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1
Alamsjah, Winnie 1974. "Rethinking the modern : imagining the future of the Museum of Modern Art, New York". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62954.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (p. 103-105).
The thesis seeks to explore the implications of the emergence of the digital media as a new art form on the museum space. The museum as an institution has faced some ideological and philosophical contradictions in recent times. Economically, heightened competition for dwindling funds has begun to shape programming decisions. Philosophically, the museum's perceived authoritarian role clashes with the critiques of cultural hegemony that are so much a part of the contemporary art world. Contemporary art forms that intentionally subvert the equation of art and object are often less compatible with traditional conceptions of museum space. And socially, museum expansion is often used as a tool for the gentrification of museum neighborhoods, a stratagem that cheers civic boosters and troubles social critics. All these point to a social, philosophical, political critique of the museum as an institution. The thesis does not attempt to resolve all the issues rooted in the current museum culture/structure. Rather, it seeks to study the various museums built historically and propose a new way of understanding the role of the museum in relation to the issues brought up by artists, social critics, historians alike. The exploration involves both spatial and material articulation. What could a museum be?
by Winnie Alamsjah.
M.Arch.
2
Rasmussen, Briley. "Pedagogy for the modern : Victor D'Amico and the Museum of Modern Art, 1929-1969". Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/42851.
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This thesis explores the history of the educational mission and programs of the Museum of Modern Art, New York (MoMA) from 1929 to 1969, interrogating how education programs were critical to the museum’s presentation, definition, and dissemination of modern art in this period. It centers on the work of Victor D’Amico, the first director of education at MoMA, and follows the course of his tenure at MoMA from 1937 to his retirement in 1969. The first two chapters of this thesis address the philosophical roots of the museum and its education program. It begins with an examination of the progressive aspirations of the museum’s founders, as well as the pedagogical experiments of MoMA’s first director, Alfred H. Barr, Jr. It then introduces Victor D’Amico, exploring the progressive grounding of his work and the shifting notions of children and childhood that become the heart of his work at MoMA. Through the lens of specific programs the next three chapters investigate three different decades at the museum. Chapter Three focuses on the multiple exhibition Elements of Design and considers how the museum developed pedagogical tools to reach larger audiences for modern design. Chapter Four addresses the changing climate for MoMA and modern art following the Second World War and how the museum harnessed television as a critical medium to develop audiences for modern art and promote its place in a democracy. Finally, Chapter Five discusses how D’Amico’s Children’s Art Carnival was leveraged as a tool for cultural diplomacy in Europe and India during the Cold War. Through a focus on the educational philosophy and practices of the museum this thesis investigates the larger ambitions of MoMA to impact daily life. They believed an engagement with modern art and its ideas and practices could foster agency in people in the United States and abroad. Ultimately, this thesis charts a more expansive understanding of modernism and the role of museum education in the histories of art and museums.
3
Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.
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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold War period.
4
Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
5
Nicolescu, Gabriela. "Art, politics and the museum : tales of continuity and rupture in modern Romania". Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12491/.
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This thesis provides an exploration of moments of abrupt political change in modern Romania through an analysis of the multiple transformations that have occurred in the National Museum of the Romanian Peasant (NMRP). It traces the paradoxical process by which a museum, perceived as an ‘immutable institution’ not only reflected, but also became a stage for supporting the shift from monarchy to communism and the ensuing of the post-communist order. It reveals how the present-day NMRP is a mixture of institutions, fragments and deletions, a problematic assemblage of people and practices. This mix has resulted in the formation of conflicting and often contradictory views on representation: be they views of the peasant, the past, or the aesthetics of display. Such conflicts in turn exemplify tensions about Romanian identity and modernity more generally. The thesis is based on an analysis of a broad range of contemporary and archival material, such as photography relating to exhibitions and events, films, descriptions of museum displays, labels, and artefacts themselves. This analysis works in combination with ethnography and with reflection on the experience of curating a contemporary exhibition within the museum. In this exhibition, objects and words were used to explore the juxtaposition of concurrent views about the past and the co-existence of different pasts in the present. It is suggested that an understanding of how oppositions work together in the confined space of the museum enables clearer perceptions of social and political tensions within contemporary Romanian society.
6
Johansson, Michael. "Bildhuggaren, soldaten, och modern : Ivar Johnssons ”Arbete och livsbejakelse” (1939)". Thesis, Linköpings universitet, Avdelningen för kulturvetenskaper, KVA, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-124698.
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Denna uppsats har berört Ivar Johnssons verk ”Arbete och Livsbejakelse” (1939) som finns placerad på fasaden av Östergötlands museum. Uppsatsens syfte är att beskriva verkets tillkomsthistoria samt undersöka dess relation till arbetartematiken och ideologi. Tillkomsthistorien har kunnat skrivas genom en redogörande genomgång av museibyggnadskommitteens protokoll samt samtida press. För undersökningen av verkets innehåll och motivbild har en analys gjorts med utgångspunkt från Erwin Panofskys och Jan- Gunnar Sjölins metoder. En diskussion görs efter analysen och resultatet visar att man kan se ideologiska tendenser i verket och att motiven kan ses följa arbetartematiken.This essay has touched Ivar Johnson's works "Arbete och livsbejakelse" (1939) which are placed on the facade of Östergötlands museum. The purpose of this thesis is to describe the history about the origin of the artwork and examine its relationship to the working-class themes and ideology. The history about the origin of the artwork has been written by a narrative review of protocol, from the comittee of museum building and the contemporary press. For the survey of the work's content and motives image, an analysis has been made based on Erwin Panofsky and Jan-Gunnar Sjölins methods. A discussion is made after the analysis and the results show that one can see the ideological tendencies in the work and that the motives can be seen following the work themes.
7
Gray, Campbell Bruce. "Recent design of the modern art museum in London : dissonance in theory and phenomenology". Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240406.
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Wright, Lesley. "Surviving in New York : an exploration of development at the Museum of Modern Art". ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/85.
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Uzumyemezoglu, Victoria Stephanie <1992>. "Istanbul Modern Museum: storia e analisi di un’istituzione museale moderna e contemporanea in Oriente". Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13043.
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Il presente lavoro espone una panoramica sull’arte moderna e contemporanea in Turchia e si occupa in particolare di analizzare l'attività dell'Istanbul Modern Museum, nato nel 2004, che è il primo museo di arte moderna e contemporanea della città; città che a sua volta è stata una metropoli caratterizzata da un prezioso patrimonio culturale e artistico.
Il lavoro si apre analizzando il sistema dell’arte in Turchia, le correnti artistiche, la storia della stessa città di Istanbul e il suo contesto culturale. Viene presentato poi uno studio dettagliato sul Museo Moderno di Istanbul: la storia dell’istituzione museale, la fondazione Eczacıbaşı Holding Group, la mission e le
attività didattiche del museo.
Si approfondirà poi l’attività espositiva del museo focalizzandosi su cinque esposizioni
temporanee come casi di studio: “Osservazione, Interpretazione, Molteplicità” del 2005; “Fikret Mualla”del 2005; “Venezia e Istanbul” del 2006; “Roger Ballen: Retrospective” del 2017 e “Artista e il Tempo” del 2017.
Successivamente verrà presentato un paragone con l’attività didattica di un'istituzione museale simile in Italia: la Pinacoteca Giovanni e Marella Agnelli di Torino. Molte infatti sono le similitudini tra le due istituzioni museali, a cominciare dalla loro origine: entrambe nascono da collezioni private familiari diventate poi museo. L'analisi qui proposta riporta una ricostruzione storica della formazione delle collezioni private fino ad arrivare allo stato attuale di musei, analizzando gli elementi e le modalità attuali di gestione.
