Dissertations / Theses on the topic 'Alfond Collection of Contemporary Art'

Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.

Art History
Ph.D.
This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth's environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.
Temple University--Theses

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Bachelors
Education
Art Education

My thesis pursues the exploration, invention, and redefinition of the role of Aesthetics through artistic practices of 3d digital graphics, 2d print, video, and sculpture. Aesthetic research altruistically generates visual installations informed by utopian idealism, science and technology centric culture, pop culture iconography, art history, international contemporary art and design.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

This interdisciplinary research bridging geography and fine art (‘geo-aesthetics’) follows contemporary artwork journeys from the studio into the public domain to discover how notions of value shift as the artwork travels. It seeks transfigurative nodes and their catalysts to explore how art matters: firstly how it becomes matter in the studio, and then how it comes to matter beyond the studio door. Two case studies at key moments of revaluation, a buy-out and a buy-in, both reveal responses to uncertainty that stress different kinds of collectivity. The first case study follows artistic practice and process in four studios in a Johannesburg atelier to investigate intrinsic value and finds ‘artistic thinking’. The second case study follows the assemblage of a private art collection managed from Cape Town, initially as an art fund, to investigate extrinsic valuation and finds ‘structural thinking’. These different modalities in the production and consumption circuitry of the artworld have unexpected correlations including shared artists and three linking concepts, namely, uncertainty, mobility, and the web. These in turn inform three observations: nested capacity, derivative value, and art as a public good. Two key findings emerge: contemporary art is itself a vector of value that performs meaning as it moves; and public interest is a central characteristic from which other valuations flow. The research uses repeat interviews, site visits and visual methods, which are triangulated with artwork trajectories to surface linkages between space and imagination. It offers a performative theory of value that speaks to an expanded new materialism. Applying an ecological framework allows a final transfiguration for an artworld ecosystem that (re)values contemporary art as part of an undercommons.

My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

Art History
M.A.
"The Paintings of Jeff Koons: 1994 - 2008" is an in depth look at the painting of an artist who is still primarily known for his sculptural work of the 1980's. This thesis examines Koons' paintings in light of his previous work and looks at his studio practices, sources, connection to Photorealism, Surrealism, and Duchamp, etc. The thesis contends that a greater understanding and appreciation for Koons' paintings is necessary in order to grasp the importance of his entire oeuvre.
Temple University--Theses

Art History
M.A.
Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions. Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims. The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks.
Temple University--Theses

Art History
M.A.
Ensnared in but fed up with the inanity of late capitalism and environmental ruin, this thesis examines the ways in which contemporary artists are working against the grain of the dominant anthropocentric Western culture to seek new pathways out of the so-called Anthropocene. The artists under discussion, Carolina Caycedo, Krista Caballero and Frank Ekeberg, and Natalie Jeremijenko, create participatory projects that simultaneously critique the entanglement of human practices and loss of species and encourage their audiences (and the larger global public) to formulate new relationships with our fellow Earthly critters and our damaged ecosystems. This research takes a leaf from new materialist methodologies and the work of scholars such as Donna Haraway and T. J. Demos to consider how artists have deviated from the accustomed Western humanist notion of the individual as separate from nature to instead become recognizant of our critical role as one animal among many imbricated in a remarkably complex but endangered system of exchange. With its implications of collectivity and becoming-with each other, audience participatory art lends itself well to this thinking. The three case studies therefore work through the advantages and potential limitations of art serving as a medium for small-scale social change at a moment when larger global movements toward ecological sustainability are absent. The discussed participatory projects make apparent that there does exist an elasticity to human thought that can open potential futures in which the human species is less toxic and more responsive to the multifarious animacies that mill about this imperiled planet.
Temple University--Theses

My thesis explores the relationship between the human psyche and the perception of reality through the use of computer generated media. In a society in which we are bombarded with multimedia technology, we must look inside our selves for a true understanding of our past and memories. Rather than it acting as an escape from reality, my art becomes an opening for truth in reality.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA

For the past decade, I've been developing a body of work based on the concept of time, in all of its various forms. My medium varies, but my work maintains its steady, overarching philosophies and core aesthetics. The ideas of entropy, growth, decay, evolution, arrested development, fragmented memories, and fugue states; all are considered through a personal filter that borders upon the dark and macabre.
ID: 031001537; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: .; Title from PDF title page (viewed August 21, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 44-45).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and The Computer

