Dissertations / Theses on the topic 'Historysmithsonian american art museum'
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Einreinhofer, Nancy. "The paradox of the American art museum." Thesis, University of Leicester, 1994. http://hdl.handle.net/2381/35302.
Full textBalcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /." NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.
Full textMacaluso, Rose E. "The Smithsonian Institute Smithsonian American Art Museum registration internship." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/aa_rpts/88.
Full textGalliher, Allison. "Early American Silver at the Currier Museum of Art." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078350.
Full textHowe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.
Full textMcFelter, Gypsy. "Is the price right? : Admission fees and free admission in American art museums /." [Pleasant Hill, Calif. : John F. Kennedy University Library], 2006. http://library2.jfku.edu/Museum_Studies/Is_the_Price_Right.pdf.
Full textDecker, Jillian. "The Restitution of World War II-Era Looted Art: Case Studies in Transitional Justice for American Museum Professionals." Walsh University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors155561854704584.
Full textBryan, Amanda. "New Museum Theory in Practice: A Case Study of the American Visionary Art Museum and the Representation of Disability." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1627.
Full textPicknell, Amy Lynn. "The American Art Museum and the Internet: Public Digital Collections and Their Intersections of Discourse." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374224652.
Full textMcMaster, Ann Michelle M. "The Butler Institute of American Art: Pro Bono Publico." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437661274.
Full textBetancourt, Verónica E. "Brillan por su ausencia: Latinos as the missing outsiders of mainstream art museums." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339516509.
Full textHuffstetter, Olivia. "From Sahagun to the Mainstream| Flawed Representations of Latin American Culture in Image and Text." Thesis, Oklahoma State University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10808090.
Full textEarly European travel literature was a prominent source from which information about the New World was presented to a general audience. Geographic regions situated within what is now referred to as Latin America were particularly visible in these accounts. Information regarding the religious customs and styles of dress associated with the indigenous peoples who inhabited these lands were especially curious points of interest to the European readers who were attempting to understand the lifestyles of these so-called “savages.” These reports, no matter their sources, always claimed to be true and accurate descriptions of what they were documenting. Despite these claims, it is clear that the dominant Western/Christian perspective from which these sources were derived established an extremely visible veil of bias. As a result, the texts and images documenting these accounts display highly flawed and misinformed representations of indigenous Latin American culture. Although it is now understood that these sources were often greatly exaggerated, the texts and images within them are still widely circulated in present-day museum exhibitions. When positioned in this framework, they are meant to be educational references for the audiences that view them. However, museums often condense the amount of information they provide, causing significant details of historical context to be excluded.
With such considerable omission being common in museum exhibitions, it causes one to question if this practice might be perpetuating the distribution of misleading information. Drawing on this question, I seek, with this research, to investigate how early European representations of Latin American culture in travel literature may be linked to current issues of misrepresentation. Particularly, my research is concerned with finding connections that may be present with these texts and images and the negative aspects of cultural appropriation. Looking specifically at representations of Aztec culture, I consult three texts and their accompanying illustrations from the sixteenth, seventeenth, and eighteenth centuries to analyze their misrepresentational qualities, and how they differed between time periods and regions. Finally, I use this information to analyze museum exhibition practices and how they could be improved when displaying complex historical frameworks like those of indigenous Latin American cultures.
Mullen, Emily. "Fighting against Indigenous Stereotypes and Invisibility| Gregg Deal's Use of Humor and Irony." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793926.