A conclusione della tesi sono presentate delle valutazioni sul lavoro svolto dal Museo Moderno di Istanbul, determinando delle riflessioni sul suo operato e sul come si concretizza la loro offerta didattica al pubblico in confronto a quello della Pinacoteca Agnelli di Torino.
Il lavoro è inoltre arricchito dalle interviste a Bedri Baykam, uno dei più noti artisti turchi a livello internazionale, e Yahşi Baraz, uno dei galleristi più importanti di Istanbul; e a Öykü Özsoy, uno dei curatori del Museo Moderno di Istanbul.
10
Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.
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Baniotopolou, Evdoxia. "Century city : art and culture in the modern metropolis : a case-study of institutional curating of contemporary art in an urban context". Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5370/.
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My thesis is an interpretive case study of the exhibition Century City: Art and Culture in the Modern Metropolis (Tate Modern, 1 February – 29 April 2001). It examines a variety of issues pertaining to the making of institutional modern and contemporary art exhibitions in a Western urban context today. It is concerned with exhibition studies’ methodology, the reciprocity between the art institution and the city, and the relationship between the art institution and the independent curator. With regards to methodology, I propose various readings of an exhibition that fall under two types of knowledge, namely visible and invisible knowledge. The former refers to all aspects of the exhibition that are seen in the public domain, while the latter considers not immediately accessible information about the exhibition, such as archival material and oral history. I also examine the mutual relationship between the city and the institution through the instrumentalization of the exhibition by city politics, and the correlative micro and macro effects. I thus link the exhibition to a passage from an industrial to a post-industrial economy, New Labour politics and the competition of cities in a worldwide urban network. Within that framework I analyse associated issues, such as London’s urban regeneration and cultural tourism, city branding, changing city demographics, the link between the institution, the city and governmental agendas, and the ‘world city’ race. Finally, I question the changing relationship between the art institution and the independent curator. I reflect on the advantages and limitations of curatorial practice in the context of that relationship by considering the exhibition as a platform for the concurrent expression of both personal and collective curatorial interests, and the exploration of canonical versus contemporary approaches. I conclude that an in-depth study of a contemporary exhibition on these grounds allows for important insights to be gained that contribute to the fields of curatorial and exhibition studies, as well as to urban theory.
12
Pitman, Krista Chandler. "Understanding space the conceptualization and evaluation of display in Dia:Beacon /". Birmingham, Ala. : University of Alabama at Birmingham, 2007. https://www.mhsl.uab.edu/dt/2007m/pitman.pdf.
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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study". Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
14
Geiger, Stephan. "The art of assemblage the Museum of Modern Art, 1961 ; die neue Realität der Kunst in den frühen sechziger Jahren". München Schreiber, 2005. http://d-nb.info/98913458X/04.
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Ferreira, da Rocha e. Silva Ana Beatriz. "Spectacular architecture, identity crisis, cultural politics and the reinvention of the significance of museums of modern art". Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5645/.
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Much of the available literature on the impact of the architecture of museums of modern art has centred upon the 'spectacularity' of such structures and the regeneration effect on sites and/or cities triggered by their presence, often highlighting their agency in promoting mass tourist activity. However, apart from these widely debated facts, more complex circumstances regarding major shifts in the socio-cultural and political arenas may have influenced the identity, conception, design and implementation of these architectural structures within cityscapes and urban fabrics - circumstances which are often overlooked. Considering this complex contextual frameset, this work concentrates on a specific period of time, indicating the substantial renovation cities have been through since the industrialisation-boom of the 1950s, and ponders the relation between these physical and symbolic transformations and the consequences of this 'modernisation' process in the social-cultural panorama. Albeit assumed as a preponderant factor in cities' 'modernising' policies, this research does not aim to map the most significant or to construct a historiography of modern art museums. The objective is to discuss whether this 'modernisation' process is related to the transformations in the scope, form, function and identity of modern art museums in the last 60 years or so, highlighting the implications of the phenomenon that glorifies these architectural structures per se. But to what extent, or in what sense, has the set of socio-cultural transformations seen since the 1950s conceptually/concretely affected the architecture of museums of modern art? How did this particularly elitist building type emerge as such powerful element in both politico-economic and socio-cultural terms, becoming a major agent in transforming cities' identities since the 1990s? The Museu de Arte Moderna, Rio de Janeiro (Affonso Eduardo Reidy, 1953-1967); the Centre de Culture et d'Art Georges Pompidou, Paris (Renzo Piano & Richard Rogers Architects, 1970-1977) and the TATE Modern, London (Jacques Herzog & Pierre de Meuron, 1994-2000) were selected to illustrate these transformations. In fact, this work discusses these museums' relevance as architectural objects ; analyses whether they have contributed (or not) to set up a new agenda for modern art museums; and investigates if these (conceptual/concrete) transformations have corresponded (or not) to major shifts in paradigms in the arts, in social-cultural trends and in the architectural practice and thinking within the period.
16
Roda, Erica Andreia da Silva. "A exposição de Arquitetura no MoMA The Museum of Modern Art de Nova Iorque : transformações curatoriais". Master's thesis, [s.n.], 2013. http://hdl.handle.net/10316/33210.
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Kim, Yon Jai. "The making of the National Museum of Modern and Contemporary Art (MMCA), South Korea, 1969-2016". Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/41227.
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This thesis investigates the dynamics, debates, and contexts of the making of the National Museum of Modern and Contemporary Art in South Korea (MMCA). An interdisciplinary history, it examines and deconstructs particular episodes, events, and relationships. This thesis interrogates the dialogues of internal and external agents that drove change, influenced developments, and negotiated the form and operation of the museum against a background of socio-political change. The thesis illuminates several interrelated factors, such as trends in art production, national political change, policy development, and so on, revealing an institution shaped by its system, constant negotiation, and dynamic change. Rather than pursuing a linear developmental path of the kind commonly used to describe the histories of the world’s great museums, the museum reveals a complex and, at times, disjointed narrative that shows an institution adapting to the rapid political development of South Korea. As such, the thesis sheds light on the contexts and associated agents that repeatedly configured and reconfigured its identity, practices, norms, and discourses. Since the opening of the museum in 1969, there have been a number of scholarly debates that provide a chronological history of its ‘troubled’ identity. Instead of pursuing a biography, this thesis adopts an interpretive lens to probe more deeply into the history of the museum. Drawing upon historiographic and ethnographic research methods, this thesis contends that the museum has been an active art institution which moves and interacts dynamically with the society rather than situates itself as a remote, static, and bureaucratic system.
18
Alvarez, Andrea. "Art Criticism, Scholarly Interpretation, and Curatorial Intent: A Reassessment of the 1998 Jackson Pollock Retrospective at the Museum of Modern Art". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/439.
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In 1998, the Museum of Modern Art held a retrospective exhibition of artworks by Jackson Pollock. Curators Kirk Varnedoe and Pepe Karmel worked in an art historical context that had been significantly shaped by the early critical writings by Clement Greenberg and Harold Rosenberg. The curators’ stated intention for the exhibition installation was to provide “a fresh chance for new generations of artists to come to terms with a legendary figure” and to enable “the broader public to reassess a quintessentially American artist in light of three decades of new scholarship,” without “ hewing to any particular critical dogma.” Despite this curatorial intention, this thesis examines the ways in which the retrospective inscribed Greenberg’s and Rosenberg’s theories, while disregarding subsequent scholarship that did not explicitly inscribe or align with the mid-century criticism in its account of Jackson Pollock.
