Tesi sul tema "Arts, american – 20th century – exhibitions"

The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work. In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me? My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.

This thesis examines the video game industry within the United States from the first game that was created in 1958 until the shift to Japanese dominance of the industry in 1985, and how white, middle class masculinity was reflected through the sphere of video gaming. The first section examines the projections of white, middle class masculinity in U.S. culture and how that affected the types of video games that the developers created. The second section examines reflections of this masculine culture that surrounded video gaming in the 1970s and 1980s in the developers, gamers, and the media, while demonstrating how the masculine realm of video gaming was constructed. Lastly, a shift occurred after the 1980 release of Pac-Man, which led to a larger number of women gamers and developers, as well as an industry that embraced a broader audience. It concludes with the crash of the video game industry within the United States in 1983, which allowed Japanese video game companies to gain dominance in video gaming worldwide instead of the U.S. companies, such as Atari.
M.A.
Masters
History
Arts and Humanities
History; Public History

J.D. Salinger's "Hapworth 16, 1924," his last published work, is notorious for the initial critical silence it received, as well as the subsequent general consensus that it was a text to revile if not avoid. This thesis proposes that while "Hapworth" is a difficult and perplexing piece, there is a good deal about it that deserves if not outright praise, then a close critical re-examination. Assuming the "author" of the story is not the seven-year-old version of "A Perfect Day for Bananafish" suicide Seymour Glass, as the story purports, but his grieving younger brother Buddy, who has spent the years since his brother's death trying to come to terms with it. "Hapworth" is Buddy's final--and perhaps finally successful--attempt to do so.

Art History
M.A.
My thesis seeks to establish a fuller, more nuanced historical account of socially and politically oriented printmaking during the long 20th century in Mexico. In order to remedy what is currently a fragmented and incomplete narrative composed of canonical artists, my project integrates recent studies that acknowledge the role of lesser-known artists from various moments of the 20th and 21st centuries. The broader approach of this thesis reveals that the history of politically oriented Mexican prints spans a longer period of time and a larger geographic area than previously thought. Mexico experienced several waves of political turmoil and social upheaval throughout the 20th century, beginning with the Mexican Revolution (1910-1920), including the 1968 student movement, and extending to present day clashes between citizens and their government leaders. In this context, art and printmaking in particular served as persistent vehicles for Mexican artists to engage in social and political activism. Integrating the critical analysis of earlier research along with newer studies that recognize the impact of Mexican printmakers often overlooked in broad survey texts and exhibitions allows for further conclusions to be drawn regarding the multifaceted relationship between the print medium and the art of protest. My thesis introduces the notion that educational institutions in Mexico played an active part in this historical narrative, highlights the significance of Mexican artists' choice to work in collaborative environments versus individually, and notes modern activist printmakers' strong preference for the woodblock print.
Temple University--Theses