Full textStereotypes of Indigenous peoples, formed according to Western notions of cultural hierarchy, as savage, exotic, and only existing in a distant past, are still prevalent in the popular imaginary. These stem from misunderstandings and misrepresentations of Indigenous peoples that developed after contact between Indigenous peoples and European settler communities, and exist in concepts such as the noble savage, the wild heathen, or the vanishing Indian. In this thesis I argue that contemporary artist Gregg Deal (Pyramid Lake Paiute) successfully challenges and disrupts such stereotypes by re-channeling their power and reappropriating them through his strategic use of humor and irony in performances, paintings, and murals. Through these tools, Deal is able to attract audiences, disarm them, and destabilize their assumptions about Indigenous peoples. I frame Deal’s use of humor and irony outside the trickster paradigm, drawing instead on Don Kelly’s (Ojibway) theorization of humor as a communicative tool for making difficult topics accessible, and Linda Hutcheon’s theorization of irony as a discursive strategy for simultaneously presenting and subverting something that is familiar.
In a second line of argument, I foreground Deal’s agency as an artist through analysis of his strategies to reach audiences and gain visibility for his art. Contemporary Indigenous artists are often excluded from mainstream art institutions, and can struggle to find venues to exhibit their work. I argue that Deal’s strategic use of public space and the internet to show and publicize his art is significant. It has helped him to reach audiences and gain recognition for his work. He now exhibits and performs in university and state museums. I argue that the authority of museum space, in turn, gives him a greater opportunity to disrupt stereotypes and educate people about misperceptions of Indigenous peoples.
Karcheski, Gabrielle Rae. "Balancing Finances, the Mission, and Public Trust in the American Art Museum: Controversy at the Solomon R. Guggenheim Museum and the Barnes Foundation." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/311773.
Full textCirino, Gina. "American Misconceptions about Australian Aboriginal Art." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
Full textGenshaft, Carole Miller. "Symphonic poem a case study in museum education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196175987.
Full textLarsen, Devon P. "Rethinking the Monumental: The Museum as Feminist Space in the Sexual Politics Exhibition, 1996." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001540.
Full textParker, Marie Ann 1960. "The Hopi Craftsman Exhibition at the Museum of Northern Arizona: Only the finest in Hopi art." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/291572.
Full textTerjesen, Lori Ann Martin. "Collecting the Brücke: Their Prints in Three American Museums, A Case Study." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.
Full textMichel, Karl Frederick. "Drawing on experience a study of eighteen artists from the National Vietnam Veterans Art Museum collection /." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Michel.pdf.
Full textDawley, Martina Michelle. "An Analysis of Diversifying Museums: American Indians in Conservation." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311567.
Full textMwendo, Nilima Z. "Passionate visions of the American South: self-taught artists from 1940 to the present: an Arts Administration internship at the New Orleans Museum of Art." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/54.
Full textBoorn, Alida S. "Interpreting the transnational material culture of the 19th-Century North American Plains Indians: creators, collectors, and collections." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/34472.
Full textDepartment of History
Bonnie Lynn-Sherow
American Indian material culture collections are protected in tribal archives and transnational museums. This dissertation argues that the Plains Indian people and Euroamerican people cross pollinated each other’s material culture. Over the last two hundred years’ interpretations of transnational material culture acculturation of the 19th - Century North American Plains Indians has been interpreted in venues that include arts and crafts, photography, museums, world exhibitions, tourism destinations, entertainments and literature. In this work, exhibit catalogs have been utilized as archives. Many historians recognize that American Indians are vital participants and contributors to United States history. This work includes discussions about North American Indigenous people and others who were creators of material culture and art, the people who collected this material culture and their motives, and the various types of collections that blossomed from material culture and oral history proffering. Creators included Plains Indian women who tanned bison hides and their involvement in crafting the most beautiful art works through their skill in quillwork and beadwork. Plains Indian men were also creators. They recorded the family’s and tribe’s histories in pictograph paintings. Plains Indian storytellers created material that was saved and collected through oral tradition. Euroamerican artists created biographical images of the Plains Indian people that they interacted with. Collections of objects, legends, and art resulted from those who collected the creations made by the creators. Thus today there exists fine examples of ethno-heirlooms that pay tribute to the transnational acculturation and survival of the American Indian people of the Great Western Northern American Plains. What is most important is the knowledge, and an appreciation for the idea that a transnational cross-pollination of cultures enriched and became rooted in United States history.
