Thèses sur le sujet « Minneapolis Society of Fine Arts »

My original, web-based, digital media project is an Instagram account that offers an honest dialogue about personal experiences with mental health, recovery, and pharmaceuticals. The account @bigpharmaslut provides a first hand account of my journey through the process of finding an anti-anxiety/anti-depression medication that works for me. I use the word slut ironically to describe my dependent relationship with pharmaceuticals and highlight the fact that both the concept of sluts and the insidious mechanisms of pharmaceutical industry have been constructed by society. @bigpharmaslut does not promote or idolize the use of pharmaceuticals, but it is also not engaging in or endorsing pill-shaming—for me, it is about transparency and sharing information. This installation documents and explores my year-long breakup, as I like to call it, with Paxil. “Paxil, which also goes by the generic name paroxetine, is a common type of antidepressant classified as a selective serotonin reuptake inhibitor (SSRI). It’s considered non-addictive by both the medical community and the federal government. Patients who stop taking the drug still experience withdrawal symptoms referred to as discontinuation syndrome.” The FDA now warns patients that withdrawal from paroxetine can be severe. Paxil has received more than 40 warnings from drug regulatory agencies in seven countries, including warnings in Australia about an increase in death rates among female Paxil users. The United States issued a public health warning about Paxil’s risk for inducing serotonin syndrome. This condition can cause hallucinations and hypertensive crisis, and in some cases, be fatal.

The relationship between Lowell Mason (1792–1872) and the Boston Handel and Haydn Society (est. 1815) has long been recognized as a crucial development in the history of American music. In 1821, Mason and the HHS contracted to publish a collection of church music that Mason had edited. While living in Savannah, GA, Mason had imported several recent British collections that adapted for church tunes works by Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Ignaz Pleyel. His study with German émigré Frederick L. Abel allowed him to harmonize older tunes in standard counterpoint. In the historiography of American music, the collection has ever since been named as one of the chief forces establishing standard counterpoint in the mainstream of American music. The collection’s profits also helped the HHS survive the next several years, and the prestige of eventually being known as the collection’s editor helped launch Mason’s influential career in church music, music education, and music publishing. In 1827, that career took a dramatic turn when Mason returned to Boston to assume the presidency of the HHS and the care of music in several churches. This project shows that the social ties between Mason and the HHS begin earlier and are far more indebted to Calvinist orthodox Christianity than previous studies have shown. With special attention to Mason’s personal papers housed at Yale University, to the HHS records held at the Boston Public Library, and to newly indexed Savannah newspapers, it shows that Mason’s relationship with the Society grew from relationships begun before he left his native Massachusetts in 1812. The depth of the relationship grew steadily until 1827, marked at first by indirect contact and in 1821 by Mason’s trip to Boston. Mason’s 1827 return to Boston, often surprising to scholars, appears here as a logical consequence of the support given by the Society’s previous president, Amasa Winchester, for Mason’s work in church music. Mason’s departure from the Society seems to be based on his zeal, closely related to his evangelical goals, for universal music education.

The thesis explores the relationships between knowledge and knowing in contemporary 21st century information society, using the foundation of the Faculty of Media Design & New Media Art at the Nuova Accademia di Belle Arti in Milano as a research apparatus. This Faculty was established between 2003 and 2012, in Milano, Italy. The starting point of the research was established in the hypothesis that technics have tertiarised memory (Stiegler B., 1994), that knowledge is always founded on an ontological pessimism (Queneau R., 1933, Lyotard F., 1979) and on a perpetual process of the generation of meaning (Gadda C., 1923-29, Foucault M., 1966). Knowledge is always and inevitably linked to the technics with which it is passed on. Pedagogy becomes a questioning of the object of knowledge, which transmutes into a definition of the ways it can be visualised. This research then, setting out from a pessimistic position in relation to knowledge and truth, amplifies them to infinite possible forms and therefore causes a dual shift of philosophy towards art and of pedagogy towards hermeneutics. The methodology consisted of a textual and visual description of a territory in a cartography of meaning, seen as the relation between intuition and the way in which practices as knowledges, arts, form remnants.

