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Artigos de revistas sobre o assunto "Arts, american – 20th century – exhibitions"
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings". Prospects 30 (outubro de 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Benetti, Alessandro. "GAIA CARAMELINO; STÉPHANIE DADOUR (a cura di): THE HOUSING PROJECT: DISCOURSES, IDEALS, MODELS, AND POLITICS IN 20TH-CENTURY EXHIBITIONS". Proyecto, Progreso, Arquitectura, n.º 27 (2022): 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.
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La casa e la mostra d’architettura sono i due oggetti di ricerca che s’incrociano in The Housing Project. Discourses Ideals, Models and Politics in 20th century exhibitions, co-curato da Gaia Caramellino e Stephanie Dadour nel 2020 per i tipi di Leuven Press. Il volume s’ispira alle discussioni del convegno On the Role of 20th Century Exhibitions in Shaping Housing Discourses (2016, ENSA Paris Malaquais e Politecnico di Milano). I dieci saggi di altrettanti autori europei e americani esplorano il ruolo delle mostre come medium in una fase cruciale di elaborazione e circolazione internazionale delle tante declinazioni della casa moderna, tra gli anni 1920 e 1970. Sono organizzati in due parti, che approfondiscono rispettivamente il ruolo delle mostre come spazi di traduzione e di mediazione. Caramellino e Dadour prendono le distanze da un approccio monografico e collocano le tante e diverse esperienze espositive in una cornice più ampia, sul piano disciplinare e geografico.
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Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress". Art Libraries Journal 20, n.º 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.
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The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).
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Allen, Nancy S. "History of Western sources on Japanese art". Art Libraries Journal 11, n.º 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Wagner, Keith B., e Michael A. Unger. "Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture". Visual Communication 18, n.º 1 (3 de janeiro de 2018): 83–106. http://dx.doi.org/10.1177/1470357217742333.
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As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film).
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Senuliene, Jurgita. "Searching for Identity in the 20th-Century Lithuanian-American Food Exhibitions". Loci Communes 1, n.º 2 (28 de junho de 2022): 1–19. http://dx.doi.org/10.31261/lc.2022.02.04.
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In this case the author of the article, using quantitative and qualitative analysis of the selected periodical publications, examines ethnic food fairs held in the USA in the 20th century. Focusing on the issue of food as an expression of ethnic identity, the article aims to reveal how Lithuanian emigrants, by organising and participating in ethnic food exhibitions, disseminated and aspired to maintain their ethnic and national identity. The theoretical approach of the research is based on the theories of coexistence of multicultural societies, that is the “melting pot” and a “salad bowl”. The author addresses the following questions: 1. How have world and food fairs developed in the USA? 2. What impressions did the Lithuanian diaspora leave in world and ethnic food fairs? 3. How was identity fostered at Lithuanian exhibitions of “national dishes” during World War II? and 4. What role did ethnic food exhibitions organised by the Lithuanian diaspora play in the construction of identity? The author concludes that exhibitions of “national dishes” organised by Lithuanians brings to light a certain fragmentation of the diaspora in terms of food and ethnic identity.
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Burganova, Maria A. "LETTER FROM THE EDITOR". Scientific and analytical journal Burganov House. The space of culture 17, n.º 5 (10 de dezembro de 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States". American Anthropologist 111, n.º 4 (17 de novembro de 2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.
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Ian Shin, K. "The Chinese Art “Arms Race”". Journal of American-East Asian Relations 23, n.º 3 (27 de outubro de 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
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Buchli, Victor. "The Destruction of Gemütlichkeit? Programmatic Exhibitions on Domestic Living in the 20th Century". Home Cultures 4, n.º 2 (julho de 2007): 201–6. http://dx.doi.org/10.2752/174063107x209028.
Texto completo da fonteTeses / dissertações sobre o assunto "Arts, american – 20th century – exhibitions"
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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture". [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Heron, Elizabeth. "The Unveiling". PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.
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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.