Lenhardt, Amy. "Research and Interpretive Plan for the First Permanent Exhibition of Ancient American Art at the Virginia Museum of Fine Arts." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2097.
Full textCooley, Jessica Allene. "An Inartistic Interest: Civil War Medicine, Disability, and the Art of Thomas Eakins." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197655.
Full textM.A.
While there is an extensive and distinguished body of scholarship exploring the intersection of Thomas Eakins and medical science, his art has not been contextualized critically in relation to American Civil War medicine or the institutional practices of the Army Medical Museum. Within the context of Civil War medicine, Eakins's heroic portraits of surgeons and scientists become more than a reflection of his personal admiration of science and medicine, more than a reflection of the growing professionalization of the medical community in the United States, but implicates him in the narrative of offsetting the horrors wrought by the Civil War by actively enshrining the professionalization of medicine and claims to the advancement of body-based research. Furthermore, while there is an extensive and distinguished body of scholarship exploring the intersection of Thomas Eakins and the body from the perspective of race, gender, and sexuality, the consideration of his work from the perspective of critical disability theory has not been contemplated. Civil War medicine is critical to the art of Thomas Eakins because it demystifies his fascination with the human body, and engages him in the aesthetic reconstruction of disabled veterans and the cultural privileging of the healthy body during and after the American Civil War. By historicizing the science and medical practices that Eakins used and by critically examining his depictions of the body through the lens of disability studies, my thesis raises new critical questions about two of the most researched and theorized topics in Eakins scholarship: medicine and the body.
Temple University--Theses
Harrington, Kaysie Marie. "The American Studio Glass Movement: A Regional Study of its Birth in Northwest Ohio." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1542125173303787.
Full textRagen, Helen. "Norton Simon: The Man with "Two Hats"." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/638.
Full textWebb, Brittany. "Materializing Blackness: The Politics and Production of African Diasporic Heritage." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/504409.
Full textPh.D.
"Materializing Blackness: The Politics and Production of African Diasporic Heritage” examines how intellectual and civic histories collide with the larger trends in the arts and culture sector and the local political economy to produce exhibitions at the African American Museum in Philadelphia (AAMP) and structure the work that museum exhibitions do to produce race visually for various audiences. Black museums are engaged in the social construction of race through their exhibitions and programs: selecting historical facts, objects and practices, and designating them as heritage for and to their audiences. In tracking this work, I am interested in 1) the assemblages of exhibits that are produced, as a function of 2) the internal logics of the producing institutions and 3) larger forces that structure the field as a whole. Looking at exhibits that engage Blackness, I examine how heritage institutions use art and artifacts to visually produce race, how their audiences consume it, and how the industry itself is produced as a viable consumptive market. Undergirded by the ways anthropologists of race and ethnicity have been explored and historicized race as a social construction I focus on an instantiation of the ways race is constructed in real time in the museum. This project engages deeply with inquiries about the social construction of race and Blackness, such as: how is Blackness rendered coherent by the art and artifacts in exhibitions? How are these visual displays of race a function of the museums that produce them and political economy of the field of arts and culture? Attending to the visual, intellectual, and political economic histories of networks of exhibiting institutions and based on ethnographic fieldwork in and on museums and other exhibiting institutions, this dissertation contextualizes and traces the production and circulation of the art and artifacts that produce the exhibitions and the museum itself as a way to provide a contemporary concrete answer. Overall “Materializing Blackness” makes the case for history and political economy as ghosts of production that have an outsized impact on what we see on exhibition walls, and are as important to the visual work as a result. Further it takes the Black museum as a site of anthropological engagement as a way to see the conjuncture of the aesthetic and the political, the historical and the material in one complicated node of institution building and racecraft in the neoliberal city.
Temple University--Theses
Romano, Cara L. "Gallery 66 selling the Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.