19
Barrere, Laetitia. "La photographie documentaire à l'épreuve du modernisme au "Museum of Modern Art" de New York (1937-1970)". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010594.
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Cette thèse est consacrée aux questions de réception et d'institutionnalisation de la photographie documentaire et de la photographie de reportage à partir de 1937 jusqu'aux années 1970 au Museum of Modem Art (MoMA) de New York. Le premier chapitre revient sur la genèse et les enjeux de l'instauration de la straight photography comme canon d’une tradition esthétisante du médium et éclaire l’influence de la critique formaliste dans l'émergence d'un modernisme documentaire, exemplifié par la production de Walker Evans. De nombreux photographes dont les pratiques ne correspondaient pas aux idéaux de perfection technique de la straight photography ont de exclus des circuits de légitimation institutionnelle, en particulier les membres de la Photo League de New York. La photographie documentaire urbaine, développée en dehors de la doxa moderniste, fait l'objet du deuxième chapitre de cette étude. A. cet égard, une attention particulière est consacrée à l'œuvre critique d'Elizabeth McCausland, principale porte-parole de la fonction sociale de la photographie. Le troisième chapitre se concentre sur la période de l’après-guerre. Dans ce nouveau contexte, les Américains sont à la recherche de nouveaux canons artistiques, qu'ils trouvent dans la photographie de reportage française, dont Henri Cartier-Bresson représente le chef de file. Ce chapitre dévoile les intérêts diplomatiques du modernisme dans les échanges transatlantiques avec la France, ainsi que ses intérêts économique à travers l'exemple d'André Kertész dont l'exposition au MoMA suscite l'envol de sa cote sur le marché naissant de la photographie dans les années 1970This thesis is dedicated to questions of reception and institutionalization of documentary photography and reportage photography from 1937 through to the 1970s at the New York Museum of Modern Art (MoMA). The first chapter looks at the development and objectives of the advent of straight photography as a canon or an aestheticizing tradition of the medium, and sheds light on the influence of formalist criticism in the emergence of a form of documentary modernism, exemplified by the works of Walker Evans. Many photographers whose practices do not correspond to the ideals of technical perfection of straight photography were excluded from the circuits of institutional legitimization, particularly the members of the New York Photo League, Urban documentary photography, developed outside of the modernist doxa will be the subject of the second chapter of this study. In this respect, particular attention is paid to the critical work of Elizabeth McCausland, a major spokesperson for the social function of photography. The third chapter focuses on the post-war period. ln this new context. The Americans were looking for new artistic canons, which they found in French reportage photography, with Henri Cartier-Bresson leading the fray. Finally, this chapter reveals the diplomatic interests of modernism in Transatlantic exchanges with France, as well as its economic interests, taking André Kertész, as an example, whose exhibition at MoMA caused his works to suddenly rise in value on the inchoate photography market of the 1970s
20
Kivlan, Anna Karrer. "An eye for vulgarity : how MoMA saw color through Wild Bill's lens". Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39314.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 67-71).
This thesis is an examination of the 1976 Museum of Modern Art exhibition of color photographs by William Eggleston-the second one-man show of color photography in the museum's history- with particular attention to the exhibition monograph, William Eggleston's Guide. From hundreds of slides, MoMA Director of Photography John Szarkowski dominated the process of selecting the 75 images for the exhibition and 48 to be carefully packaged in the Guide, a faux family photo album/road trip guidebook. It is my contention that, despite their verbal emphasis on the Modernist and universal (rather than Southern) nature of the images, the photographs can be read as being replete with the mythology of the Old South- its decay, vulgarity, and even horror. Through this act of manipulation, the images in the Guide appealed in a voyeuristic way to an elite Northern art world audience, ever eager to reinforce its own intellectual, economic, and ethical superiority over other parts of the country. Due to its presumed "vulgarity" and absence of aesthetic mystique at the time, color photography required for its inaugural moment at the museum a sharp distancing from the documentary tradition and advertising-the complete erasure of social context afforded by a Modernist aesthetic.
(cont.) The two-faced posture maintained by the curator and photographer combined a canny understanding of the cultural power of the images with an overtly Modernist disavowal of it.
by Anna Karrer Kivlan.
S.M.
21
Caloghirou, Christina 1971. "Marketing the aesthetic encounter : the role of consumption in the design of the new Museum of Modern Art". Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/64902.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.Includes bibliographical references (p. 140-143).
In recent years, museum architecture has been extensively subjected to cultural critique. Perceived as an instance of architects' stylistic yearnings, reflecting control strategies, promoting institutions' economic and cultural power, catering for education through forms that increasingly associate it with commercial environments and building structures, museum architecture is examined in this thesis as a significant ground for articulating the relation between cultural and consumer practices. Assuming that contemporary societies increasingly operate within a highly consumptive culture, where people seek new experiences through travel, leisurely activities and cultural exposure, and considering that the physical environment challenges and affects the perception of our material and immaterial worlds, we investigate the role of consumption in recent museum design. In so doing, this study focuses on the new expansion of the Museum of Modern Art in New York, a project that surprised critics both in its choice of participants and the conceptualization of its design process. We discuss the meaning of consumer culture in the context of cultural institutions, outline its effect on the definition of MoMA's institutional identity and study its role and expression in the conceptual and design phases towards the selection of the final project. The objective is to review and expand our understanding of the relationship between consumption and cultural production in museum spaces while aspiring to develop an operative framework for future thought and practice in the shaping of new architectural identities.
by Christina Caloghirou.
M.S.
22
Chawaga, Mary. "The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.
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Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum.
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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.
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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.
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Doughty, Elizabeth Lynn 1984. "Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.
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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other.
Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek
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Garaycochea, Guido. "Museo de Arte Contemporáneo". Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/114078.
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Magíster en artes, con mención en teoría e historia del arteLa siguiente investigación constituye una perspectiva histórica del Museo de Arte Moderno (MoMA) fundado en el año 1929 con apenas 13 obras y cuya concreción histórica revela cómo, a pesar de su modesto origen, el sueño de un pequeño grupo de personas logra convertirse en un referente museológico universal obligado. A lo largo de esta exposición se establecerá un paralelo entre la creación del MoMA, el Museo Metropolitano de Nueva York, el New Museum de Nueva York y el recientemente renovado Museo del Barrio en el Harlem, este último un reflejo del museo orientado la comunidad inmediata. Se considerará la inserción de internet en el panorama cultural de los Estados Unidos en general y su importancia en la difusión del contenido del museo, ya sea como herramienta de apoyo o como plataforma para determinados contenidos.
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Shen, Kairos. "Design as a context for research : the design of a museum of modern art as a vehicle for studying Alvar Aalto's work". Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/79014.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.Includes bibliographical references (p. 179-180).