This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art moderne en Colombie, et plus largement pour sa « théorie de la résistance » qui prône dans les arts plastiques une défense des identités culturelles latino-américaines. Son œuvre littéraire, en revanche, est beaucoup moins connue. Or, elle est non seulement très riche, mais elle forme le pendant narratif à son œuvre critique, un ensemble de récits innervés, de manière plus ou moins profonde, des conceptions et de la culture trabiennes sur l’art. Il s’agit dès lors de reconsidérer ces deux pans de sa production écrite comme un tout cohérent, et de montrer les influences et les interactions entre sa critique d’art et sa littérature, mais également entre les arts plastiques qui forment sa culture artistique et ses écrits fictionnels. Il apparaît alors que Marta Traba conçoit et pratique son écriture critique comme une écriture « littérarisée » et, réciproquement et surtout, sa littérature comme une littérature « artialisée » : la valorisation constante du regard esthétique sur le monde et d’une sensorialité exacerbée dessine un idéal de contemplation tout au long de son œuvre littéraire ; les insertions continues d’une terminologie critique et de références aux œuvres d’art, sur un mode tantôt clairement didactique, tantôt subtilement ludique, invitent le lecteur à lire ses fictions et poèmes au prisme du sous-texte artistique qui enrichit leur sens ; enfin, le récit devient le lieu d’expérimentation des théories trabiennes de la « résistance », entre réaffirmation de la place de l’Amérique latine sur la carte de l’art mondial, mise à distance défensive des influences nord-américaines et réappropriation locale, par « transculturation », des modèles artistiques étrangers. L’étude de l’artialisation de la littérature trabienne est donc loin d’être l’analyse d’un simple procédé formel : elle dégage, nous semble-t-il, un véritable style trabien, miroir de l’écrivaine et de ses convictions
Marta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily” as she does, above all, her literary work “artistically”: the constant enhancement of the aesthetic eye on the world and of an intensified sensory experience shape an ideal of contemplation throughout her literary work; the continuous inserts of a critical terminology and of references to art works, sometimes in a clearly didactic mode, sometimes in a subtly playful manner, invite the reader to read her fiction stories and poems in the light of the artistic subtext which enriches their meaning; finally, the tale becomes the place where Traba’s theories of “resistance” are tested, at the crossroads of the re-affirmation of the place of Latin America on the map of international art, of the defensive distancing from North American influences, and of the local re-appropriation, by “transculturation”, of the foreign artistic models. The study of the artistic mutation of Traba’s literary work is therefore far from boiling down to the analysis of a mere formal process: from our point of view, it reveals an authentic style, Traba’s style, which is the mirror of the writer and her convictions

In 1988, my interest in the Twentieth Century American painter and feminist icon, Georgia O’Keeffe, was sparked by two seemingly disparate events: The Art Institute of Chicago’s first posthumous retrospective show of the painter’s works and the twentieth anniversary reunion of the original Broadway cast of Hair (of which I had been a member) that was celebrated at the United Nations in New York. Somewhere within me at that time O’Keeffe and Hair became entwined. In studying O’Keeffe’s life I sensed that her sincerity of aspiration coupled with her dogged resolve were life-lessons that might inform all artists. As a performing artist, a logical vehicle by which I could explore O’Keeffe was through the creation and performance of a play about her life. In embarking in this direction, I hoped to discover some key to creativity whereby all artists could be informed. O’Keeffe was a historical figure so my work included historical research that included autobiographical and biographical sources, videocassettes, correspondence, newspaper and magazine commentary. In addition to studying historical resources, O’Keeffe’s art was a primary resource; in particular what inspired it, how O’Keeffe painted and her philosophy of art. My research prompted the question: “At what point does the tenacious biographer leave off and the artful dramatist begin?” This question expresses the key creative and ethical problem of such a project: how much creative license can be taken with a subject who was an actual human being with a verifiable history? O’Keeffe was a creature of contradiction so rather than attempting to reconcile the contradiction between historical accuracy and creativity, I would begin by immersing myself in the known facts about my subject which I would then use as an impetus for my imaginative engagement with her life. The frisson generated by this cohabitation of contradictions could result in a release that could then be shared with audiences and, hopefully, enhance their understanding of the subject and the nature of creativity. To “dance”, so to speak, with her contradictions became my goal and methodology for writing A Brush With Georgia O’Keeffe. A part of my study also considers my experience playing the character, Georgia O’Keeffe. I had not anticipated that O’Keeffe’s emotional contrarieties would affect me personally. I had expected her mood swings to manifest within the character of O’Keeffe; in fact, they also became a part of the actor portraying her. In addition, because O’Keeffe worked and reworked her subjects, I permitted myself that luxury as a writer; however, I neglected to allow myself as the actor time to engage in a similar exploration in order to integrate the rhythm of the role into my body. By default, I also became producer for the WorkShop production of my play (overburdening myself at a time when my focus should have been on the role of Georgia). Nonetheless, O’Keeffe’s belief that one’s artistic expression must be the most perfect manifestation of one’s truth fueled my own conviction that integral to any artist of sincere aspiration was the quest for a pure form of personal expression as well as the necessity of maintaining one’s artistic vision. It was O’Keeffe’s philosophy that kept me on course as a performer. Moreover, although there is no blueprint for the creation of biographical drama, in the case of a work exploring the ambivalent O����Keeffe, embracing the dualities of historical accuracy and artistic integrity offered assurances of a probable road to travel. By embracing her inner direction and balancing her contrarieties, O’Keeffe seemingly guided my foray into her life.