This action research study investigates classroom visual art assessments and their potential to improve teacher instruction and student learning. In order to examine this topic more thoroughly, a National Assessment of Educational Progress (NAEP)-related classroom assessment was designed and administered to the researcher's Drawing and AP Art History classes. Students were also asked to fill out a questionnaire that asked about their past art experiences and motivation to participate in art activities such as creating art work outside of the school setting or attending an art museum. Students observed, described, and analyzed contemporary artwork, and they created and wrote about their own original works of art. The use of contemporary art exemplars led to some of the most interesting findings; namely, that students felt free to create their artwork in a contemporary style that was less about technical elements and more about the meaning they wished to convey. In general, the AP Art History students' written contemporary art criticism scores were significantly higher than the scores of both of the studio drawing classes. Artwork scores of AP Art History, Drawing I, and Drawing II students showed no significant difference. Interestingly, all three groups indicated they were highly motivated to look at works of art, create art in school, and make artwork outside of the school setting. Also noteworthy was the relatively high number of students who indicated that the contemporary artwork they analyzed influenced the mother and child artwork they created. It could be surmised by this study that a NAEP-related assessment is a beneficial method for improving teacher instruction and student learning in visual arts education.
Ed.D.
Doctorate
Dean's Office, Education
Education and Human Performance
Education

O Museu de Arte Contemporânea de Elvas (MACE) faz parte de um recente grupo de museus de arte contemporânea, bem como de centros de arte moderna surgidos nos últimos anos em Portugal, procurando afirmarem-se, quer no tecido cultural das cidades onde se integram, quer no país em geral, com programas museológicos de qualidade. Inaugurado em 2007, o MACE afigura-se, tanto no contexto local como nacional com uma proposta positiva e inovadora, em torno do qual existem muitas expectativas. Trata-se, pois, do momento oportuno para reflectir sobre os primeiros anos da sua actividade. Entre as intenções e a realidade, qual é o estado da arte? Tendo como ponto de partida o trabalho que desenvolvi durante três anos no MACE, o qual acompanhou de perto, não apenas a sua implementação, mas também os primeiros anos de vida do museu, este trabalho pretende não só contar como surgiu este espaço museológico, mas também fazer uma análise crítica do trabalho até hoje realizado, reflectindo sobre o presente mas lançando também pistas de trabalho para o futuro; ABSTRACT:The Contemporary Art Museum in Elvas (MACE) is part of recent group of contemporary art museums as well as modern art centers that have recently been created in Portugal. They are trying to impose themselves in the different cultural aspects of the town or country they are in with museological programs of high quality. It officially opened in 2007 and has now an important role both in the local and national context presenting positive and innovative proposals from which many expectations are set. I think it’s time to think and reflect about the first years of its activity. Between the intentions and reality what is the state of art? As I have worked in this museum for three years I have seen not only its implementation but also its evolution. So, the aim of my study is to explain the way this museological space emerged and do a critical analysis of the work that has already been done there bearing in mind the present and laying the foundations for future projects.

This series of work explores the nature of the bed as object and metaphor. The bed is an object where an action, such as thinking and laying awake takes place. In a metaphorical sense, the bed in my work represents moods and emotions that are psychologically tied to the bed. In this body of work I explore the relationship between the person and the bed. The bed represents not only an intimate space, but also a hiding place of retreat and self-imposed alienation. This series pulls from personal experience, influences such as Alison Brady and Sophie Callie, and select films that focus on the problems, issues, and decisions of the human condition. In my work I bring together formal qualities and conceptual content to create juxtaposition between beauty and mood. I am interested in visual poetry and formalism in photographs. Throughout all the photographic work I have created, I focus on using existing light and composing an image intuitively.
ID: 031001562; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed August 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 32).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer

A presente investigação aborda temas relacionados ao grupo Fluxus no acervo do MAC-USP. Fluxus foi um coletivo artístico que atuou nos limites da arte durante as décadas de 1960 e 1970, questionando valores instituídos pelos sistemas oficiais de produção, circulação e exibição de objetos artísticos. Tendo como referência as poéticas Fluxus, as importantes realizações que constituem a sua história, dados e fatos que situam as atividades de seus integrantes na história do surgimento das novas linguagens artísticas da segunda metade do séc. XX, realizamos um amplo levantamento sucedido de documentação e análise crítica de algumas dentre as 116 obras selecionadas no acervo do MAC-USP de autoria de artistas Fluxus.
The present study deals with themes related to the Fluxus group in the MAC-USP collection. Fluxus was an artistic group that worked in the boundaries of art during the Sixties and Seventies, having questioned the values established by the official systems of art production, circulation and exhibition. Regarding Fluxus poetics, the important accomplishments that form its history, data and facts which place the activities of its artists in the history of new languages outbreak during the second part of XX century, we carry out a wide survey followed by registry and critical analyze in some of the 116 works of Fluxus artists which were selected from the MAC-USP collection.

La marchandisation de l’art se traduit par une dérive progressive de l'esprit de collection. Elle est notamment perceptible dans le désir de plus-value des collectionneurs, qui va de pair avec le fait que l'aura de la valeur artistique et esthétique d'une œuvre est fonction du prix qu'elle atteint en tant que marchandise de luxe dans les salles de vente. La valeur de l’art s’en est trouvée assujettie à un marché capitaliste dont les guerres ont paradoxalement favorisé la mondialisation. Ce marché de l’art, qui est en cours de restructuration permanente, favorise chez les artistes une course à la « starification » et à des cotations tout particulièrement ambivalentes. Faut-il en conclure que la marchandisation a pris le pas sur l'artistique, le prix sur la valeur de l’œuvre, le lucre sur l'esthétique ? Cette thèse défend l'idée que la force, et la ruse des œuvres d'art, se manifestent dans leur capacité, à se jouer du milieu religieux, idéologique ou imagologique dans lequel elles voient le jour. Cette force se révèle aujourd'hui dans l’aptitude du geste créateur, qui relève — Marcel Mauss l'a bien vu — fondamentalement du don et du contre-don, à faire voler en éclat les illusions engendrées par la marchandisation. En permettant à l’imaginaire de s’incarner à l’égal du réel, l’artiste ouvre le champ infini des possibles. C'est pourquoi la vie des œuvres d'art n'en finit pas de rendre le cosmos cosmétique, quitte à se servir du « lucre » comme d'un appât habile à stimuler le marché, dont se sert in fine, sa « main invisible »
The commodification of art results in a gradual drift of the collection spirit. This is particularly noticeable in the desire of collectors for added value, which goes hand in hand with the fact that the aura of the artistic and aesthetic value of work depends on the price it has achieved as a luxury commodity in the sales rooms. The result was a subjugation of the value of art to a capitalist market whose wars paradoxally favored globalization. This art market, which is undergoing permanent restructuring, favors artists’ quest for « starification » and particularly ambivalent ratings. Must we conclude that commodification has overtaken the artistics, that the price is now beyond the value, the profit beyond the aesthetic ? This thesis defends the idea that force and cunning of works of art are manifested in their opportune ability to trifle with the religions, ideological or imaginary environment in which they emerge. This force is today identified in the aptitude of the creative gesture, which – Marcel Mauss saw clearly – is fundamentally a gift and a counter-gift, to smash to pieces the illusions engendered by the commodification. And strong work links the imaginary to the symbolics to become « real ». By making the imaginary equal to the real, the artist opens the infinite field of possibilities. This is why the life of works of art never ceases to make the cosmos cosmetic, even if it uses the « lucre » as a bait skilful enough to stimulate the market, which is, in fine, manipulated by its « invisible hand »