The premise of this thesis is that there is valuable knowledge embedded in the buildings and related work of an architect that can only be understood in the context of some specific design setting. This thesis is an inquiry into the work of Alvar Aalto conducted through the process of two separate design exercises. The objective of the enquiry is to demonstrate that a reflective and self-critical design process can be a useful tool for extracting design knowledge embedded in Aalto's buildings. The method of this study uses Aalto's work as a critical reference for confronting specific architectural issues and dilemmas raised by the two design exercises. The designs borrow organizational and formal strategies from Aalto's buildings which can be seen to have confronted similar architectural issues. Aalto's work is studied primarily to further each of the designs. Therefore the enquiry of Aalto's work is necessarily topical, limited, biased towards understanding the issues of physical form making since it revolves around specific architectural design issues. The thesis itself is composed of six parts: --Section One introduces the premises for this enquiry. It discusses the kinds of design knowledge embedded in buildings and elaborates on using design as a context for extracting this specific kind of knowledge. --Section Two describes the two design exercises. It introduces the sites in Helsinki and Boston and discusses the pedagogical intention behind conducting two design exercises for this enquiry. It also includes the interpretation of the program of a Museum of Modem Art used in the design exercises. --Section Three presents the specific design of the Helsinki project in plan and section. --Section Four is a collection of some of the general observations on Aalto's work which emerged during the enquiry. These observations are grouped under 12 subjects. --Section Five presents selected examples from both the Helsinki and Boston design exercises to illustrate the design setting of these decisions and their relationship to the parallel enquiry into Aalto's work introduced in section four. --Section Six is a critical reflection on this enquiry. It highlights some of the most important questions raised by this investigation and offers some proposals for how this kind of design research can be continued.
by Kairos Shen.
M.Arch.
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Benlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
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Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architectureThe thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
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Pienoski, Christine Marie Pienoski. "Pyramids of Lake Erie: The Historical Evolution of the Cleveland Museum of Art's Egyptian Collection". Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461522282.
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Лукін, А. А. "Будівництво музею сучасного мистецтва в місті Чернігові". Thesis, Чернігів, 2021. http://ir.stu.cn.ua/123456789/25322.
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Лукін, А. А. Будівництво музею сучасного мистецтва в місті Чернігові : випускна кваліфікаційна робота : 192 «Будівництво та цивільна інженерія» / А. А. Лукін ; керівник роботи О. В. Савченко ; НУ "Чернігівська політехніка", кафедра технологій зварювання та будівництва . – Чернігів, 2021. – 104 с.Даний проєкт передбачає будівництво музею сучасного мистецтва в місті Чернігові по вулиці Музейній. Конструкція будівлі являє собою повнокаркасну ригельну систему з поперечно розташованими ригелями. Фундаменти будівлі представляють собою стовпчасті та плитні фундаменти. Покрівля плоска, з організованим внутрішнім водовідводом. Стіни будівлі виконані із збірних залізобетонних тришарових панелей товщиною 200 мм. Будівля музею запроєктована двоповерховою з підвалом, в якому розташовані фондосховища для зберігання колекцій музею. Також будівля має експлуатовану покрівлю. Музей розрахований на 20-100 тисяч відвідувачів на рік та буде зберігати 10-30 тисяч одиниць експонатів.
This is a project to build the museum of the Contemporary Art in Chernihiv on the Muzeyna street. The construction of the building is a frame-based system with transversely placed crossbars. The foundations are represented as pillar foundations and slab foundations. The roof is flat, with an organized internal water supply. The walls of the building are made of the reinforced concrete three-layer panels with a thickness of 200 mm. The building of the museum has been projected with a two-floor scheme with a cellar, in which the museum can store exhibits of the museum collection. Also the building has exploited roof. The Museum is ready for 20-100 thousand visitors in the year, and be able to store 10-30 thousand exhibits.
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Jacečko, Tomáš. "Středoevropské forum Olomouc". Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-394003.
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The diploma thesis deals with the construction of building the Central European Forum in the vacant space on the street Denisova in Olomouc. SEFO new building is directly connected to the existing building Olomouc Museum of Art is within the urban conservation. The new facility will expand the exhibition and storage capabilities of this institution that deals with modern art. In building will be located mainly in the exhibition space and the first and sekond floor. Furthermore Library 3.NP and 4.NP. Depository, administrative offices, workshops and technical facilities are situated on two underground floors. In the courtyard garden created with exhibitions. Those are defined as two roof surfaces.
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O'Toole, Erin Kathleen. "No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art". Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/204109.
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In 1940 the Museum of Modern Art, New York, (MoMA) became the first major American art museum to establish a curatorial department dedicated exclusively to photography. From the perspective of the photographers, curators, and critics who had sought institutional legitimacy for the medium, the founding of the Department of Photographs was a watershed event, marking the moment when photography finally came to be recognized as a museum subject equal to painting and sculpture. Although the department has since had a pervasive influence on the field and the history of photography, surprisingly little scholarship has addressed its contentious formation. This dissertation seeks to fill this significant gap in the literature by examining the department's inception and the six years Beaumont Newhall served as its curator.Of particular concern are the ideological battles waged over how photography would be presented at MoMA by Newhall, his wife Nancy--who served as acting curator when her husband enlisted in the army during World War II--and the department's co-founder and key advisor, Ansel Adams. As acolytes of the photographer and gallerist Alfred Stieglitz, who himself had long fought for the recognition of photography as a medium of art, the Newhalls and Adams took aesthetic quality as their guiding metric, asserting that in order to raise the profile of photographers, educate the public, and improve standards of taste, the museum should show only the very best work ever created--the "heavy cream" of photographic production. Their vision for photography at the museum was counterbalanced by that of the photographer Edward Steichen and many prominent writers and critics, who argued that MoMA should treat photography as a broad-ranging cultural phenomenon and means of communication, rather than merely as a medium of self expression. The debate between these two camps illustrates the considerable philosophical, interpretive, and museological challenges raised by photography's introduction into the museum, issues that remain as contentious as ever.
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Statzer, Mary Kathryn. ""Photography into Sculpture": Peter Bunnell, Robert Heinecken and Experimental Forms of Photography Circa 1970". Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556851.
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Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated "straight" photography’s reliance on the image and optical description as its primary source of meaning, characteristics presumed to be fundamental and fixed by many at the time. Bunnell argued that the physicality of the works in Photography into Sculpture made the medium visible and available for critique. This dissertation establishes the archival record and an oral history for the exhibition. It also finds that Bunnell prepared this unorthodox exhibition with John Szarkowski’s endorsement, therefore contradicting enduring views that Szarkowski’s photography program at the Modern promoted a monolithic ideology that did not include experimental modes. Peter Bunnell and Robert Heinecken are the principal figures in Photography into Sculpture. Bunnell, as curator and historian, and Heinecken, as artist and professor of photography at University of California, Los Angeles, were both committed to the idea that the photograph was not only an image but also an object. In public statements they argued that the attention placed on straight photography by many critics and educators discouraged experimentation and excluded an emerging generation of photographers eager to challenge lingering modernist traditions that emphasized the integrity of the image and conventions of display. Both men and their contemporary Nathan Lyons worked from within photography’s established institutions and organizations–including the Museum of Modern Art, George Eastman House, and The Society for Photographic Education–to advocate for alternatives. This dissertation demonstrates that the revolutionary ideas of Bunnell and Heinecken were part of a long rebellion against photographic modernism.
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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
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Imbert, Clémence. "Oeuvres ou documents ? : un siècle d’exposition du graphisme dans les musées d’art moderne de Paris, New York et Amsterdam (1895-1995)". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080084/document.
