Дисертації з теми "Painting – United States – Exhibitions"
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1
Grunenberg, Christoph. "The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.
Повний текст джерела
2
Uchill, Rebecca 1978. "Developing experience : Alexander Dorner's Exhibitions, from Weimar Republic Germany to the Cold War United States." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/100327.
Повний текст джерелаАнотація:
Thesis: Ph. D. in History and Theory of Art, Massachusetts Institute of Technology, Department of Architecture, 2015.CD-ROM contains PDF of Addenda section, quarterly report and 5 PDFs of images for thesis.
Cataloged from PDF version of thesis. Pages 237 to 428 of original thesis for Addenda section are removed and copied onto CD-ROM.
Includes bibliographical references (pages 429-446).
Following the work of German-American curator Alexander Dorner (1893-1957) from his early curatorial career in Niedersachsen to professorships in New England, this dissertation explores the intersections of Euro-American modernism and developing ideations of experience within aesthetic philosophy. Dorner's work was formulated in deep engagement with (and often intentional contradiction to) the art theory being incubated in contemporaneous art institutions, pedagogies, and practices. His written texts and museum praxis responded to emerging notions of subjectivity, restoration, and perception in the aesthetic theory of Alois Riegl and Erwin Panofsky, art restoration mandates advocated by German museum leaders such as Max Sauerlandt and Kurt Karl Eberlein, and the artistic productions of El Lissitzky and Herbert Bayer. Against shifting expressions of democracy in Weimar Germany and the mid-century United States, Dorner's polemical focus on museum experience was, in effect, an attempt to train citizens for collective but heterogeneous social life.
by Rebecca K. Uchill.
Ph. D. in History and Theory of Art
3
Pena, Nicholas. "Land of the American condition." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/5834.
Повний текст джерелаАнотація:
Thesis (M.F.A.)--University of Missouri-Columbia, 2005.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (January 24, 2007) Vita. Includes bibliographical references.
4
McMahon, Cliff Getty. "The sublime in Rothko, Newman and Still." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/11002.
Повний текст джерелаАнотація:
An important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this foundation, a working theory of the sublime is developed. Next, the painters' crucial theoretic statement are analysed for their relevance to the sublime, and their programs and specific works are characterized in relation to theory of the sublime, and in relation to their treatments in criticism. The last two chapters treat two crucial contexts in which Rothko, Newman and Still are situated: The historically accumulated American tradition of the sublime in art and literature; and the general European context of modernism and postmodernism. Throughout the study, it is argued that various kinds of transcendence validate a set of various major modes of the sublime: The ideational, religious, moral, Burkean-Gothic, Kantian, Nietzschean, romantic, existential, Jungian-mythic, ontological, noble, and the sublime of light/color, along with negatives modes such as the comic, the ironic, the counter, the mock, and the merely rhetorical. It is argued, finally, that sublimicism will continue to be attractive for conservative, moderate, and radical points of view, that theory of the sublime has on-going power and validity into the future, and that between positive and negative modes, the positive will probably continue to dominate.
5
Gordon, Alan H. "What happens to a dream deferred? /." Online version of thesis, 1993. http://hdl.handle.net/1850/11749.
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6
Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--University of California, San Diego, 2010.Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
7
Nesbit, G. H. H. "Current practice in the field of architectural and autonomous stained glass in Europe and the United States of America." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012955.
Повний текст джерелаАнотація:
This prodrome sought to define through research, the material. composition, historic foundations, significance and technical development of glass as a window-glazing material for ecclesiastical, and later secular purposes, and examining thus its determining role in the development of architecture. The history and techniques of stained glass, an art-form linked more than any other to the mythology and dogma of the Roman Catholic Church, were traced; its history is thus one with that of the church, rising to its greatest glory during the twelfth and thirteenth centuries, and declining from the late fifteenth to the seventeenth centuries. The iconography of the church was examined, and the development of window and tracery types discussed through reference to pertinent examples on both sides of the English Channel. Subjects, stylistic and technical factors, sources of reference, ecclesiastical influences, were all within the context of social and political history . viewed. Intro., p. 1-2.
8
Alvarez, Leticia. "The Influence of the Mexican Muralists in the United States. From the New Deal to the Abstract Expressionism." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32407.
Повний текст джерелаАнотація:
This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals.
This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described.
Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created.Master of Arts
9
Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.