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This research project is aimed at delivering the outcomes of a study on the presence of contemporary works of art in multidisciplinary art exhibition spaces, and the dimensions assumed by them there. These places are unrelated to the neutrality of the white cube a term used to name spaces which are specifically set to host art exhibitions. In order to attain this goal, the development of this research paper is supported by the procedures and initiatives taken to make art exhibitions possible in the spaces previously mentioned, attempting to clarify the relational aspects that have grounded the curatorial actions as well as the artistic poetics which turned out to be part of the institutional collection. In this sense, the function that an institution can fulfill as a mediator space for art is investigated, and the circumstances where the curatorial critical position and bias adopted to select the works of art are made relevant, permeating the instances which articulate the art system: production, communication, reception. The research project is presented as a reflection on the curatorial activity that has involved artistic poetics entirely formulated in relation to multidisciplinary spaces belonging to three SESC s branches in São Paulo city, which started operating between 2010 and 2011 and have been inserting Brazilian contemporary works of art in several places which house its social cultural actions. Its purpose is to assess the art object as a factor of interaction and knowledge, as well as the institution s role in educating the audience on contemporary art.
Esta pesquisa destina-se a apresentar um estudo relativo à presença de obras de arte contemporânea e as dimensões que estas assumem em espaços expositivos de característica multidisciplinar, espaços portanto desvinculados da neutralidade do cubo branco termo que denomina o espaço específico para exposições de arte. Para tanto, a pesquisa tem como subsídio de seu desenvolvimento, os procedimentos e iniciativas realizados para exposição de obras em tais espaços, procurando esclarecer os aspectos relacionais que fundamentaram a ação curatorial bem como as poéticas artísticas que passaram a integrar um acervo institucional.Neste sentido, é investigada a função que uma instituição pode exercer como espaço mediador da arte bem como as circunstâncias que relevam o posicionamento e o viés curatorial e crítico na seleção de obras, permeando as instâncias que articulam o sistema de arte: produção/comunicação/recepção. Apresenta-se como reflexão da atividade em curadoria que envolveu poéticas artísticas formuladas com relação imediata aos espaços multidisciplinares de três unidades operacionais do SESC na capital de São Paulo, as quais iniciaram suas atividades entre 2010 e 2011, inserindo obras de arte brasileira nos múltiplos ambientes que abrigam suas ações socioculturais. Tem como proposição acentuar o objeto artístico como fator de interação, de conhecimento e o papel institucional na formação de público para a arte contemporânea.

Reconsidérer les images médiatiques d'évènement à travers le prisme des peurs collectives permet de soulever autrement les questions politiques et sociales propres aux images. L'évolution des médias d'information avec Internet ainsi que les fréquents débats publics sur les images d'actualité révèlent une nouvelle appréhension des images d'évènements. La relation ambigüe de croyance et de mise en doute propre à toute image s'associe à la viralité des images médiatiques d'aujourd'hui. Photographies et vidéos d'attentats, de catastrophes et de crises diverses propagent et redéfinissent des peurs, en faisant ressurgir la peur des images. Pouvoirs des médias et des images se conjuguent pour créer un climat anxiogène, qui oscille entre réalité et fiction. Cette recherche doctorale en arts plastiques interroge alors les pratiques et positionnements d'artistes qui problématisent ces relations entre images, peurs et événements. L'expérience de l'évènement médiatisé, proposée et fabriquée, à nouveau, par ces artistes, se construit dans le rapport entre excès et manque de visibilité (que donner à voir, ou non) et peut conduire à la conjuration ou l'amplification des peurs collectives, comme à un appel à la vigilance. En articulant investigation théorique et pratique personnelle – dont le moteur est la collecte d'images médiatiques – il s'agit de démontrer les aspects négatifs comme positifs des usages des images et des peurs aujourd'hui, à la fois remèdes et poisons d'une société inquiète
Reconsidering event media pictures trough the prism of collective fears allows raising differently the political and social issues. The evolution of the news media with Internet as well as the frequent public debates on the news pictures reveal a new apprehension of event pictures. The ambiguous relation of belief and doubt inherent to any picture reinforce the virality of today's media images. Photographs and videos of terrorist attacks, disasters and various crises spread and redefine fears, bringing out the fear of pictures. Powers of media and pictures combine together creating a climate of anxiety which oscillates between reality and fiction. This fine arts doctoral research questions the practices and the positioning of artists who problematize these relationships between images, fears and events. The experience of the mediatised event, re-proposed and re-made by these artists, is built in the relationship between excess and lack of visibility (which pictures to diffuse or not) and can exorcise or amplify collective fears, like a call for vigilance. Articulating theoretical investigation and personal practice - which is based on the collection of media pictures - allows demonstrating the negative and positive aspects of the uses of pictures and fears today, simultaneously remedies and poisons of a worried society