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La thèse s’intéresse aux expositions de design graphique, à la fois en tant qu’événements constitutifs de l’histoire de la discipline et en tant qu’espaces (scénographiques et discursifs) où se manifestent ses liens plus ou moins assumés avec la création artistique. Elle s’appuie sur un corpus de quatre cents expositions, organisées entre 1895 et 1995, au sein de trois institutions muséales : le Stedelijk Museum d’Amsterdam, fondé en 1895, le Museum of Modern Art (MoMA) de New York, créé en 1929 et le Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), né en 1993 de la fusion de deux départements du Centre Pompidou. L’étude des archives de ces manifestations met au jour ce que furent les choix de programmation des musées (quels objets, quelles époques, quels graphistes mettent-elles en avant ?) ; mais aussi les différents statuts qui sont conférés aux objets imprimés, par la scénographie ou par les discours qui les environnent. La thèse révèle, notamment, la préférence des musées d’art moderne pour l’affiche, pour le graphisme « d’utilité publique » et pour le travail des « graphistes-auteurs ». À ce graphisme « de musée » sont appliqués des cadres interprétatifs qui le rapproche de la création artistique : assimilation du graphiste à un artiste, omission des circonstances de la commande, description des styles, recherche des influences… Les expositions de « communications visuelles » organisées par le CCI offrent un singulier contrepoint à ce modèle, dans la mesure où elles consacrent moins les « œuvres » du graphisme qu’elles ne s’interrogent sur leur contexte social de production et d’utilisationThis dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use
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Mosako, Daniel Rankadi. "A study to identify and evaluate the roles and challenges of modern art museums - with special reference to the incorporation of digital technology in art museums in the Gauteng province of South Africa". Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/61392.
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This research briefly introduces the roles of art museums and presents selected digital technology implementation challenges and benefits in art museums in the Gauteng Province.
An art museum is a building or space for the exhibition of work of art, usually visual art. Art museums collect objects of art and other historic artefacts that are documented and exhibited for different purposes, such as aesthetic value, social, historic cultural and educational, significance and research values that are traceable to a specific society or group of individuals.
In South Africa, particularly in the Gauteng Province, art museums are failing to keep pace with international trends about the use of digital technology. It is, therefore, important for art museums as information dissemination centres to incorporate digital technology in their daily museum business as it may offer the opportunity for these museums to become more effective and competitive in the global information society.
A literature review is done to understand the trends of different digital technologies in other first world international cities. The examined literature revealed that the Internet and other technological applications of the new millennium prompted a re-evaluation of cutting edge museum research, education roles, and documentation capabilities. Consequently, digital technology became an integral component of the digital policies of many art museums, allowing them to satisfy the demand for online information sharing abilities. A qualitative research approach together with a constructivism educational theory is used to fully understand South Africa’s position regarding the use of digital technology. In South Africa, digital technology usage in art museums is predominantly limited to email exchange, electronic invitations to exhibitions, data capturing of collections and viewing of basic websites. In other words, digital technologies are not optimally used in the South African art museum environment.
The study explores the benefits of digital technology interfaces at art museums against fixed traditional art museum information dissemination practices. The objectives of the study are to create an awareness of best practice in the implementation of digital technology interfaces at art museums in Gauteng.
The findings in this study indicate that digital technologies have proved to be useful in several spheres of public life resulting in the popular utilization of e-learning, e-mail, e-health, e-government and e-commerce. It is, therefore, proposed that art museums in South Africa embrace digital technologies to enhance the transformation of these museums. In essence, the implementation of digital technologies such as ‘virtual tours’ and other popular social media platforms and applications may raise the profile of art museums and market their contents to wider audiences, and may also help to popularise their heritage collections for leisure and scholarly purposes.Mini Dissertation (MCHS)--University of Pretoria, 2017.
Department of Arts & Culture
University of Pretoria
Visual Arts
MHCS
Unrestricted
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Dobranszky, Diana de Abreu. "A legitimação da fotografia no museu de arte : o Museum of Modern Art de Nova York e os anos Newhall no Departamento de fotografia". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285150.
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Orientadores: Fernando Cury de Tacca, Geoffrey BatchenTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Departamento de Fotografia do Museum of Modern Art de Nova York foi fundado em 1940 e seu primeiro curador foi Beaumont Newhall. Através de exposições e aquisições ele e sua esposa Nancy - que o substituiu nos anos em que ele serviu nas forças armadas durante a Segunda Guerra Mundial - estruturaram esse que foi o primeiro Departamento de Fotografia independente em um museu de arte. A importância do fato está no apoio institucional que o meio fotográfico recebeu e que possibilitou o reconhecimento da fotografia como arte. Ao mesmo tempo, pouco antes de ser indicado curador, Beaumont organizou a exposição Photography 1839-1937, cujo catálogo transformou-se no conhecido livro The History of Photography. O processo que levou ao Departamento assim como o trabalho desenvolvido pelos Newhall no MoMA entre 1940 e 1946 é tema de nossa pesquisa
Abstract: The Photography Department of the Museum of Modern Art (New York) was created in 1940, and its first curator was Beaumont Newhall. With exhibitions and acquisitions he and his wife Nancy, who replaced him while he served the Navy during the World War I, structured this that was the first independent Photography Department in an art museum. The importance of this fact lies in the institutional support that established photography as an art form. At the same time, shortly before Beaumont was appointed curator he assembled the Photography 1839-1937 exhibition. Its catalogue evolved into the seminal book History of Photography. The process that led to the Department as well as the work developed by the Newhalls at the MoMA between 1940 and 1946 is the subject of this study
Doutorado
Doutor em Multimeios
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Lima, Vera Ferreira 1967. "Espaços expositivos contemporâneos". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285317.
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Orientador: Mauricius Martins FarinaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de, preliminarmente, conceituar esta tipologia arquitetônica para, na sequência, apresentar suas transformações ao longo dos anos, fruto da constante busca por adequar o continente ao conteúdo e a sociedade. Enfatizando que as produções artísticas foram as causadoras das diversas necessidades de alterações espaciais também foi dedicada uma parte da monografia para apresentação do experimentalismo existente no período de reflexão. Cabe ressaltar que as variações nos suportes artísticos criaram novos desafios para os arquitetos no desenvolvimento dos projetos de museus, além da contaminação do seu imaginário com uma gama de infinitas possibilidades criativas. Para a criação destes espaços, por vezes, devem-se ponderar demandas antagônicas tais como: grandes ou pequenas áreas, claridade ou escuridão, silêncio ou ruído, cores ou neutralidade. Com o propósito de melhor entender estas edificações foram analisadas três instituições que apresentam condições específicas para a exibição de arte contemporânea, destacando-se duas distintas exposições em cada para melhor avaliarmos a conformação dos espaços às atuais demandas
Abstract: This dissertation aims to identify the ideal contemporary exhibition space, specifically museums, for showing contemporary art produced since the 1950s. In the research process, we primarily conceptualize this architectural typology and then presented its historical development related to its adequacy to social and artistic alterations. Considering that exhibition spaces must be adequate to show the wide range of artistic creations we also dedicated a chapter to understand and analyze all that happened in arts universe during the period. It¿s necessary to highlight that artistic developments in addition to being a big challenge to architects design are also a huge inspiration, mainly due to presenting infinity new possibilities. To design these spaces sometimes one must deal with antagonist forces like: amplitude or cosines, clarity or darkness, silence or noise, colorful or neutral. In this dissertation three reckon contemporary art institutions were analyzed highlighting two different shows in each one. The objective was to study the space adequacy to the art it contained
Mestrado
Artes Visuais
Mestra em Artes Visuais
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Tabibi, Baharak. "Exhibitions As The Medium Of Architectural Reproduction "". Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606077/index.pdf.
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This thesis studies the influential role of architectural exhibitions in shaping and directing architectural discourses. The study accepts architectural exhibitions and associated publications as the critical act of architecture, in which (the work of) architecture is interpreted, reproduced and publicized. The main focus of this thesis is Modern Architecture: International Exhibition, held in 1932 at the Museum of Modern Art (MoMA). This particular exhibition is a significant historical event, which officially announced architecture of the early 20th century as International Style. The thesis underlines the role of the 1932 exhibition and MoMA as an architectural media in reproducing the works of architecture and reformulating the agenda of 20th century modern architecture especially in U.S.A.