Повний текст джерелаАнотація:
The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
10
Thompson, Mary E. "The furrowed face : the depiction of the elderly in painting, England and the United States, 1870-1910." Thesis, Oxford Brookes University, 2017. https://radar.brookes.ac.uk/radar/items/9c6b3ee4-80f0-44dc-a0a4-70399c36f001/1/.
Повний текст джерелаАнотація:
Old age has always evoked diametrically opposed opinions. On the one hand, the elderly are respected, regarded as benevolent repositories of wisdom and comfort; on the other, they are considered as decrepit vestiges of life, who pointlessly linger on, wasting the world for the vibrant and useful. These views were particularly topical in the last decades of the nineteenth/first decade of the twentieth centuries, when there was increasing concern in many countries about the aged and their vulnerability. In England and Wales this resulted in the 1908 provision by the government of an old age pension. In the United States, however, provision of support from the state was introduced significantly later, in the 1930s. How, if at all, was this variation in view reflected in the painting of the elderly in the two countries? This study addresses this question by firstly considering how the elderly are portrayed in genre painting in each country. It then moves on to the world of portraits, looking in more detail at the work of individual artists, both American and English, including Thomas Eakins, John Singer Sargent and Hubert Herkomer. In England it emerged that the elderly were often shown as happy if shabby, with a more submissive attitude to fate; there was also a significant segment of painting which recorded the poverty and difficulties which may face the old. In contrast, in the United States the elderly were shown as vibrant, assertive and materially better off, with few indications of the troubles they may undergo. In both countries, however, it became clear that the elderly were regarded in a positive way by artists, who delighted in the excellent practice of artistic skills provided by the time-ravaged faces and features of the old.
11
Cooks, Bridget Rochelle. "Seen and not seen : a history of Black representation and self-representation in art exhibitions in the United States, 1893-1998." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Coll_Diss_02.
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12
Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
Повний текст джерелаАнотація:
This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.
13
Balic, Iva Foertsch Jacqueline. "Always painting the future utopian desire and the women's movement in selected works by United States female writers at the turn of the twentieth century /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11060.
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14
Lincoln, Margaret L. "The Online and the Onsite Holocaust Museum Exhibition as an Informational Resource." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5407/.
Повний текст джерелаАнотація:
Museums today provide learning-rich experiences and quality informational resources through both physical and virtual environments. This study examined a Holocaust Museum traveling exhibition, Life in Shadows: Hidden Children and the Holocaust that was on display at the Art Center of Battle Creek, Michigan in fall 2005. The purpose of this mixed methods study was to assess the informational value of a Holocaust Museum exhibition in its onsite vs. online format by converging quantitative and qualitative data. Participants in the study included six eighth grade language arts classes who viewed various combinations or scenarios of the onsite and online Life in Shadows. Using student responses to questions in an online exhibition survey, an analysis of variance was performed to determine which scenario visit promotes the greatest content learning. Using student responses to additional questions on the same survey, data were analyzed qualitatively to discover the impact on students of each scenario visit. By means of an emotional empathy test, data were analyzed to determine differences among student response according to scenario visit. A principal finding of the study (supporting Falk and Dierking's contextual model of learning) was that the use of the online exhibition provided a source of prior orientation and functioned as an advanced organizer for students who subsequently viewed the onsite exhibition. Students who viewed the online exhibition received higher topic assessment scores. Students in each scenario visit gave positive exhibition feedback and evidence of emotional empathy. Further longitudinal studies in museum informatics and Holocaust education involving a more diverse population are needed. Of particular importance would be research focusing on using museum exhibitions and Web-based technology in a compelling manner so that students can continue to hear the words of survivors who themselves bear witness and give voice to silenced victims. When perpetuity of access to informational resources is assured, future generations will continue to be connected to the primary documents of history and cultural heritage.
15
Mosco, Natalie. "On creating : A brush with Georgia O'Keeffe." Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/43722.