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

Relatório de Estágio do Mestrado em Estudos Curatoriais apresentado ao Colégio das Artes
MARQUES, Maria Miguel Bernardes de Sousa Ramos Marques. Coleção de Serralves: 1960-1980/ Museu de Arte Contemporânea de Serralves. 2017Relatório de Estágio de Mestrado em Estudos Curatoriais, Colégio das Artes da Universidade de Coimbra, Coimbra.O presente documento descreve o estágio curricular que tive a oportunidade de realizar na Direção do Museu da Fundação de Serralves, entre Setembro de 2016 e Maio de 2017, sob a orientação do Dr. Ricardo Nicolau.Pretendo com o mesmo, descrever os principais projetos em que estive envolvida e as atividades realizadas durante o estágio, sendo o foco principal a Exposição da Coleção, que foi inaugurada a 12 de Maio de 2017.O relatório é composto por três momentos: um primeiro momento onde será realizada uma análise das exposições com obras da Coleção realizadas anteriormente no Museu; um segundo onde existe uma apresentação e descrição da exposição Coleção de Serralves: 1960-1980 em que estive envolvida desde o início do estágio; e, por fim, é apresentada uma comparação entre a Exposição Coleção de Serralves: 1960-1980 e a Exposição Phillipe Parreno: A Time Coloured Space, na qual também tive a oportunidade de participar.A exposição Coleção de Serralves: 1960-1980 reúne obras de artistas portugueses e estrangeiros da Coleção do Museu. Esta exibição marca o inicio de uma série que dá visibilidade permanente à Coleção de Serralves, privilegiando as décadas de 1960 e 1970 como fundamentais para a compreensão da arte contemporânea e para o desenvolvimento da Coleção desde a criação da Fundação de Serralves em 1989. A arte portuguesa produzida nestas décadas decisivas, a sua estreita relação com as tendências e os posicionamentos da produção a nível global constituem, simultaneamente, o fio condutor desta exposição e um testemunho da importância da Coleção de Serralves.Aquando o ínicio do estágio, ainda a exposição estava a ser pensada, não existindo listas de obras ou qualquer pormenor decidido. Foi bastante proveitoso poder observar a exposição a tomar forma ao longo dos meses em que estive presente. Nos trabalhos iniciais fui incumbida de fazer uma série de listas de obras da coleção de artistas internacionais e portugueses para Suzanne Cotter, João Ribas e Ricardo Nicolau. Juntamente com a curadora Isabel Braga, foi sendo delineada uma lista final de obras, de forma a se poder fazer a planificação do espaço. O design da exposição foi concebido por COR ARQUITECTOS (Roberto Cremascoli e Edison Okumura).
MARQUES, Maria Miguel Bernardes de Sousa Ramos Marques. Serralves Collection: 1960-1980/ Museum of Contemporary Art of Serralves. 2017Master’s Internship Report in Curatorial Studies, College of Arts at Coimbra University, Coimbra.This report focusses and describes the internship that I had the chance to take part in the Serralves Foundation's Museum's Direction, between September of 2016 and May of 2017, under the guidance of Dr. Ricardo NicolauThe goals of this report based themselves in the description of the main projects in which I has involved during the internship as the various activities that I took part during this period of time. All of which main focus is the Collection's Exhibition, inaugurated on the 12th of May of 2017.The present work is divided into 3 parts: a first one in which I explore and analise previous exhibitions and works of art in the Museum; the second one, a presentation and description of the exhibition of the Serralves' Collection: 1960-1980, which I was involved since the beginning of the internship; and in the end, a comparison between the Serralves' Collection: 1960-1980 and the Exhibition Phillipe Parreno: A Time Coloured Space, in which I had the change to participate.Serralves' Collection: 1960-1980 assembles portuguese and international art works from the Museum's Collection. This exhibition marks the begging of a series that gives permanent visibility to the Serralves Collection, empowering the 1960s and 1970s as fundamental for the understanding of contemporary art and for the development of the Collection since Serralves Foundation creation in 1989. The Portuguese art produced in these decisive decades and its close relationship with the tendencies and the positioning of production at the global level, are simultaneously the guiding thread of this exhibition and a testimony of Serralves Collection's importance.It was in the beginning of the internship, when the exhibition was still being though of, that I found my learning the most profitable. In the early works, I was in charge of creating a series of lists of the Collection's art works from the artists, both international and portuguese, for Suzanne Cotter, João Ribas and Ricardo Nicolau. With the curator, Isabel Braga, a final list of art works, was decided in order to make a better space planning. The exhibition's design was conceived by COR ARQUITECTOS (Roberto Cremascoli and Edison Okumura).