Following the 1959 victory of the Cuban revolution, the United States government along with the CIA and their Cuban émigré allies immediately undertook a campaign of subversion and terrorism against the Cuban revolution. From 1959 until 1963 a clandestine war was waged between supporters of the revolution and the counter-revolutionary organizations backed by Washington. This project is a new synthesis of this little-known story. It is an attempt to shed light on a little known aspect of the conflict between the United States government and the Cuban revolution by bringing together never-before seen primary sources, and utilizing the two distinct and separate historiographies from the U.S. and Cuba, concerning the clandestine struggle. This is the story of Cuba’s resistance to intervention, the organization of the counter- revolution, and finally how the constant defeat of CIA plots by the Cubans forced changes in U.S. strategy concerning intervention in Cuba and in other parts of the developing world that would have far-reaching and long-last effects.

Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres.

Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.

La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

Cette thèse porte sur les représentations de l’Indien présentées dans les Salons parisiens et dans les sections des Beaux-Arts des Expositions universelles françaises. Elle débute avec la première apparition du thème au Salon, en 1781, et s’achève à sa disparition progressive, au commencement de la Première Guerre Mondiale. Le corpus rassemble des œuvres hétérogènes dont l’étude s’articule autour de trois grandes campagnes de représentation marquées par l’histoire des relations entre les Blancs et les Amérindiens. L’iconographie amérindienne dévoile une figure à la fois attractive et répulsive ; à l’esthétique de la disparition du «bon sauvage» répondent des mises en scène dégradantes. Notre étude rend ainsi compte des sources des imaginaires collectifs et des stéréotypes raciaux assignés à la représentation de l’Indien. Mais l’iconographie amérindienne survient également des impressions d’artistes ayant été à la rencontre de leur sujet. Pour ce groupe de quelques Français et Américains, la question de la représentation de l’«Autre» ne se joue pas exclusivement à travers les schèmes esthétiques abordés auparavant. Les déplacements répétés sur le continent nord-américain et l’attention portée à l’art amérindien favorisent un élargissement des horizons artistiques. Cette thèse est enfin l’occasion d’étudier l’image de l’«Autre» dans le cadre compétitif des Expositions universelles, où la figure de l’Indien tergiverse entre recherche de vraisemblance et sujet d’art. Il en ressort la constitution d’un discours visant à encourager la construction d’une identité esthétique nationale américaine au contact de l’art français
This Ph. D. dissertation investigates images of Native Americans displayed at the Paris Salons and in the Fine Art sections of the Great Exhibitions of 1855, 1868, 1878, 1889 and 1900. My analysis starts with the first outbreak of the theme at the 1781 Salon and ends following its gradual dismissal at the beginning of the First World War. The body of artworks I analyze documents three main campaigns of representation marked by the history of Native Americans and Whites relations. These representations reveal an artistic figure both attractive and repulsive at the same time. The rhetoric of the disappearance of the “Noble Indian” alternates with degrading images of the “Savage Indians”. Our study reveals the origins of collective imagination and racial stereotypes that originate representations of “Indians”. But this iconography is also based on artists’ itinerancies and their migration to the West in order to meet their models. The artistic production of this small group of French and American artists can not be reduced exclusively to the two aesthetic patterns previously discussed. Their travels on the North American territory and their attention to Native American Art encourage new artistic horizons at the Paris venues. This thesis is also an opportunity to study the image of the Native American “Others” displayed in the competitive Fine Art sections of the Great Exhibitions. It brings out a discourse promoting the figure of the “Indian” to build an American art with its own aesthetic in response to French artistic influences

It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.