This arts-based intervention program was designed to reduce anxiety and aggressive behavior in adolescent girls who were being reared without their fathers during the period of 2010–2015. The research questions were designed to investigate the scope, frequency, and severity of the problem of increased aggressive behavior and anxiety by girls being reared without their fathers; to evaluate the effectiveness of an arts-based intervention in reducing aggressive behavior and anxiety in girls being reared without their fathers; to investigate the ways that the use of an arts-based intervention might improve feelings about family relationships for single mothers and girls being reared without their fathers; and to gather observations and perceptions of all participants of the arts-based intervention regarding its impact on aggressive girls being reared without their fathers. Eight children between the ages of 8 and 17 completed the study. Data collection consisted of administering the following surveys: the Adolescent Anger Rating Scale, the Children’s Aggression Scale, the Parent Adolescent Relationship Questionnaire, and a confirmation interview with parents. An anger-management intervention utilizing the arts as an outlet for self-expression was implemented during the winter 2013 semester. Results showed the implementation fostered peer collaboration and resulted in reduced anger and aggression as well as increased communication and family cohesion. Expression through the arts, coupled with anger-management training, enabled girls to cope with their anger rather than acting out.

This study explored the state of art education in Turkey as revealed by pre-service art education university instructors, and the potential of incorporating visual culture studies in pre-service art education in Turkey. The instructors' ideas about visual culture, and popular culture, the impact it might have, the content (objects), and the practices within the context of Turkey were examined. Visual culture was examined from an art education perspective that focuses on a pedagogical approach that emphasizes the perception and critique of popular culture and everyday cultural experiences, and the analysis of media including television programs, computer games, Internet sites, and advertisements. A phenomenological human science approach was employed in order to develop a description of the perception of visual culture in pre-service art education in Turkey as lived by the participants. In-person interviews were used to collect the data from a purposive sample of 8 faculty members who offered undergraduate and graduate art education pedagogy, art history, and studio courses within four-year public universities. This empirical approach sought to obtain comprehensive descriptions of an experience through semi-structural interviews. These interviews employed open-ended questions to gather information about the following: their educational and professional background; their definitions of art education and art teacher education and what it means for them to teach pre-service art education; critical reflections on the educational system of Turkey; perceptions of visual and popular culture; and finally individual approaches to teaching art education. This study was conducted for the purpose of benefiting pre-service art teacher education in general and specifically in Turkey. It provided the rationale, the nature, and pedagogy of visual culture as well as the why and how of visual culture art education in the context of Turkey. Furthermore, it provided insights into the potential contribution of the concept of visual culture to the understanding of art and improvement of art teacher training in the context of Turkey.

Genericamente, esta tese busca identificar a relação entre arquitetura e cultura de consumo, como definidora da identidade da arquitetura moderna de Miami no segundo pós-guerra. O conceito de cidade-balneário de Miami Beach foi transformado durante o decorrer da sua história. Os seus hotéis de inverno de meados da década de 1910 até 1945--destinados aos milionários associados à indústria automobilística--dão lugar a uma nova tipologia de hotel no pós-guerra, o hotelbalneário para a classe média norte-americana. Especificamente, este trabalho analisa os hotéis-balneários de Morris Lapidus (1902-2001) em Miami Beach na década de 1950, que definem a identidade da arquitetura moderna da cidade e que, por sua vez, caracterizam a sua própria imagem como cidade-balneário. A obra do setor da hospitalidade de Lapidus surge como informante de uma arquitetura com atenção máxima à escala humana do usuário. Suas lojas, construídas na época da Depressão, e seus hotéis do segundo pós-guerra, meticulosamente projetados para a classe média, surgem como veículos que contribuíram para a formação da cultura nacionalista, otimista e progressista, incentivada pelo governo federal de Franklin Roosevelt nesses períodos históricos. A histórica polêmica gerada sobre essa obra