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DeLong, Kristine L. "Reconstructing 20th century SST variability in the southwest pacific : a replication study using multiple coral Sr/Ca records from New Caledonia". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001734.
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Walsh, James Jason JR. "American Hamlet: Shakespearean Epistemology in Infinite Jest". Cleveland State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=csu1409079425.
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McDivitt, Anne. "I Play to Beat the Machine: Masculinity and the Video Game Industry in the United States". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5817.
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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
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McTague, Brian. "Revisiting "Hapworth": The Catharsis of Buddy Glass". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/287.
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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.
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Bonilla-Puig, Alicia I. "Printmaking, Politics, and the Art of Protest in Modern Mexico". Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/310769.
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Art HistoryM.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
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Lindley, Anne Hollinger. "Relating to relational aesthetics". Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
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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.
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Crousier, Elsa. "Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba". Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2125.
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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 convictionsMarta 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
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Mosco, Natalie. "On creating : A brush with Georgia O'Keeffe". Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/43722.
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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.
Livros sobre o assunto "Arts, american – 20th century – exhibitions"
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Gavino, Julianne, e Rebecca Tucker. Rethinking regionalism: 20th century American art and visual culture. Colorado Springs, Colo: Colorado Springs Fine Arts Center at Colorado College, 2021.
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1951-, Craven David, Lozano Luis-Martín e Museum of Fine Arts (Museum of New Mexico), eds. Mexican modern: Masters of the 20th century. Santa Fe: Museum of New Mexico Press, 2006.
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Jeremy, Millar, Hayward Gallery, Baltic Centre for Contemporary Art, John Cage Trust e Hayward Touring (Art organisation), eds. Every day is a good day: The visual art of John Cage. London: Hayward Publishing, 2010.
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Weiner, Longhauser Elsa, Szeemann Harald, Museum of American Folk Art. e Philadelphia Museum of Art, eds. Self-taught artists of the 20th century: An American anthology. San Francisco: Chronicle Books, 1998.
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Miami University (Oxford, Ohio). Art Museum. 20th century American prints: Looking back and: 20th century American paintings: looking back / [gallery guide written by exhibition curator Edna Carter Southard]. Oxford, Ohio: Miami University Art Museum, 1993.
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Northern Illinois University. Art Gallery in Chicago., ed. 20th century American folk art from the Arient family collection. [DeKalb, Ill: Northern Illinois University, 1987.
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Haskell, Barbara. The American century: Art & culture, 1900-1950. New York: Whitney Museum of American Art in association with W.W. Norton, 1999.
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Germany), Martin-Gropius-Bau (Berlin, Royal Academy of Arts (Great Britain) e Saatchi Gallery, eds. American art in the 20th century: Painting and sculpture, 1913-1993. Munich: Prestel, 1993.
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Germano, Celant, Dennison Lisa e Grimaldi Forum (Monaco Monaco), eds. New York, New York: Fifty years of art, architecture, cinema, performance, photography and video. Milano: Skira, 2006.
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Tōkyō Kokuritsu Kindai Bijutsukan. Kōgeikan, ed. Nōben na obuje: Gendai Amerika kōgei no tenkai = The eloquent object : the evolution of American art in craft media since 1945. [Kyoto]: Kyōto Kokuritsu Kindai Bijutsukan, 1989.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Arts, american – 20th century – exhibitions"
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Peterson, William. "The Master of the Form". In Asian Self-Representation at World’s Fairs. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch02.
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By the early 20th century, Japan was the master of the international exhibition format. With over fifty years of experience at world’s fairs in the West, Japan knew how to market its culture and products in a manner appealing to the Western consumer of both high art and decorative objects. The 1915 Panama Pacific International Exposition provided the country with a unique opportunity to create a strong and lasting imprint on American bodies in the country pavilion site with its famed gardens and exotic, kimono-clad women. As the epicenter of Asian migration, San Francisco also offered unique opportunities to further the power of Japonisme in the arts, while politicians in both countries used the event to champion Japanese-American relations.