Este trabalho tem como foco a atividade da Fundação EDP no campo da Arte Contemporânea, tendo como Estudo de Caso concreto o Prémio Novos Artistas e respectivas exposições. Procurámos encontrar a ligação deste projecto com a missão da Fundação EDP, relacionar os seus objectivos e compreender a sua importância na esfera artística nacional e internacional face aos artistas premiados. Como ponto de partida – Capítulo I – procurámos contextualizar o surgimento da Fundação EDP, que remonta para o ano 2000, focando a sua ligação coerente com a Arte Contemporânea. Assim sendo, relacionámos a missão da fundação com a realização de programas de âmbito cultural, com a divulgação das artes plásticas no presente século e, com a formação de uma colecção. Numa segunda fase – Capítulo II – abordámos sinteticamente a evolução dos Prémios de Arte a nível internacional e nacional, elemento essencial à compreensão do nosso objeto de estudo: o Prémio Novos Artistas, cujo início remonta a ano 2000. Ainda neste capítulo, elencámos as premiações e o conjunto de exposições do Prémio Novos Artistas entre os anos 2000 e 2015. Para além da descrição de cada edição, feita com recurso a consulta documental e bibliográfica, procurámos também realçar a sua recepção crítica e compreender o efeito do prémio na carreira dos artistas premiados ou distinguidos com menções honrosas. Numa última fase – Capítulo III – focámos a nossa atenção numa possível relação entre o Prémio Novos Artistas e as aquisições para a Colecção de Arte Contemporânea da Fundação EDP. Com esta dissertação pretende revelar-se uma sequência de exposições de Arte Contemporânea que marcaram a História da Arte Portuguesa do século XXI, graças à divulgação de obras de arte de novos artistas. Em suma, este estudo pretende compreender a importância do Prémio Novos Artistas Fundação EDP num contexto museológico específico, a sua relação com a Fundação EDP, bem como a sua relação com a formação de uma colecção artística.
This work focuses on the activity of the EDP Foundation in the field of Contemporary Art, having as concrete Case Study the New Artists Awards and respective exhibitions. We study the connection between those Awards and the EDP Foundation's mission, relating their goals to the international artistic sphere and to the artists themselves. As a starting point - Chapter I - we try to contextualize the emergence of the EDP Foundation, which goes back to the year 2000, focusing on its coherent connection with Contemporary Art: we relate the mission of the foundation with the realization of cultural programs, with the promotion of contemporary visual arts and with the formation of a collection. In a second phase - Chapter II - we summarize the evolution of the Art Awards within the international and national contexts, giving a special attention to our study case: the EDP Foundation New Artists Awards, between 2000 and 2015. Based on bibliographic and documental sources, we describe each Award edition, highlighting the jury procedures, the exhibitions of the selected and awarded works and Their critical reception. Furthermore, we try to understand the effect of the prize on the career of the awarded artists. In the last part - Chapter III - we try to relate the New Artists Awards to the constitution and increasing of the EDP Foundation's Collection of Contemporary. This dissertation aims at revealing a sequence of Contemporary Art exhibitions that somehow marked the history of Portuguese Art in the 21st century. To conclude, this study is a reference to understand the importance of the New Artists Awards EDP Foundation in a specific museological context, its relationship with EDP Foundation, as well as its relation with the formation of an artistic collection.