hoteleira de Lapidus, associada aos paradoxos presentes na composição arquitetônica de seus edifícios, está dividida entre a dogmática interpretação moderna do International Style e a leitura pós-moderna centrada na recuperação humanista. A narrativa da tese está fundamentada nessa polêmica cujo cerne está na questão sobre gosto e qualidade em arquitetura instigada por essa obra controversa. Este trabalho interpreta os paradoxos desses hotéis-balneários como uma metodologia de projeto de Lapidus, centrada na dialética de elementos de projeto contrastantes. Dessa dialética compositiva, nasce uma arquitetura híbrida, acessível à emergente classe-média, consumista e móvel, do pós-guerra. Esse hibridismo é estrategicamente elaborado como metodologia de projeto--uma colagem. A arquitetura como colagem nasce das escolhas de elementos extraídos de fontes diversas, que são apropriados e recriados pelo arquiteto. A diversidade de fontes de projeto advém da circulação de ideias--exposições, publicações e viagens. O apogeu da carreira de Lapidus é o hotel Fontainebleau (1954), o primeiro edifício do arquiteto de interiores que foi validado pelo seu conjunto de lojas da Main Street norte-americana. Os interiores derivam do método de projeto desenvolvido para as suas lojas, enquanto que a arquitetura do Fontainebleau descende da obra formativa de Oscar Niemeyer. A arquitetura moderna tropical do edifício contribuiu para a tipologia de hotel-balneário de Miami Beach no segundo pósguerra que, por sua vez, redefiniu o seu conceito de cidade-balneário. Após meio século, a arquitetura moderna hoteleira de Miami, originada com o Fontainebleau, está \"preservada\" sob a denominação Miami Modern-MiMo. No terceiro milênio, o MiMo, transformado em \"marca\" de consumo, é o veículo imobiliário da preservação da arquitetura moderna de Miami.
Generally, this dissertation aims at identifying the relationship between architecture and consumer culture, which defines the identity of Miami\'s modern architecture in the second post-war. The concept of Miami Beach as a seaside resort has been transformed throughout its history. Its winter hotels from the mid-1910s to 1945--intended for the auto industry millionaires--are replaced by a new typology of post-war hotel, the hotel-resort for the American middle class. Specifically, this work examines Morris Lapidus (1902-2001)\' hotel-resorts in Miami Beach in the 1950s, which define the identity of the city\'s modern architecture and which, in turn, characterizes the image of the city as a seaside resort. Lapidus\' hospitality industry work emerges as an informant of an architecture with maximum attention on the user\'s human scale. Its stores, built in the Depression era, and its post-war hotels for the middle class, both meticulously designed, have emerged as vehicles that contributed to the formation of the optimistic and progressive nationalist culture encouraged by the Franklin Roosevelt federal government in these historic periods. The historical polemic generated on such Lapidus\' hotel work, associated with the paradoxes present in the architectural design composition of its buildings, is divided between the dogmatic modern interpretation of the International Style and the postmodern review, centered on the rediscovery of humanism. The narrative of the thesis is based on this controversy, whose core is the question about taste and quality in architecture instigated by this controversial work. This work interprets the paradoxes of these hotel-resorts as a Lapidus\' design methodology, centered on the dialectic of contrasting design elements. From this compositional dialectic, a hybrid architecture is formed, accessible to the emerging middle-class, consumerist and mobile, of the second postwar. This hybridism is strategically planned as a design methodology--a collage. Architecture as collage is assembled from the choices of elements drawn from diverse sources, which are appropriated and recreated by the architect. The diversity of project sources comes from the circularity of ideas--exhibitions, publications, and travel. The heyday of Lapidus\' career as an architect is the Fontainebleau Hotel (1954), the first building by the then interior designer, who was validated by its collection of American Main Street stores designed during the Depression. The Fontainebleau Hotel interiors are derived from the design method developed for his stores, while its architecture descends from the formative work of the Brazilian architect Oscar Niemeyer. The tropical modern architecture of the Fontainebleau established the typology of the post-war Miami Beach hotel-resort, which in turn redefined its seaside resort concept. After half a century, Miami\'s modern hotel architecture, originated with the Fontainebleau Hotel, is \"preserved\" under the slogan Miami Modern-MiMo. In the third millennium, the MiMo, transformed into a consumer brand, is the real estate vehicle for the preservation of the modern architecture in Miami.