Повний текст джерелаАнотація:
In 1988, my interest in the Twentieth Century American painter and feminist icon, Georgia O’Keeffe, was sparked by two seemingly disparate events: The Art Institute of Chicago’s first posthumous retrospective show of the painter’s works and the twentieth anniversary reunion of the original Broadway cast of Hair (of which I had been a member) that was celebrated at the United Nations in New York. Somewhere within me at that time O’Keeffe and Hair became entwined. In studying O’Keeffe’s life I sensed that her sincerity of aspiration coupled with her dogged resolve were life-lessons that might inform all artists. As a performing artist, a logical vehicle by which I could explore O’Keeffe was through the creation and performance of a play about her life. In embarking in this direction, I hoped to discover some key to creativity whereby all artists could be informed. O’Keeffe was a historical figure so my work included historical research that included autobiographical and biographical sources, videocassettes, correspondence, newspaper and magazine commentary. In addition to studying historical resources, O’Keeffe’s art was a primary resource; in particular what inspired it, how O’Keeffe painted and her philosophy of art. My research prompted the question: “At what point does the tenacious biographer leave off and the artful dramatist begin?” This question expresses the key creative and ethical problem of such a project: how much creative license can be taken with a subject who was an actual human being with a verifiable history? O’Keeffe was a creature of contradiction so rather than attempting to reconcile the contradiction between historical accuracy and creativity, I would begin by immersing myself in the known facts about my subject which I would then use as an impetus for my imaginative engagement with her life. The frisson generated by this cohabitation of contradictions could result in a release that could then be shared with audiences and, hopefully, enhance their understanding of the subject and the nature of creativity. To “dance”, so to speak, with her contradictions became my goal and methodology for writing A Brush With Georgia O’Keeffe. A part of my study also considers my experience playing the character, Georgia O’Keeffe. I had not anticipated that O’Keeffe’s emotional contrarieties would affect me personally. I had expected her mood swings to manifest within the character of O’Keeffe; in fact, they also became a part of the actor portraying her. In addition, because O’Keeffe worked and reworked her subjects, I permitted myself that luxury as a writer; however, I neglected to allow myself as the actor time to engage in a similar exploration in order to integrate the rhythm of the role into my body. By default, I also became producer for the WorkShop production of my play (overburdening myself at a time when my focus should have been on the role of Georgia). Nonetheless, O’Keeffe’s belief that one’s artistic expression must be the most perfect manifestation of one’s truth fueled my own conviction that integral to any artist of sincere aspiration was the quest for a pure form of personal expression as well as the necessity of maintaining one’s artistic vision. It was O’Keeffe’s philosophy that kept me on course as a performer. Moreover, although there is no blueprint for the creation of biographical drama, in the case of a work exploring the ambivalent O����Keeffe, embracing the dualities of historical accuracy and artistic integrity offered assurances of a probable road to travel. By embracing her inner direction and balancing her contrarieties, O’Keeffe seemingly guided my foray into her life.
16
Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
Повний текст джерелаАнотація:
This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
17
Potot, Charlotte. "Les féminismes de Lucy Lippard en quatre expositions (1966-1977)." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080119.
Повний текст джерелаАнотація:
Lucy Lippard réalise sa première exposition Eccentric Abstraction en 1966. À partir de ce moment-là, la curatrice nord-américaine n'aura de cesse d'interroger les modalités de ce que l'exposition a à offrir aux artistes en termes d'expressions et d'expériences et en termes politiques. Lucy Lippard a d'abord contribué à penser un certain moment conceptuel dans l'art. De manière concomitante, ses engagements politiques se sont développés : contre la guerre du Viet Nam ou avec une communauté d'artistes, contre les politiques discriminatoires des institutions, créant un lien peu documenté entre art conceptuel et art politique. Nous explorons comment Lucy Lippard a développé différentes problématiques féministes en organisant des expositions, faisant écho aux théories qui ont succédées à cette période. C'est à travers son travail de curatrice que nous envisageons son féminisme. Ainsi, quatre expositions structurent notre trajectoire : Eccentric Abstraction (1966) à New York, 955,000(1971) à Vancouver, c'7500(1973) en Californie à Valencia, puis itinérante, et Strata (1977) à Vancouver. C'est en imaginant les œuvres dans ces quatre expositions que leur caractère situé a émergé. Trois axes se sont alors dégagés : une approche historique du contexte des expositions et des luttes sociales autour du parcours personnel de Lucy Lippard, une approche phénoménologique des œuvres présentées dans les quatre expositions comme les deux manières d'appréhender le dernier axe, celui d'une approche féministe de ces moments d'expositions. La redescription d'œuvres qui ne furent pas d'emblée associées au féminisme, bien qu'appartenant au corpus de la curatrice, va permettre de penser une autre réception pour ces expositionsLucy Lippard produced her first exhibition, Eccentric Abstraction, in 1966. From that moment on, the North American curator never stopped questioning the modalities of what the exhibition had to offer artists in terms of expression, experience and political action. Lucy Lippard first helped to think critically about a particular conceptual moment in art. Concurrently, her political commitments developed through protest against the Vietnam war, support for artist communities, revealing discriminatory institutional policies, and creating a little-documented connection between conceptual and political art. We explore how Lucy Lippard developed diverse feminist issues by organizing exhibitions, echoing the theories that emerged during this period. It is through her work as a curator that we see her feminism in action. Four exhibitions structure our trajectory: Eccentric Abstraction (1966) in New York, 955,000 (1971) in Vancouver, c'7500 (1973) in Valencia, California and other itinerant locations, and Strata (1977) in Vancouver. By imagining the works in these four exhibitions their situated character emerges. There are three key axis: a historical approach to the context of exhibitions and social struggles related to the personal journey of Lucy Lippard and a phenomenological approach to the works presented in the four exhibitions, allowing an aprehension of the last axis, a feminist approach to these exhibition events. The redescription of works that were not immediately associated with feminism, although belonging to the curator's corpus, will allow us to think of another reception for these exhibitions
18
Webster, Daniel Joseph. "Experiencing the World of Franklin: The Making of an Immersive and Interactive Historical Exhibit." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5562.