Le sujet de notre thèse concerne les acquisitions par achat et par don réalisées au Musée d’art contemporain de Montréal (MACM) entre 1992 et 2012. Nous documentons l’agrandissement de la collection qui est passée de 3000 œuvres à 7500 au cours de ces deux décennies pour déterminer s’il y a présence de sens motivant les acquisitions (collectionnement) ou si au contraire, il s’agit d’une accumulation d’œuvres. Au cours de la période étudiée, nous constatons les difficultés que le MACM rencontre pour maintenir ce sens en raison de certains facteurs : la décision du gouvernement en 1992 d’acheter au nom du MACM la collection corporative Lavalin (1324 œuvres), les années de restriction financières à partir de 1992 et leurs effets sur le budget d’acquisition du Musées, ainsi que les trois changements de direction. Nous examinons aussi les 31 expositions de la collection mises sur pied par les conservateurs du MACM à partir d’œuvres provenant exclusivement de la collection entre 1992 et 2012. Nous considérons l’exposition comme lieu privilégié pour communiquer le sens que le Musée entend donner à sa collection et à cet effet nous y regardons les œuvres présentées, le parcours, les réitérations d’œuvres. Notre enquête montre qu’après vingt ans de présence au centre-ville, les acquisitions sollicitées par achat ou par don qui rejoignent la collection du MACM sont soutenues par une intention double : la mise en avant des étapes de la modernité artistique au Québec, et la présentation de ce qui se fait dans l’actualité. Le sens motivant les acquisitions est parfois confus notamment en ce qui concerne les œuvres de la collection Lavalin dont seul un faible pourcentage (une centaine) remplit les conditions. Notre étude des 31 expositions de la collection met également en évidence l’existence d’une présentation et d’un parcours suivant la double intention du collectionnement, à savoir : l’arrivée de l’abstraction et le cheminement stylistique de l’art contemporain au Québec ainsi que la monstration de l’actualité artistique. Dans ce domaine également, un nombre restreint d’œuvres provenant de la collection Lavalin sont représentées. Finalement, afin d’ouvrir une fenêtre sur d’autres façons de faire nous faisons quelques petits détours. Nous regardons les propositions apportées par la vaste étude sur l’état des musées québécois Entre mémoire et devenir, aussi appelé le Rapport Corbo (2013) pour répondre aux questions de collectionnement, d’engorgement des réserves et de désactualisation de certains corpus de la collection. Nous examinons aussi comment d’autres institutions vouées à l’art contemporain de par le monde répondent à des questions similaires.
The aim of this thesis is to document and examine 20 years of collecting at the Museum of Contemporary art of Montreal between 1992 and 2012, a period during which the collection went from 3300 works of art to more than 7700. We investigate the development of the collection and its representation via exhibitions organized by the Museum. We seek to report what the acquisitions tell us about the institution, the orientation it is giving its collection and the message it seeks to transmit. Our research based on analysis of facts collected in public documentation examines the composition and functioning of the various decision committees responsible for acquisitions, and the financing of the institution. It details acquisitions made via purchase and gift, looks at the style and date of the works selected. It documents the arguments (justifications) brought forward in order to acquire the work and add it to the collection. It observes the image the Museum wants to convey of its collection through its exhibitions. Our study draws a factual portrait of collection during the mandates of the 3 directors in charge of the Museum over a 20 year period and the idea of the collection they tried to communicate via exhibitions.

Ce mémoire de maîtrise porte principalement sur les œuvres des artistes Sophie Calle, Sylvie Cotton, Donigan Cumming, Martin Dufrasne et Marc-Antoine K. Phaneuf. L’objectif de cette recherche est d’observer les différents allers-retours qu’ils effectuent dans leur pratique entre la sphère privée et la sphère publique et qui problématisent notre rapport à l’intimité. Dans le premier chapitre, je déterminerai ce qui caractérise respectivement l’espace public et l’espace privé, pour ensuite cibler les lieux et les figures de l’intime. Dans le deuxième chapitre, seront étudiés les gestes et les méthodes d’appropriation de la sphère privée par les artistes à l’aide de la pratique de la collection, la pratique ethnographique ainsi que la pratique de la surveillance. L’impact de ces pratiques sur l’investissement de l’artiste dans la durée est relevé, ainsi que leur inscription dans un art dit contextuel. Enfin, je terminerai par une réflexion sur ma propre pratique, en considérant ce qui l’apparente et la distingue des artistes étudiés dans celui-ci.
This Master’s thesis deals with the works of artists Sophie Calle, Sylvie Cotton, Donigan Cumming, Martin Dufrasne, and Marc-Antoine K. Phaneuf. The objective of this research is to observe the back and forth explored by the artists in their practices between the private and the public sphere and how these problematize our relationship with intimacy. In the first chapter, I will determine the elements that respectively characterize the public and the private space, and then find the places and forms that define intimacy. In the second chapter, I will examine the private sphere's appropriation gestures and methods employed by the artists through a study of collecting, ethnographic, and surveillance practices. I will underline the impact of such practices on the artists' investment in time and their implication in contextual art. Finally, I will deliberate on my very own practices, considering how they differentiate or resemble the practices of the artists studied in this memoir.