- Tomáš Kavka Supporting the Arts... Art Societies of Central Europe in the Context of the 19th Century's Social Modernization This dissertation focuses on the changing relations between society and art in the course of the 19th century. It observes the development within three cities - Leipzig, Prague and Brno - exponents of three different national environments. The thesis is based on the comparison of art societies representing these environments. Leipzig-based society Leipziger Kunstverein is a probe into the world of German art, Umělecká beseda of Prague demonstrates the quest for continuous development of Czech national artistic discourse and Brno's Mährischer Kunstverein is an example of the specifics of German community ringed by Slavic majority in Moravia. The thesis presents a view of Central-European artistic life, heavily determined by the dynamics of the 19th century's social modernization - the formation of civic society and national movements as well as the change of social discourse (namely concerning aesthetics and art history) about fine arts and its performers.

Praca oparta została na omówieniu postaci czterech warszawskich kolekcjonerów, których (poza Bronisławem Krystallem) określić można jako nieznanych. Edward Reicher, Leon Franciszek Goldberg-Górski, Gustaw Wertheim i Bronisław Krystall to przedstawiciele szczególnej, w dużym stopniu zapomnianej dziś warstwy – burżuazji i inteligencji pochodzenia żydowskiego. Bardzo wielu kolekcjonerów warszawskich (i nie tylko, również łódzkich, wrocławskich, krakowskich) wywodziło się właśnie z tzw. kręgów zasymilowanych, akulturowanych do polskości (w zależności od zaboru również do niemieckości). Tadeusz Jaroszewski w jednym z pierwszych tekstów o kolekcjonerstwie finansjery warszawskiej powoływał się na badania Joanny Hensel, które: „[…] wykazały niezbicie, że w Warszawie w ostatnim czterdziestoleciu ubiegłego stulecia i na początku bieżącego obrazy kupowali przede wszystkim Bersohnowie, Blochowie, Epsteinowie, Fajansowie, Flatauowie, Goldfederowie, Goldstandowie, Grossmanowie, Hermanowie, Kronenbergowie, Lesterowie, Natansonowie, Poznańscy, Rosenbaumowie, Rotwandowie, Welliszowie, Wertheimowie i Wieniawscy, a więc przedstawiciele rodzin całkowicie zasymilowanych i nieraz bardzo dla kultury polskiej zasłużonych” . Ustalenia Joanny Hensel, na które powoływał się Tadeusz Jaroszewski znajdują potwierdzenie m.in. w źródłach archiwalnych w Muzeum Narodowym w Warszawie oraz w Sprawozdaniach TZSP z lat 1880-1939. To oczywiście nie oznacza, że jedynymi nabywcami byli kolekcjonerzy pochodzenia żydowskiego. Stanowili jednak na tyle znaczącą grupę, że należy zjawisko to wyszczególnić i zastanowić się nad jego źródłem. Mamy do czynienia z osobnym, dotąd nieopisanym problemem z pogranicza historii sztuki oraz historii społecznej. Choć wśród badaczy proweniencji istnieje świadomość faktu, że tzw. asymilanci masowo kupowali sztukę, temat - traktowany jest powierzchownie. Problem tzw. kolekcji żydowskich zazwyczaj kwituje się stwierdzeniem, że było to płytkie i wtórne naśladowanie obyczaju warstw ziemiańsko-arystokratycznych, wynikające z gwałtownego wzbogacenia się tejże grupy w drugiej połowie XIX wieku. Wyłączając wartościującą ocenę, jest to oczywiście w wymiarze historii społeczno-ekonomicznej prawda, a raczej jej mikroskopijny fragment. Poprzestanie na takim wytłumaczeniu zjawiska bez uwzględnienia ważnych procesów społeczno-kulturowych obejmujących Żydów jest nie tylko niewystarczające, ale wręcz wypacza jego sens, pozostawia bowiem ogromny margines dla uproszczeń i schematów sprowadzających całe zagadnienie do stereotypu bogatego „Żyda kolekcjonera”. Ta swoista klisza myślowa utrwalona w powszechnej świadomości przez Reymontowski obraz lodzermensza, bezwzględnego kapitalisty, nuworysza pozbawionego obycia, zbierającego nie dla wyższych ideałów, nie dla ogółu, lecz dla zaspokojenia własnej pychy i dla zbytku nie odpowiada kontekstowi warszawskiemu. Warszawę cechowała inna niż Łódź specyfika relacji społecznych, stanowiła centrum polonizującej się inteligencji pochodzenia żydowskiego. Schemat „Żyda kolekcjonera” funkcjonuje na ogół jako przeciwieństwo, swoisty semantyczny negatyw kolekcjonerstwa arystokratyczno-ziemiańskiego, ugruntowanego rodowymi tradycjami, uznawanego a priori za działalność o podłożu obywatelsko-patriotycznym. Gromadzenie dziedzictwa kulturowego przez „innych” jest zatem mniej przychylnie odbierane. Kolekcje Rejchera, Goldberga-Górskiego, Wertheima i Krystalla powstały w wyniku pewnych napięć społecznych, stanowiły element identyfikacji kulturowo-narodowej szczególnej grupy, którą Anna Landau-Czajka określiła „trzecim narodem” zawieszonym pomiędzy dwoma kulturami, nie należącym do Żydów, ale też nie dopuszczonym do polskości. Kolekcje były nie tylko rezultatem procesów, ‘brały’ w nich udział pomagając w konstruowaniu tożsamości. Część teoretyczna pracy (równie istotna co część historyczno-faktograficzna), zawierająca analizę zależności między kolekcją a tożsamością pozwala na zrozumienie owego procesu.