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Mackenzie, John M. "Arts of Empire and of Nations". In A Cultural History of the British Empire, 139–76. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300260786.003.0005.
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This chapter briefly considers the origins of imperial art in the eighteenth century, followed by its full flowering in the nineteenth before national artistic responses disrupted the heroic traditions. The chapter turns to the American colonies, where portraiture as settlers sought to demonstrate their self-confidence and the ‘civilised’ nature of their lifestyles. Next, the chapter considers the fragmentation of imperial art as the art of the Dominions became profoundly about portraying aspects of difference, even if early manifestations were expressed through a powerfully romantic lens. The chapter first explores how this is demonstrated in the art of the colonies in Canada, Australia, New Zealand, and South Africa. Finally, it explores the role colonial art plays in international exhibitions, as well as the resurgence of indigenous art.
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Branson, Susan. "Fair America". In Scientific Americans, 159–87. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501760914.003.0007.
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This chapter shows how the exhibitions and contests organized by scientific societies in the first half of the nineteenth century fostered American technological development. The Franklin Institute for the Promotion of the Mechanic Arts in Philadelphia and the American Institute of the City of New York for the Encouragement of Science and Invention were the most active societies in this era. The Exhibition of the Industry of All Nations at the Crystal Palace in New York City staged the largest industrial exhibitions in the early nineteenth century. All three organizations pursued a strategy of fairs and competitions to promote American products and to encourage invention and innovation. Fairs were a spur to economic competition, national prosperity, and American supremacy in global trade—goals that were shared by organizers, participants, and visitors.
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Ramírez, Mari Carmen. "Critical Documents of 20th-Century Latin American and Latino Art: A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON". In Resisting Categories: Latin American and/or Latino?, 27–32. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300187151-004.
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Gulcur, Ala Sivas. "Historical Epic as a Genre in Popular Turkish Cinema". In Advances in Media, Entertainment, and the Arts, 264–77. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6190-5.ch015.
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Cinema, born as a part of entertainment industry, became an independent industry in the first half of 20th century. The film genre, which had a notable role in the industrialization of cinema, is not only a cinematic fact but also a social case including several economic, cultural, and ideological tools. The historical epic, which is one of the major film genres, emerged with the medium itself. Despite its Italian origins, the historical epic has remained largely American because of Hollywood's financial and technological possibilities. As the spectacular nature of this genre has been more visible than historical realities, these films have become notable parts of the entertainment industry. This chapter examines the historical epic as a film genre in popular Turkish cinema and its place in Turkey's entertainment culture and industry, particularly observing its prototype, The Conquest of Constantinople (1951), then evaluating its advanced example, Conquest 1453 (2012).
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Rios, Fernando. "Musical Dimensions of Indigenismo". In Panpipes & Ponchos, 21–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.003.0002.
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In 1925, La Paz city residents observed Bolivia’s first centennial of political independence, with official state celebrations that in hindsight appear remarkably devoid of Bolivian nationalist exhibitions of indigenismo. Twenty-three years later, urban La Paz hosted another lavish commemoration, this time to honor the city’s 400th anniversary. But, in a clear departure from the 1925 centennial, the 1948 event included a “folklore” festival that was wholly devoted to Andean indigenous music-dance traditions, the Concurso Folklórico Indígena del Departamento. As the Concurso’s inclusion in the 1948 celebration suggests, mainstream La Paz criollo-mestizo views about the cultural value and meanings of Andean indigenous expressive practices had undergone a significant transformation in the twenty-three years following the 1925 centennial. This chapter elucidates this major shift, by exploring key developments in the paceño indigenista musical scene that transpired in the period from the 1920s to 1940s. Throughout Latin America, elite and middle-class interest in regionally distinctive music-dance expressions reached new heights in the early decades of the 20th century, as part of a quest among a varied cast of politicians, writers, and artists for local traditions that unmistakably demonstrated the nation’s cultural uniqueness. Indigenismo represented a manifestation of this phenomenon. The Bolivian variant of this nativist movement took inspiration from indigenista currents radiating from other Latin American countries, including Mexico and Argentina, but above all else from Peru.