Full textBetancourt, Veronica Elena. "Visiting while Latinx: An Intersectional Analysis of the Experiences of Subjectivity among Latinx Visitors to Encyclopedic Art Museums." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1561819806003679.
Full textSiler, Hayley B. "A Space of Their Own: The Clyfford Still and Georgia O'Keeffe Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/673.
Full textPotrafka, Zepher Benson. "Retroarchaeography: A Comprehensive Guide for the Field and the Laboratory." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276627961.
Full textDIRKS, STEFANIE. "An Appalachian Arts Project: A New Model to Promote Communal Art Interaction." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211923981.
Full textJunior, Eustáquio Ornelas Cota. "A formação da coleção latino-americana do Museu de Arte Moderna de Nova York: cultura e política (1931-1943)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-09122016-152003/.
Full textThis dissertation aims to analyze the making of the Latin American Collection of the Museum of Modern Art (MoMA) in New York, between 1931 and 1943, emphasizing the relationship between politics and culture. It begins with the first exhibition of a Mexican artist, Diego Rivera, at the Museum, which took place in 1931, and it ends with the first exhibition of Latin America artists in 1943. Our main source is the extensive catalog of the collection that presents the actors and the ideas involved in the project. The relevance of the collection is connected to the so called Good Neighbor Policy, which designed the international relations between the United States and the countries of Latin America in the period between 1933 and 1945.
Rocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.
Full textBirkle, Eric Michael. "Detroit’s Belle Isle Aquarium: An Idiosyncrasy of Identity, Style, Modernity, and Spectacle." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1555674210421851.
Full textEdmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
Full text""The Art of Civilization": America on Display at Peale's Museum." Master's thesis, 2015. http://hdl.handle.net/2286/R.I.29872.
Full textDissertation/Thesis
Masters Thesis History 2015
Christal, Mark Allen. "Virtual museum projects for culturally responsive teaching in American Indian education." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110762.
Full text"Creating to Compete: Juried Exhibitions of Native American Painting, 1946-1960." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.14852.
Full textDissertation/Thesis
M.A. Art History 2012
Wellen, Michael Gordon. "Pan-American dreams : art, politics, and museum-making at the OAS, 1948-1976." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-12-6625.
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Saracino, Karen Hong. "Animation cel storage and preservation : caring for a unique American art form /." 2006. http://library2.jfku.edu/Museum_Studies/Animation_Cel_Storage.pdf.
Full textSeverin, Andrea Vargas. "Exploring characteristics of effective multicultural education in Mexican and Mexican-American art museums." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3186.
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Riley, Caroline M. ""Ambassador of Good Will" The Museum of Modern Art's "Three Centuries of American Art" in 1930s Europe and the United States." Thesis, 2016. https://hdl.handle.net/2144/17711.
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Kondo, Jennifer Mari. "The spatial and temporal diffusion of museums in New York City, 1910-2010." Thesis, 2013. https://doi.org/10.7916/D8W9589F.
Full textNoyes, Chandra. "Crafting a definition : a case study of the presentation of craft at the Renwick Gallery." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4751.
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McKellar, Erin E. "Tomorrow on display: American and British housing exhibitions, 1940-1950." Thesis, 2018. https://hdl.handle.net/2144/31686.
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Dasch, Rowena Houghton. "“Now exhibiting” : Charles Bird King’s picture gallery, fashioning American taste and nation 1824-1861." 2012. http://hdl.handle.net/2152/19618.
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"Quliaqtuavut Tuugaatigun (Our Stories in Ivory): Reconnecting Arctic Narratives with Engraved Drill Bows." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.21001.
Full textDissertation/Thesis
Ph.D. Art 2013
Paley, Valerie. "Founders and Funders: Institutional Expansion and the Emergence of the American Cultural Capital, 1840-1940." Thesis, 2011. https://doi.org/10.7916/D82F8VCF.
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