Повний текст джерелаАнотація:
This thesis involves the creation of a historically-themed museum element. The element, titled “Improving Community,” is a virtual interactive game that allows players to explore certain realities of colonial American life. Within the game, players are presented with a number of civic-related issues that existed throughout the eighteenth century, and they are then given options to improve the situation. Interactivity and immersion are key features of the game, and they have been incorporated so that players may engage with the past and assume a more active role in the process of historical reconstruction. Research for the games draws mostly upon historical primary sources, including first-hand accounts, letters, diaries, periodicals, pamphlets, meeting minutes, and legal documents. In addition, the process of developing the games was informed by a number of secondary source works, and therefore this study inspects the ways in which “Improving Community” fits within the ongoing scholarly debates. Ultimately this project contributes to the field of public history by demonstrating the usefulness of games as a tool for historical exhibition. “Improving Community” is both entertaining and educational, and as a result, the game provides individuals with a unique outlet for exploring and experiencing the past.ID: 031001287; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 111-120).
M.A.
Masters
History
Arts and Humanities
History; Public History
19
Hefner, Cody Nicholas. "An Evocation of the Revolution: The Paintings of John Trumbull and the Perception of the American Revolution." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1259821977.
Повний текст джерела
20
GENNARI, SANTORI Flaminia. "The melancholy of masterpieces : the creation of an American social space for European old master paintings 1900-1914." Doctoral thesis, 2001. http://hdl.handle.net/1814/5765.
Повний текст джерелаАнотація:
Defence date: 5 April 2002Examining board: John Brewer, California Institute of Technology (supervisor) ; Neil Harris, University of Chicago ; Luisa Passerini, European University Institute ; Pat Rubin, Courtland Institute of Art
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
21
Elliott, Rebecca Leigh Jennifer. "Two decades of American painting : art, politics and the Cold War." Phd thesis, 2009. http://hdl.handle.net/1885/151615.
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22
Howard, David Brian. "Bordering on the new frontier : modernism and the military industrial complex in the United States and Canada, 1957-1965." Thesis, 1993. http://hdl.handle.net/2429/2859.
Повний текст джерелаАнотація:
In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged.
The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry.
This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear
weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two.
While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity.
Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting.
23
Blundell, Geoffrey. "The politics of public rock art: a comparative critique of rock art sites open to the public in South Africa and the United states of America." Thesis, 2016. http://hdl.handle.net/10539/20863.
Повний текст джерелаАнотація:
A dissertation submitted to the Faculty of Arts University of the
Witwatersrand, Johannesburg, in fulfilment of the requirements for the
degree of Master of Arts.
Johannesburg, 1996South African and American public rock art sites are in a predicament. In both countries, there is a lack of an adequate, theoretically informed but practically implementable, conceptual approach to presenting these sites. This lack leads to the reproduction of stereotypes of rock art and the indigenous people who made it. This thesis suggests a way of rectifying the present situation. It is argued that any suggested reconstruction of public rock art sites must recognise that they are implicated in identity-formation. Following this premise, a strategy, entitled metaphoric pilgrimage, is suggested, developed and applied to four rock art sites - two in South Africa and two in America.