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Andrade, Rodrigo Vivas. "Os salões municipais de belas artes e emergencia da arte contemporanea em Belo Horizonte : 1960-1969". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280775.
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Orientador: Nelson Alfredo AguilarTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Encontra-se, nessa tese, o estudo das obras premiadas nos Salões Municipais de Belas Artes (SMBAs) de Belo Horizonte na década de 1960 e a transformação do SMBA em Salão Nacional de Arte Contemporânea (SNAC) em 1969. Para tanto, tornou-se necessário o entendimento das modificações do cenário artístico de Belo Horizonte iniciadas pelos confrontos entre acadêmicos, representados por Aníbal Matos, e os modernos reunidos nas exposições: Zina Aita em 1920, Salão Bar Brasil 1936, Exposição Moderna em 1944. Entende-se como a consolidação da arte moderna a vinda de Alberto da Veiga Guignard para fundar uma Escola de Artes, assim com as medidas modernizadoras de Juscelino Kubstchek, enquanto prefeito da capital mineira. Esse cenário e pinturas desses artistas são estudados na primeira parte da tese. Na década de 1960, os SMBAs abandonam o viés regional e passam a contar com a participação de artistas e críticos fundamentalmente do Rio de Janeiro e São Paulo. Para a compreensão desses acontecimentos, são analisadas as pinturas premiadas, nos Salões Municipais de Belas Artes, responsáveis por constituir o acervo do Museu de Arte da Pampulha. Para finalizar a tese, buscou-se compreender a emergência da arte contemporânea, na capital mineira, através do estudo das manifestações: Vanguarda Brasileira (1966), Objeto e Participação e Do Corpo à Terra (1970) que propunham a destruição do suporte do objeto artístico, da desmaterialização da obra de arte, assim como o questionamento dos SMBAs.
Abstract: This thesis is about the study of masterpieces awarded at the Fine Arts Municipal Salons of Belo Horizonte (SMBAs) in the 1960s and the transformation of the SMBA into The Contemporay Art National Salon (SNAC) of Belo Horizonte in 1969. To make it possible, it was necessary to understand the modifications of the artistic scene of Belo Horizonte considering the relations among the academic experts, represented by Aníbal Matos and the modern ones present in exhibitions such as: Zita Aita 1920, Salão Bar Brasil, 1936, Exposição Moderna 1944. The starting points of the modern art consolidation can be considered when Alberto da Veiga Guignard inaugurated a School of arts and the fact that that Juscelino Kubstchek, the major of Belo Horizonte (the capital of the State of Minas Gerais) had modern politics. That scene and the paintings of the artists are studied in the first part of this thesis. In the 1960s, the SMBAs spread their influence beyond the region and receive participations of artists and critics especially from Rio de Janeiro and São Paulo. To understand these events better, some awarded paintings are analyzed in the SMBA, responsible for keeping the Pampulha Art Musem objects. To conclude the thesis, there was an attempt to understand the emergency of the contemporary arts in the capital of Minas Gerais through the study of some art events such as: Vanguarda Brasileira 1966, Objeto e Participação and Do Corpo à Terra 1970. These events had the aims of destroying the support of the artistic object, the dematerialization of masterpiece and the questioning of the SMBAs.
Doutorado
Historia da Arte
Doutor em História da Arte
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Almeida, Carolina Barros de. "O Museu de Arte Moderna da Bahia e suas contemporaneidades: de Lina Bo Bardi a Solange Farkas". INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS, 2018. http://repositorio.ufba.br/ri/handle/ri/26722.
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A presente dissertação analisa o Museu de Arte Moderna da Bahia (MAM-BA) e sua gestão no contexto das recentes mudanças e avanços ocorridos nas políticas culturais baianas. O recorte temporal está concentrado no período entre 2007 a 2010, quando o Estado passou a ter uma Secretaria de Cultura autônoma, independente do turismo. Nesse período a curadora de arte Solange Farkas esteve à frente do museu e buscou dinamizá-lo com uma intensa programação de atividades, com o objetivo de inseri-lo no sistema nacional e internacional de arte contemporânea. A investigação leva em consideração a concepção original do MAM-BA, conforme idealizada pela arquiteta italiana Lina Bob Bardi, como um importante elemento legitimador da instituição na cena das artes visuais. Nesse sentido, confrontam-se aspectos entre as gestões Farkas (2007-2010) e a gestão Bo Bardi (1959-1964), visando identificar aproximações e diferenças. Para compreender diferentes aspectos da gestão, as influências das políticas culturais implementadas e a referência ao pensamento de Lina, foram realizadas entrevistas com gestores, artistas, curadores e pesquisadores atuantes no cenário cultural baiano.
This dissertation analyses the Museum of Modern Art of Bahia (MAM-BA) in its contemporary context and the relationship that existed between its management and the recent changes and advances in the cultural policies of the state of Bahia. The temporal cut is concentrated in the period between 2007 and 2010, when the State of Bahia reorganized its administration to have an autonomous Secretariat of Culture, independent of Tourism activities. During this period the curator Solange Farkas took over the management of the museum and sought to energize it with an intense activity, with the objective of inserting it into the national and international scenario of the contemporary art. The research considers the original MAM-BA, as originally designed by the Italian architect Lina Bo Bardi as a legitimating element of the institution in the scene of the visual arts. In this sense, aspects are confronted between the Farkas administration (2007-2010) and the Bo Bardi management (1959-1964), to identify approximations and differences. To understand the different management aspects, the influences of cultural policies and the reference of the Lina’s thought, interviews were carried out and a questionnaire was applied with managers, artists, curators and researchers in the Bahia’s cultural scene.
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Nastari, Danielle Misura. "A gênese da coleção de arte brasileira do MoMA: a década de 1940, Portinari e artistas seguintes". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-07032017-102630/.
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Este trabalho apresenta uma investigação pioneira dos encadeamentos que conduziram a formação da coleção de arte brasileira do Museu de Arte Moderna de Nova York (MoMA), buscando desvendar os fatores que levaram peças nacionais a serem incorporadas ao acervo da proeminente instituição americana, partindo da primeira aquisição em 1939 e mapeando todos os ingressos ao longo dos anos 1940. O objetivo central do estudo é compreender os processos históricos que direcionaram a aquisição e permitiram a recepção das obras por parte da instituição no período investigado, bem como os fatores que permitiram que ela divulgasse a arte brasileira no contexto cultural americano no decênio de 1940.This study presents a pioneering effort to set out the formation processes of the Museum of Modern Art in Ney York (MoMA) Brazilian art collection, revealing the sequence of events that lead artworks from Brazil to be acquired by this institution from 1939 to 1949. Its aim is to understand the historical scenarios that allowed these artworks to be received by the museum in the delimited time, as well as to comprehend the reasons that propelled MoMA to promote Brazilian art in the 1940s. The investigation work was based on correspondence of key people in this process Nelson Rockefeller, Alfred H. Barr Jr., Lincoln Kirstein and Cândido Portinari as well as on documents produced by the MoMA; the results of this research opens new possibilities of understanding the relations between Brazil and the United States, in the fields of art, culture and politics.
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Armaos, Georges. "L'exposition de l'histoire de l'art : recherches sur vingt-quatre expositions contemporaines organisées et/ou tenues au Musée National d'Art Moderne, Paris et au Museum of Modern Art, New York, 1977-1999". Paris 1, 2002. http://www.theses.fr/2002PA010535.
