gained a mythic status. This dissertation looks beyond that myth, in order to present a reference document with background information not previously examined. It is based on the author's research involving personal interviews with photographers who contributed to the exhibition as well as the analysis of unpublished archival documents. Part 1 explores the MoMA's World War II programs that paved the way for "The Family of Man", Steichen's career and his role as director of the museum's photography department. Part II traces the origins of the project, showing Steichen's various collaborations through a thorough examination of his correspondence, his individual and group meetings with photographers, and, in particular, his decisive trip across Europe. Part III examines the methods and results of Steichen's work, as both photographer and editor. A discussion of the sources of "The Family of Man", mainly photojournalistic, illustrates the contours of press photography at the time followed by a synopsis of the exhibition and its international circulation, in several versions. This dissertation demonstrates how "The Family of Man" was a tour de force in the history of photography because of Steichen's ability to combine his innovative photographic and editing skills that exploited the medium to communicate a political agenda that is a reflection of a complex network of colleagues, friends and acquaintances from the world of photography and of politics
Abrhámová, Tereza. „SEFO Olomouc“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-354960.
Der volle Inhalt der QuelleFilho, Durval de Lara. „Modos do museu: entre a arte e seus públicos“. Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-23082013-111500/.
Der volle Inhalt der QuelleThe museum of modern and contemporary art is an institution that has complex relationships with the art market, the public and the art itself. Its origins date back to the traditional museum and while keeping its basic characteristics with very little change over time it added some new and different functions. The hypothesis is: taking into consideration the contemporary form of cultural manifestations, art practices, cultural habits and organizations such as collectives and collective work, the museum needs to rethink itself if it wants to participate actively in the contemporary cultural process. To examine this problem we analyze the museum history, observing it has originated from the confluence of collections and curiosity cabinets traditional practices and the Renaissance ideas, further emphasized by the Enlightenment concepts, seeking autonomy and the exercise of a pedagogical function. Then we analyze the impact exerted on it by Universal Exhibitions and Modernism in arts. Through this long journey, we try to identify the different types of mediation actions the museum has developed with its audience, from catalogs and expography to seminars, debates and educational actions. The new functions it has acquired in the beginning of the twentieth century and the revitalization process experienced in the late twentieth century transformed the museum into one of the main tourist attractions of our times. In contemporary times, new interrelated, networked pedagogical propositions arise which amplify and update this field through the collective construction of artistic experiences, mediation, debates, discussion platforms and documentation that bring publicity and cohesion to these otherwise unrelated and \'anonymous\' activities. Without necessarily abandoning its legacy and embracing exclusively the more radical alternatives, the museum can participate in the new networks that are forming and establish richer, more productive relationships, acting simultaneously as an emission and reception point where artists, institution and public actively participate, therefore dissolving the Enlightenement-based pedagogical role the museum still holds.
Miller, Shelby E. „"The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy“. Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149471175808765.
Der volle Inhalt der QuelleToledo, Carolina Rossetti de. „As doações Nelson Rockefeller no acervo do Museu de Arte Contemporânea da Universidade de São Paulo“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29012016-105805/.
Der volle Inhalt der QuelleThis research analyzes the role of the Nelson Rockefeller donations (1946 and 1950) in the formation of the first collection of the Museum of Modern Art Sao Paulo. This study demonstrates how the donations were part of a broader strategy to bring United States and Brazil closer together through artistic initiatives during the Post-war period. This research gives a brief overview of the role of Nelson Rockefeller as articulator of the American cultural policy and details the involvement do MoMA employees (René dHarnoncourt) and curators (Alfred Barr, Dorothy Miller and William Lieberman) in the donations. The main purpose of this work is to shed to light over a unique collection, currently part of Museum of Contemporary Art of the University of Sao Paulo that has remained ignored by specialists and unknown by the public.