24
Stelowska-Morgulec, Diana. "Art exhibitions as a tool of American Cultural Diplomacy Towards Poland, 1956-2016." Doctoral thesis, 2017. https://depotuw.ceon.pl/handle/item/2848.
Повний текст джерелаАнотація:
Cultural diplomacy is a neglected tool of public diplomacy, both in theory as in practice. United States (US) have made great use of promoting its art abroad during the Cold War, but as soon as it ended funding for cultural activities was cut. American cultural diplomacy towards Europe has been analyzed quite throughly in the areas of film and music. The author decided to focus on art and art exhibition as tools of diplomacy, as it is a sphere not yet fully discovered. As cultural diplomacy is gaining on importance it is crucial to analyze the past activities in order to properly design the new, upcoming ones.This thesis’ aim was to analyze how the United States made use of art (in the form of art exhibitions) as a tool of cultural diplomacy towards Poland in the years 1956-2016 and to discover the patterns in American public diplomacy decision making process regarding cultural diplomacy in the form of art exhibitions. Thus, the author sought to find out what the US government had planned to achieve in Poland by organizing art exhibitions and also how were they received.Scope of the research encompasses all of the American art exhibitions in Poland. Detailed analysis is applied to six of the exhibitions: 200 years of American Painting (200 lat Malarstwa Amerykańskiego), Warsaw 1976; Willem de Kooning & Robert Rauschenberg, Warsaw and Cracow 1978; The 70’s: New American Painting (Lata Siedemdziesiąte: Nowe Malarstwo Amerykańskie), Toruń and Warsaw 1980/81; Faces of America. Portraits from the Collection of the Terra Foundation for American Art 1770–1940 (Twarze Ameryki: Portrety z kolekcji Terra Foundation for American Art 1770–1940), Cracow 2006; American Dream (Amerykański sen) - part of the “America, America…” museum project comprising six exhibitions, Cracow 2009; Frank Stella and the Synagogues of Historic Poland, Warsaw 2016.Dyplomacja kulturalna stanowi zaniedbane narzędzie dyplomacji publicznej, zarówno w teorii, jak i w praktyce. Stany Zjednocznone doskonale wykorzystały kulturę i sztukę w ramach propagandy podczas drugiej wojny światowej oraz zimnej wojny, jednak po jej zakończeniu obcięły dotacje na działania kulturalne za granicą. Dyplomacja kulturalna USA została zbadana w sferach muzyki oraz filmu, natomiast wykorzystanie sztuki jako narzędzia dyplomacji kulturalnej jest obszarem, który stanowi lukę badawaczą. W czasie, gdy dyplomacja kutluralna cieszy się coraz większym zainteresowaniem, zarówno badaczy, jak i praktyków, szczególnie istotna jest analiza dotychczasowych działań w tym zakresie, by odpowiednio zaplanować inicjatywy w przyszłości. Celem autorki było zbadanie w jaki sposób Stany Zjednoczone wykorzystały sztukę (w formie wystaw) jako narzędzie dyplomacji kulturalnej wobec Polski w latach 1956-2016 oraz próba wykrycia prawidłowości w procesie decyzyjnym zachodzącym przy organizacji tychże wystaw. Zakres badań obejmuje wszystkie wystawy sztuki amerykańskiej w Polsce oraz szczegółowo analizuje sześć z tych wystaw: Dwieście lat malarstwa amerykańskiego, (Muzeum Narodowe w Warszawie, 1976), Willem de Kooning & Robert Rauschenberg, (Muzeum Narodowe w Warszawie i Krakowie, 1978) oraz wystawa Lata 70-te: Nowe malarstwo amerykańskie, (galeria BWA w Toruniu, Muzeum Narodowe w Warszawie, 1980/81), Twarze Ameryki: Portrety z kolekcji Terra Foundation for American Art 1770-1940 (Międzynarodowe Centrum Kultury, Kraków, 2006), American Dream - Amerykański Sen, jako część projektu muzealnego zatytuowanego Ameryka, Ameryka… (Muzeum Narodowe w Krakowie, 2009) oraz Frank Stella i polskie synagogi, (Muzeum Historii Żydów Polskich, POLIN, Warszawa, 2016).
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Relyea, Lane. "Model citizens and perfect strangers: American painting and its different modes of address, 1958-1965." Thesis, 2004. http://hdl.handle.net/2152/1250.
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