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Etwaroo, Indira. "Dance Rooted in the Movements of Bedford-Stuyvesant". In Hot Feet and Social Change, 37–55. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.003.0003.
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Reinterpreting the works of choreographers Kariamu Welsh and Ronald K. Brown as ethnographies of Brooklyn, New York’s Bedford-Stuyvesant neighborhood, Indira Etwaroo situates Welsh’s and Brown’s respective bodies of work from two historical periods as artistic expressions shaped by the Great Migration, the Black Arts and Black Power movements, and the daily realities of mid and late 20th Century African-American urban life. As examples of “Neo-traditional African dance,” Etwaroo explores how Welsh and Brown recalibrated traditional African dance aesthetics for North American and European performance contexts that were quite distinct from those rooted in traditional African societies. As Welsh and Brown addressed current African-American political events in their works, they secured a contemporary relevance for the historically rooted dance aesthetics they pioneered. Etwaroo also places Welsh and Brown within a long tradition of African-American dance choreographers and explores Welsh’s influence on Brown as evidence of an established neo-traditional African dance ethos in the United States, which constitutes a tradition in its own right.
Trabalhos de conferências sobre o assunto "Arts, american – 20th century – exhibitions"
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DOSPINESCU, Liviu. "Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.
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This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.
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Lopes Dias, Tiago. "La mirada de Pedro Vieira de Almeida a Le Corbusier: una visión desde Portugal en la segunda mitad del siglo XX". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.732.
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Resumen: Pedro Vieira de Almeida (Lisboa, 1933 – Matosinhos, 2011) es uno de los más importantes críticos y teóricos de la arquitectura en la segunda mitad del siglo XX en Portugal. En 1963, presenta en la Escuela de Bellas Artes de Oporto una tesis titulada “Ensayo sobre el espacio de la arquitectura”, influida por el pensamiento de Bruno Zevi. Hasta la Revolución de los Claveles (1974), va a compaginar su práctica profesional como arquitecto con una intensa actividad crítica ejercida sobre todo en periódicos y revistas culturales. Desde sus primeros trabajos se evidencia una notable capacidad de utilizar conceptos críticos innovadores en el análisis de obras de arquitectura, lo que será fundamental en sus estudios historicos desarrollados a lo largo de su vida, dados a conocer en publicaciones y exposiciones retrospectivas sobre arquitectos clave. Este ensayo propone una reflexión sobre el legado de Le Corbusier poniendo el aciento en algunos artículos de Vieira de Almeida escritos entre 1965 y 1970, así como en la investigación que ha llevado a cabo en los últimos años de su vida. Esta lectura diacrónica pone de relieve el papel central del maestro franco-suizo en la lectura crítica de Vieira de Almeida del racionalismo, a través de las nociones por él manejadas: “estructura crítica como condición base de la creación”, las vertientes poético-simbólica y mítica de la arquitectura o el concepto de carácter más instrumental de la “espesura”. Abstract: Pedro Vieira de Almeida (Lisbon, 1933 – Matosinhos, 2011) is one of the most prominent critics and theorists of architecture in the second half of the 20th century in Portugal. In 1963, he presented at the Oporto School of Fine Arts a thesis entitled “Essay on architectural space”, clearly influenced by the thoughts of Bruno Zevi. Until the Carnation Revolution (1974), he will combine his professional practice as an architect with an intense critical activity, developed mainly in newspapers and cultural magazines. Since his early work, a remarkable ability to use innovative concepts in the critical analysis of buildings have been put forth, with major consequences in his historiographical studies, developed throughout his life through publications or retrospective exhibitions on key architects. The following paper proposes a reflection on the legacy of Le Corbusier based on Vieira de Almeida’s theoretical work, linking some texts written between 1965 and 1970 with his research carried out in his last years of life. This diachronic study highlights the central role of Le Corbusier in Vieira de Almeida’s critical approach to rationalism, by means of notions as: “criticism as a basic condition of creation”, poetic-symbolic and mythical aspects of architecture, or the more instrumental concept of “thickness”. Palabras clave: Crítica; Teoría; Pedagogía; Poética; Espesura; Ronchamp. Keywords: Critique; Theory; Pedagogy; Poetics; Thickness; Ronchamp DOI: http://dx.doi.org/10.4995/LC2015.2015.732
Relatórios de organizações sobre o assunto "Arts, american – 20th century – exhibitions"
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Sanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, março de 1994. http://dx.doi.org/10.18235/0007910.