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Cette thèse se donne comme objet l'étude les conditions et les pratiques d'exposition dans les musées d'art du ne siècle. Elle utilise les outils de l'histoire de l'art et de la muséologie pour examiner l'existence et les activités du Musée national d'art moderne au Centre Georges Pompidou, Paris, et du Museum of Modern Art. De New York, de 1977 à 1999. A partir des contextes économiques, politiques et sociaux de la France et des États-Unis, elle met en parallèle l'histoire, l'architecture, l'administration, les budgets, les collections, la programmation, la réalisation des expositions et les publications de ces deux musées. La construction de l'histoire de l'art, entre musée université en particulier, sont mises en exergue. Douze expositions de peinture et/ou de sculpture modernes et contemporaines de tout type et taille sont présentées en détail pour chaque musée. L 'histoire de chaque exposition est reconstituée à partir de sa conception originale en passant par l'organisation, les budgets, le prêt des oeuvres, la mise en espace-temps (expographie), les catalogues, la réception critique et des publics jusqu'à son influence sur l'histoire de l'art. L'intention est d'exposer et d'interpréter les similitudes et les différences qui existent entre le MoMA et le Mnam aussi bien en ce qui concerne la conception de l'art et de son histoire qu'en ce qui concerne les moyens de communication de ces conceptions aux publics. L'évolution historique de la notion du "cube blanc", les rapports des musées avec les artistes, les conservateurs, les galeries, les collectionneurs, l'état, la finance, leur "aura" et leur place au sein de la diplomatie culturelle internationale, sont aussi parmi les sujets examinés.
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West, Kim. "The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977". Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.
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This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.Space, Power, Ideology
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Gresh, Kristen Ann. "The Family of man : histoire critique d'une exposition américaine". Paris, EHESS, 2010. http://www.theses.fr/2010EHES0132.
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En 1955, Edward Steichen organise l'exposition monumentale «The Family of Man» au Museum of Modem Art (MoMA) à New York, qui a été ensuite exposée dans le monde entier sous les auspices de l’United States Information Agency. L'objectif principal de cette thèse est de retracer les arcanes de cette exposition afin de créer un document de référence dévoilant sa nature concrète. Cette démystification de l'exposition a été conçue à partir de témoignages directs de photographes participants recueillis par l'auteur, complétée par un travail d'analyse de documents d'archives inédits. La première partie s'interroge sur les programmes du Musée lors de la Seconde Guerre mondiale qui ont préparé le terrain pour «The Family of Man», sur le personnage de Steichen et sur son rôle de directeur du département de la photographie du MoMA. La deuxième partie remonte aux prémices du projet, afin d'éclaircir les diverses collaborations de Steichen, comme de nombreuses correspondances, des réunions collectives, et un voyage déterminant en Europe. La troisième partie met en lumière les méthodes et les résultats du travail de Steichen, à la fois comme photographe et comme éditeur. A l'appui d'une discussion des sources, notamment journalistiques, les contours du monde de la photographie de presse à l'époque sont esquissés, suivis d'une synthèse de l'exposition et de sa diffusion à l'étranger en plusieurs versions. Ce travail révèle que «The Family of Man», à la fois véritable prouesse de la photographie et arme de propagande, témoigne de toute une chaîne de contacts et de connaissances au sein du monde de la photographie et de la politique, et des croisements entre ces deux mondesIn 1955, Edward Steichen organized the historic exhibition "The Family of Man" at the Museum of Modem Art (MoMA) in New York. Under the auspices of United States Information Agency, it was exhibited throughout the world and gained a mythic status. This dissertation looks beyond that myth, in order to present a reference document with background information not previously examined. It is based on the author's research involving personal interviews with photographers who contributed to the exhibition as well as the analysis of unpublished archival documents. Part 1 explores the MoMA's World War II programs that paved the way for "The Family of Man", Steichen's career and his role as director of the museum's photography department. Part II traces the origins of the project, showing Steichen's various collaborations through a thorough examination of his correspondence, his individual and group meetings with photographers, and, in particular, his decisive trip across Europe. Part III examines the methods and results of Steichen's work, as both photographer and editor. A discussion of the sources of "The Family of Man", mainly photojournalistic, illustrates the contours of press photography at the time followed by a synopsis of the exhibition and its international circulation, in several versions. This dissertation demonstrates how "The Family of Man" was a tour de force in the history of photography because of Steichen's ability to combine his innovative photographic and editing skills that exploited the medium to communicate a political agenda that is a reflection of a complex network of colleagues, friends and acquaintances from the world of photography and of politics
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Abrhámová, Tereza. "SEFO Olomouc". Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-354960.
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The topic of my master’s thesis was to create an architectural study of Central European Forum in Olomouc. The Forum will be housed in refurbished premises of the Museum of Modern Art on Denisova Street and a new building erected on the neighbouring vacant lot, which was created when five historical burgher houses were demolished in 1969.The forum will be focused on collecting, exhibiting and publishing activities regarding various representations of Central European art, with special attention paid to modern and contemporary art. ‘Forum’ is much wider term than, for instance, ‘museum’ or ‘gallery’ – apart from its essential activities, various discussions, lectures, symposiums, and other events will also be organised. Proposed area is located in the heart of Olomouc city, directly in its conservation area and therefore it was crucial to take into consideration the existing historical development in neighbourhood. Main volume of the proposed building connects with building of the existing museum. Gradation of the other volumes based on the sloped terrain configuration lead to a sensitive completion of the vacant gap site and the existing historical surroundings remained preserved. construction of the new building of Central European Forum came to creation of new exhibition and assembly spaces, depositories, studios as well as technical facilities, changing rooms and sanitary facilities for museum crew.
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Filho, Durval de Lara. "Modos do museu: entre a arte e seus públicos". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27151/tde-23082013-111500/.
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O museu de arte moderna e contemporânea é uma instituição que possui relações complexas com a arte, com o mercado da arte e, com os públicos. Suas origens remontam ao museu tradicional e, em linhas gerais, mantém suas atribuições básicas e pouco muda ao longo do tempo, mas passa a agregar novas e diferentes funções. Parte-se da hipótese de que, em face às novas manifestações culturais, às práticas das artes, aos hábitos culturais e às novas formas de organização - que se situam num outro registro, em coletivos, trabalhos colaborativos ou agrupamentos assemelhados - o museu necessita rever sua atuação se desejar participar ativamente do processo cultural contemporâneo. Para examinar o problema, partimos da análise do museu desde suas origens, verificando que ele surge na confluência de práticas tradicionais das coleções e gabinetes de curiosidades, e das ideias do Renascimento, que se adensam com o iluminismo buscando autonomia e o exercício da função pedagógica. Em seguida, analisamos o impacto que sofreu com as Exposições Universais e com o modernismo nas artes. Nesse longo percurso, buscamos identificar os diferentes tipos de ações de mediação que o museu realizou com os públicos, desde os catálogos e a expografia, até os seminários, debates e ações educativas. As novas funções que adquire no início do século XX e o processo de revitalização no final desse mesmo século transformam o museu numa das grandes atrações turísticas de nossos tempos. Na contemporaneidade, paralelamente ao museu, e fora dele, surgem propostas em rede de pedagogias coletivas que ampliam e atualizam este campo por meio da construção coletiva de experiências artísticas, de mediação, debates, plataformas de discussão e de documentação, que retiram tais atividades de um certo \'anonimato\' e dispersão, para se tornarem públicas. Sem abandonar tudo o que tem feito e sem, necessariamente, abraçar exclusivamente as práticas mais radicais, o museu pode participar das novas redes que estão se formando e estabelecer relações ricas e produtivas, funcionando simultaneamente como um ponto de emissão e de recepção na qual interagem artistas, instituições e públicos, onde todos são ativos. Dissolve-se, assim, o papel pedagógico nos moldes iluministas que possui o museu.The museum of modern and contemporary art is an institution that has complex relationships with the art market, the public and the art itself. Its origins date back to the traditional museum and while keeping its basic characteristics with very little change over time it added some new and different functions. The hypothesis is: taking into consideration the contemporary form of cultural manifestations, art practices, cultural habits and organizations such as collectives and collective work, the museum needs to rethink itself if it wants to participate actively in the contemporary cultural process. To examine this problem we analyze the museum history, observing it has originated from the confluence of collections and curiosity cabinets traditional practices and the Renaissance ideas, further emphasized by the Enlightenment concepts, seeking autonomy and the exercise of a pedagogical function. Then we analyze the impact exerted on it by Universal Exhibitions and Modernism in arts. Through this long journey, we try to identify the different types of mediation actions the museum has developed with its audience, from catalogs and expography to seminars, debates and educational actions. The new functions it has acquired in the beginning of the twentieth century and the revitalization process experienced in the late twentieth century transformed the museum into one of the main tourist attractions of our times. In contemporary times, new interrelated, networked pedagogical propositions arise which amplify and update this field through the collective construction of artistic experiences, mediation, debates, discussion platforms and documentation that bring publicity and cohesion to these otherwise unrelated and \'anonymous\' activities. Without necessarily abandoning its legacy and embracing exclusively the more radical alternatives, the museum can participate in the new networks that are forming and establish richer, more productive relationships, acting simultaneously as an emission and reception point where artists, institution and public actively participate, therefore dissolving the Enlightenement-based pedagogical role the museum still holds.