És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn. Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realitza la seva última litografia. El treball s'insereix en un àmbit sense tradició immediata sobre l'obra gràfica a Mallorca, pràcticament desapareguda després de la important impremta Guasp. S'han pogut documentar més de 400 matrius. Alhora, s'han treballat les estampacions d'aquestes, que ascendeixen a 600 estampes calcogràfiques, xilogràfiques, serigràfiques i litogràfiques.
Es una investigación, análisis, y aproximación a la obra gráfica del artista mallorquín, del siglo XX, Pedro Quetglas, conocido por el seudónimo de “Xam”. Su actividad se ha sistematizado en base a la biografía, técnicas trabajadas y a su entorno. Xam, se ejercitó en la caricatura, el dibujo, el cartel, el grabado xilográfico, la pintura, los monotipos, la serigrafía y en el grabado calcográfico. Del conjunto de toda su producción se centra en la obra gráfica producida a partir de 1944, cuando puede datarse su primera xilografía, y su fallecimiento, en 2001, en el cual realiza su última litografía. La tarea se inserta en un ámbito sin tradición inmediata sobre la obra gráfica en Mallorca, prácticamente desaparecida tras la importante imprenta Guasp. Se han podido documentar más de 400 matrices. A su vez, se han trabajado las estampaciones de estas, que ascienden a 600 estampas calcográficas, xilográficas, serigráficas y litográficas.
The thesis is research, analysis and approach to the graphic work of the Majorcan artist of the 20th century, Pedro Quetglas, known by his pseudonym "Xam". Xam worked in several art fields, such as caricature, drawing, designing and painting posters, woodcut, painting, monotype, serigraphy and calcography engraving. From the sum of his work the thesis is centred in the graphic work produced between 1944, when we can date the first xylography, and his death, 2001, when he finished his last lithography. The task was inserted in a field without immediate tradition on the graphic work in Mallorca, which practically went missing after the important Guasp printing house closed down. It has been possible to document more than 400 blocks and, at the same time, the prints of those which add up to 600 prints on chalcography, xylography, serigraphy and lithography.

Indiana University--Purdue University Indianapolis (IUPUI)
The purpose of this thesis is to discuss and explain the commitment to arts and culture in Indianapolis from the mid-1960s to the end of the 1980s by focusing on the origins, activities, and legacy of an extraordinary event in the history of Indianapolis’ arts community: the 1986-1987 Pan American Arts Festival. Early efforts by the City Committee, a local growth coalition comprised of several civic leaders, focused on the physical revitalization of downtown Indianapolis’ cultural landscape. The group’s work in this area, which was part of a larger downtown revitalization project, played an important role in the creation of the Pan American Arts Festival. Ultimately, the planning and administration of this festival had a significant impact on the city’s arts community as it shifted the arts and culture commitment from Indianapolis’ physical structures to the actual livelihood of the organizations housed within them.

A Research report submitted in partial fulfilment of the Degree Masters in History of Arts at the University of Witwatersrand, 2017
This research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how these exhibitions have used display strategies to construct values reflected in the resistance poster. The three selected exhibitions are as follows: firstly, Thami Mnyele and Medu Art Ensemble Retrospective (2008), Second is the exhibition Images of Defiance: South African poster of the 1980’s (2004). And the third exhibition Interruptions: Posters from the Community Arts Project Archive (2014).
XL2018

Canvassing the emotions examines the role and meaning of artmaking in the lives of women who have experienced mental ill-health and/or psychological trauma in Australia between the 1950s and the present. Hovering at the nexus of a number of contested domains, the thesis bypasses the perennial question of what is art to explore the neglected and perhaps more interesting query – what does art do for the artmaker? – and associated questions of why does art matter; what is the function of artmaking in relation to wellbeing; and what are the implications of a thwarted life of making? The thesis presents the findings of three studies: The Exhibition – a touring exhibition of art produced by women with an experience of mental ill-health; The Interviews – with thirty-two women who make art and who have experienced mental ill-health; and The Collage – a collation of women’s accounts of – what does art do?