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt e Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), junho de 2023. http://dx.doi.org/10.21079/11681/47184.
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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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50 Years, 50 Works: The Art of Latin America and the Caribbean in the 20th Century. Information Bulletin No. 108. Inter-American Development Bank, junho de 2009. http://dx.doi.org/10.18235/0008282.
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Selections from the exhibit presented at the Museo de Antioquia, in Medellín, Colombia (from March 16 to May 17, 2009), on occasion of the 50th Anniversary of the Inter-American Development Bank, and the celebration of the 50th Annual Meeting of Governors of the IDB. The Cultural Center of the Inter-American Development Bank (IDB), has scheduled this same exhibition gathering selected artworks from the art collections of the Inter-American Development Bank (IDB) and the Art Museum of the Americas of the Organization of American States (OAS) - both in Washington, D.C. The exhibit represents, to a great extent, the development of the arts in the Region throughout the 20th century.
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Nikkei Latin American Artists of the 20th Century: Featuring Artists of Japanese Descent from Argentina, Brazil, Mexico, and Peru. Inter-American Development Bank, junho de 2005. http://dx.doi.org/10.18235/0005929.
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Through this exhibition, the Inter-American Development Bank pays tribute to the relationship between Japan and Latin America, and to the contribution of Japanese citizens to the region, as represented symbolically through the arts. This event serves as a kick-off for many others that will take place in honor of the occasion of the 46th Annual Meeting of the Board of Governors of the Inter-American Development Bank in Okinawa in April, 2005.
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Turns and Directions: Changes in the Arts of Central America's Spanish-Speaking Nations and Panama during and after the 1950s. Inter-American Development Bank, agosto de 2010. http://dx.doi.org/10.18235/0005958.
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Featuring 27 pieces from the art collections of the IDB and the Organization of American States, it is one of several smaller exhibits on Latin American art from the second half of the 20th century, and forms part of an ambitious project, ¿About Change,¿ organized by the World Bank Art Program, in association with the IDB Cultural Center and other institutions. The main exhibition, which will open in 2011, focuses on the arts produced in Latin America and the Caribbean during the last decade through the works of artists 35 years of age or younger, exploring the changes that have resulted from economic globalization and information technology. This new IDB exhibition is designed to help create a context against which the changes observed over the last ten years can be gauged.
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Nikkei-Latin American Artists of the 20th Century. Inter-American Development Bank, fevereiro de 2005. http://dx.doi.org/10.18235/0008269.
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Presents the exhibition pays tribute to Japan and to more than a century of relations between Japan and Latin America. This paper presents selected art works "painting, drawing, engraving and installation" by 10 artists of Japanese descent from Argentina (Kasuya Sakai), Brazil (Tikashi Fukushima, Manabu Mabe, Tomie Ohtake, Yutaka Toyota and Kazuo Wakabayashi), Mexico (Luis Nishizawa) and Peru (Arturo Kubotta, Carlos Runcie Tanaka and Venancio Shinki).
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Paradox & Coexistence 2. Inter-American Development Bank, maio de 2005. http://dx.doi.org/10.18235/0008263.
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Present an exhibition featuring the works by some of the leading Latin American artists during the period 1981-2000 was open at the Art Gallery of the Cultural Center of the Inter-American Development Bank on May 20th, under the name Paradox and Coexistence II. The exhibit is the second segment of the exhibition initially staged by the IDB Cultural Center in 2002.
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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, setembro de 2002. http://dx.doi.org/10.18235/0005919.
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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.