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Miller, Shelby E. ""The Cult of Cézanne:" Marcel Duchamp, Clyfford Still, and Banksy". Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149471175808765.
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Toledo, Carolina Rossetti de. "As doações Nelson Rockefeller no acervo do Museu de Arte Contemporânea da Universidade de São Paulo". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29012016-105805/.
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Esse trabalho investiga a importância das duas doações Nelson Rockefeller (1946 e 1950) na formação do acervo histórico do antigo Museu de Arte Moderna de São Paulo. A pesquisa demonstra como a doação fez parte de uma estratégia mais ampla para aproximar os Estados Unidos e o Brasil no Pós-Guerra por meio de iniciativas no campo das artes. Essa pesquisa traça um panorama do papel de Rockefeller como articulador da política cultural norte-americana e detalha o envolvimento de funcionários do MoMA (René dHarnoncourt) e seus curadores (Alfred Barr, Dorothy Miller e William Lieberman) na realização das doações. O objetivo central do estudo é tentar dar conta da relevância e singularidade de um conjunto de obras, atualmente no acervo do Museu de Arte Contemporânea da Universidade de São Paulo, que permanece pouco estudado por especialistas e amplamente desconhecido pelo público.This research analyzes the role of the Nelson Rockefeller donations (1946 and 1950) in the formation of the first collection of the Museum of Modern Art Sao Paulo. This study demonstrates how the donations were part of a broader strategy to bring United States and Brazil closer together through artistic initiatives during the Post-war period. This research gives a brief overview of the role of Nelson Rockefeller as articulator of the American cultural policy and details the involvement do MoMA employees (René dHarnoncourt) and curators (Alfred Barr, Dorothy Miller and William Lieberman) in the donations. The main purpose of this work is to shed to light over a unique collection, currently part of Museum of Contemporary Art of the University of Sao Paulo that has remained ignored by specialists and unknown by the public.
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Barbosa, Andrea Lombardi. "Narrativas do desencontro: o MAM e as novas mídias". Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20252.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
The present research proposes to understand the narratives between the new media and the Museum of Modern Art of São Paulo, from a brief mapping of institutions that act at the intersection with the digital media as a confrontation production exercise, or in creative circumstances that explore new languages and approaches. In terms of functions, some issues stand out: how to create and implement new ways of performing museums? What are the changes necessary for the museum to account for the exposure and conservation of work in new media? What is the position of the museum in the face of new technologies, both in its use in the management and documentation of the collection and in the aid of education projects and support for visitation? For both the established museums and the museums being created today, the challenges that the new media present are enormous. They are ephemeral and dematerialized actions, works in process, built collectively, that manifest themselves in the direct clash with the ubiquitous time of cyberspace, generating strategies that subvert, recreate, amplify and deconstruct the meaning often anticipated by the digital context. In this way, the balance between conservation and exposure is threatened by the very dynamics of artistic production that stresses spatiotemporal distances, breaks with the paradigm of contemplation and calls for intervention, participation and intensifies mediation with works. In this sense, the present research addresses not only the productions and the experience of the museums in the context of the new media that cross the MAM-SP, but also points to questions to discuss the perspectives of the digital aesthetics in contemporary museums
A presente pesquisa propõe que se compreenda as narrativas existentes entre as novas mídias e o Museu de Arte Moderna de São Paulo a partir de um breve mapeamento de instituições que atuam na intersecção com as mídias digitais como exercício de produção de enfrentamento, ou em circunstâncias criativas que exploram novas linguagens e abordagens. No plano das funções, algumas questões se sobressaem: como criar e implementar novas formas de atuação dos museus? Quais são as mudanças necessárias para que o museu dê conta da exposição e da conservação dos trabalhos em novas mídias? Qual é o posicionamento do museu frente às novas tecnologias, no que se refere ao seu uso no gerenciamento e na documentação da coleção, bem como no auxílio aos projetos de educação e no apoio à visitação? Tanto para os museus já estabelecidos, como para os que atualmente estão sendo criados, os desafios que as novas mídias apresentam são enormes. São ações efêmeras e desmaterializadas, obras em processo, construídas coletivamente, que se manifestam no embate direto com o tempo ubíquo do ciberespaço, gerando estratégias que subvertem, recriam, ampliam e desconstroem o sentido muitas vezes previsto pelo contexto digital. Dessa forma, o equilíbrio entre a conservação e a exposição se vê ameaçado pela própria dinâmica da produção artística que tensiona as distâncias espaçotemporais, rompe com o paradigma da contemplação e solicita a intervenção, a participação, intensificando a mediação com as obras. Neste sentido, a presente investigação aborda não somente as produções e a experiência dos museus no contexto das novas mídias que atravessam o MAM-SP, mas também aponta questões no sentido de discutir as perspectivas da estética digital nos museus contemporâneos
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Ribeiro, Mariana Karina. "A viagem do Argonauta = as poeticas de Giorgio de Chirico no acervo do MAC-USP". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279112.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Apresenta-se neste trabalho uma abordagem da obra do artista Giorgio de Chirico a partir de cinco quadros seus pertencentes ao MAC-USP, pintados entre 1914 e 1940 circa e alguns de seus escritos. Pretende-se fornecer mais elementos para o conhecimento e a interpretação desse significativo conjunto de obras do patrimônio artístico-cultural paulista, ampliando as perspectivas de debate do tema no Brasil. Ainda com este escopo são oferecidas ao final do trabalho traduções com notas, de textos selecionados, escritos pelo artista entre 1911 e 1938.
Abstract: It is presented in this text an approach to the work of the artist Giorgio de Chirico from its five paintings belonging to the MAC-USP, executed between 1914 and 1940 circa and some of his writings. It is intended to provide more elements for the knowledge and interpretation of this significant collection of artworks of paulista cultural artistic heritage, extending the perspective of debate on this subject in Brazil. Still with this scope, translations with notes of selected texts, written by the artist between 1911 and 1938, are presented by the end of this material.
Mestrado
Historia da Arte
Mestre em História