Barbosa, Andrea Lombardi. „Narrativas do desencontro: o MAM e as novas mídias“. Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20252.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
The present research proposes to understand the narratives between the new media and the Museum of Modern Art of São Paulo, from a brief mapping of institutions that act at the intersection with the digital media as a confrontation production exercise, or in creative circumstances that explore new languages and approaches. In terms of functions, some issues stand out: how to create and implement new ways of performing museums? What are the changes necessary for the museum to account for the exposure and conservation of work in new media? What is the position of the museum in the face of new technologies, both in its use in the management and documentation of the collection and in the aid of education projects and support for visitation? For both the established museums and the museums being created today, the challenges that the new media present are enormous. They are ephemeral and dematerialized actions, works in process, built collectively, that manifest themselves in the direct clash with the ubiquitous time of cyberspace, generating strategies that subvert, recreate, amplify and deconstruct the meaning often anticipated by the digital context. In this way, the balance between conservation and exposure is threatened by the very dynamics of artistic production that stresses spatiotemporal distances, breaks with the paradigm of contemplation and calls for intervention, participation and intensifies mediation with works. In this sense, the present research addresses not only the productions and the experience of the museums in the context of the new media that cross the MAM-SP, but also points to questions to discuss the perspectives of the digital aesthetics in contemporary museums
A presente pesquisa propõe que se compreenda as narrativas existentes entre as novas mídias e o Museu de Arte Moderna de São Paulo a partir de um breve mapeamento de instituições que atuam na intersecção com as mídias digitais como exercício de produção de enfrentamento, ou em circunstâncias criativas que exploram novas linguagens e abordagens. No plano das funções, algumas questões se sobressaem: como criar e implementar novas formas de atuação dos museus? Quais são as mudanças necessárias para que o museu dê conta da exposição e da conservação dos trabalhos em novas mídias? Qual é o posicionamento do museu frente às novas tecnologias, no que se refere ao seu uso no gerenciamento e na documentação da coleção, bem como no auxílio aos projetos de educação e no apoio à visitação? Tanto para os museus já estabelecidos, como para os que atualmente estão sendo criados, os desafios que as novas mídias apresentam são enormes. São ações efêmeras e desmaterializadas, obras em processo, construídas coletivamente, que se manifestam no embate direto com o tempo ubíquo do ciberespaço, gerando estratégias que subvertem, recriam, ampliam e desconstroem o sentido muitas vezes previsto pelo contexto digital. Dessa forma, o equilíbrio entre a conservação e a exposição se vê ameaçado pela própria dinâmica da produção artística que tensiona as distâncias espaçotemporais, rompe com o paradigma da contemplação e solicita a intervenção, a participação, intensificando a mediação com as obras. Neste sentido, a presente investigação aborda não somente as produções e a experiência dos museus no contexto das novas mídias que atravessam o MAM-SP, mas também aponta questões no sentido de discutir as perspectivas da estética digital nos museus contemporâneos
Ribeiro, Mariana Karina. „A viagem do Argonauta = as poeticas de Giorgio de Chirico no acervo do MAC-USP“. [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279112.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Apresenta-se neste trabalho uma abordagem da obra do artista Giorgio de Chirico a partir de cinco quadros seus pertencentes ao MAC-USP, pintados entre 1914 e 1940 circa e alguns de seus escritos. Pretende-se fornecer mais elementos para o conhecimento e a interpretação desse significativo conjunto de obras do patrimônio artístico-cultural paulista, ampliando as perspectivas de debate do tema no Brasil. Ainda com este escopo são oferecidas ao final do trabalho traduções com notas, de textos selecionados, escritos pelo artista entre 1911 e 1938.
Abstract: It is presented in this text an approach to the work of the artist Giorgio de Chirico from its five paintings belonging to the MAC-USP, executed between 1914 and 1940 circa and some of his writings. It is intended to provide more elements for the knowledge and interpretation of this significant collection of artworks of paulista cultural artistic heritage, extending the perspective of debate on this subject in Brazil. Still with this scope, translations with notes of selected texts, written by the artist between 1911 and 1938, are presented by the end of this material.
Mestrado
Historia da Arte
Mestre em História