The problem of Warsaw collecting seen as a phenomenon of social significance remains an insufficiently studied aspect of Polish cultural life. In this work the figures of four Warsaw collectors shall be presented: Edward Reicher, Leon Franciszek Goldberg-Górski, Gustaw Wertheim and Bronisław Krystall. The listed collectors were representatives of a specific, now largely forgotten, class – the bourgeoisie and intelligentsia of Jewish descent. Many Warsaw collectors came from so-called assimilated circles, acultured to Polishness. This fact finds confirmation in research done by Joanna Hensel, Tadeusz Jaroszewski, as well as in the archival sources in the National Museum in Warsaw and in the Reports of the Society for the Encouragement of Fine Arts from the years 1880-1939. Of course, this does not mean that the only buyers were collectors of Jewish descent. However, they were a group significant enough to merit being classified as distinct, with thought given to its source. We are dealing with a separate, as of yet undescribed problem situated on the borderline between art history and social history. Although researches of provenance are aware of the fact that the so-called assimilants bought art on a large scale, the subject is given only a perfunctory treatment. The problem of the so-called Jewish collecting is usually dismissed with a statement describing it as a shallow and derivative imitation of the customs of the aristocracy and landed gentry, resulting from the sudden enrichment of this group in the second half of the nineteenth century. Excluding the valuing judgment, this is true as viewed through the lens of social-economic history, or rather it is a microscopic fragment of the whole truth. Limiting the explanation of the phenomenon to this single aspect without taking into account important social and cultural processes which affected Jews is not only insufficient, but even completely distorts its meaning, leaving a wide margin for simplifications which reduce the whole issue to the stereotype of the rich “Jewish collector”. The schematic image of the “Jewish collector” has in general existed as the opposite, a peculiar semantic negative of the collector from the landed gentry or aristocracy, based in national traditions, recognized a priori as performing an action which is civic and patriotic in its character. Thus, the collecting of a cultural legacy by "the Other” is received less favorably. Such a polarizing view of collecting as performed by two different classes results, on the one hand, from a selective perception of history, and on the other, from a limited methodology of collecting studies, which makes it possible to overlook the social context. The collections of Rejcher, Goldberg-Górski, Wertheim and Krystall were assembled as a result of certain social tensions, constituted an element of the social and cultural identity of a particular group, which Anna Landau-Czajka termed the “third nation”, suspended between two cultures, not part of the Jewish community, but simultaneously not admitted to Polishness. The collections were not only the end result of certain processes, but they 'participated' in them, in this way contributing to the creation of identity. As was noted by Renata Tańczuk, in her studies on the universal nature of collecting as a cultural and social practice: “The collection, being an element of the collector's extended self, is simultaneously his realized identity and a biographical object. It manifests his personal, social and cultural identity. It is not only the material representation of the collector's identity, but it also facilitates its creation process; it allows the individual to know themselves, to become rooted within the surrounding society and culture, gain a perception of the continuity and cohesion of their own existence.”