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SRITONGSUK, PONGCHAI. "A STUDY OF CONTEMPORARY ART MUSEUMS." The University of Arizona, 1997. http://hdl.handle.net/10150/555225.
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Moser, Susan. "K-12 Educational Programs in Contemporary Art Museums: An Examination of University and Non-University Non-Collecting Institutions of Contemporary Art." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4031.
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This museum thesis project will provide an overview of kindergarten through 12th-grade (K-12) educational programs at six non-collecting art institutions within the United States, contextualized within a selected historiography of art museum education. This project is designed to aid the Virginia Commonwealth University Institute for Contemporary Art (ICA). The ICA is a non-collecting institution that will be located on VCU’s Monroe Park campus. As the ICA staff sets out to articulate a vision and scope for its K-12 education programs, it will benefit from the information offered in this thesis project, especially given that there is no existing literature specifically about K-12 programs at non-collecting museums of contemporary art.
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Silva, Carolina Carvalho Palma da. "Youth forums in contemporary art museums : mapping untimely entanglements." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22732/.
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Youth forums – long-term programmes for young people, age 15 to 21, emerged in the mid 1990s in contemporary art museums in response to the misrepresentation of this age group and as an attempt to offer them a creative space outside the school environment. My research draws a genealogy of museums turn toward youth, looking in particular to six ecologies – the Whitechapel Gallery, Tate, South London Gallery, Whitney Museum, MoMA and the New Museum. Drawing on the notion of heterotopia, proposed by Michel Foucault, I discuss the relational ethos of youth forums, as they are concomitantly connected to and separated from museums. This historical mapping is expanded to consider the pedagogies that come together in collaborative art practices, as these are at the heart of initiatives for youth in contemporary art museums. Focusing on the Whitechapel Gallery’s youth forum – Duchamp&Sons, namely the projects De/construct (2013-2014) and Art Casino (2014-2015), three concepts emerged from their open-ended collaborations – ignorance, forgetfulness, and unknown. These were the élan to invent new ways of working and being together, to what I, influenced by Louis Althusser’s materialism of the encounter, Gilles Deleuze and Félix Guattari’s middle, and Karen Barad’s intra-actions, name pedagogy of the encounter. In tandem with the emphasis on collaborative art practices, the long-term duration of youth forums gives young people the opportunity to return and therefore expand their relation with museums – curators, artists, and their peers. To think these untimely entanglements in terms of being-with, of a singular plural ontology as discussed by Jean-Luc Nancy, entails an impossible sense of togetherness, which stresses the politics and ethics of the AND. Based on the experiences of Duchamp&Sons participants I further mapped the potentiality of being part of a youth forum, where-when participation is always felt in movement. In sum, it is a matter of connections – visible and invisible.
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Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.
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Bueno, Delgado Patricia. "Towards a professional learning dialogue in Mexican contemporary art museums." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.
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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.
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Lu, Dawei. "A sociological exploration of cultural distinction in Chinese contemporary art museums and galleries : contemporary art and its visitors." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18187/.
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Based on fieldwork that has been conducted at three contemporary art museums and galleries (National Art Museum of China, Ullens Centre for Contemporary Art, and Shengzhi Space) in the People’s Republic of China (PRC), including both questionnaire surveys (2376 respondents) and interviews (11 interviewees), this thesis elucidates how contemporary art, an internationally sanctioned legitimate art form, configures into the PRC’s national hierarchy of cultural genres. Through the use of a cluster analysis, a multinomial logistic analysis, and a thematic analysis, this current research demonstrates that the flow of the ‘world culture’ between countries does not necessarily contribute to the prevalence of a hegemonic and internationally universal pattern of cultural consumption in diverse cultural contexts. The most obvious finding to emerge from the analyses is that a negotiation has been taking place between cultural forces that represent different cultural and aesthetic ideologies at the borders of the PRC’s social and cultural context. One consequence of this negotiation is that the public art museum and galleries visitors have a lower probability of encountering artworks that overtly challenge the established Chinese aesthetic, ethical, and political norms. By making compromises with the political interests of the Communist Party of China (CPC) mentioned above, the avant-garde characteristics of the public museum-based contemporary artworks have become increasingly blurred (for instance, by taking a less aggressive stance towards the established traditional aesthetic principles). One of the drawbacks of this compromise lies in its negative influence on the development of the public museum-based contemporary Chinese art. The evidence is sufficient to demonstrate that the public museum-based contemporary Chinese artworks were less attractive for both art professionals and the ‘lay’ visitors. Thus, the PRC’s cultural policies, which aim to preserve the national characteristics of contemporary Chinese art, ended up running counter to its stated goal.
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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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.
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Soltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.
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In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.
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Seiler, Jena M. "Sensing Security through Contemporary Art and Ethnographic Encounters." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou151022822064186.
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Van, Eck Steve. "Neighborhood Economic Impacts of Contemporary Art Centers." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4435.
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Do investments in Contemporary Art Centers spur investment and economic development in the surrounding community? And if so, what factors are associated with these developments' outcomes? To assess these questions, a general overview of the dominant arts-and-economic-policy perspectives were considered, and two cases of contemporary art center developments, one in St. Louis and one in Cincinnati, were compared and treated as hypothetical value-capture investments. Sale prices of properties surrounding each investment property were adjusted to reflect market factors, then compared to values before and after an investment property opened to the public. A review of supplemental documents and interviews with the developments' directors were used to determine factors that contributed to the effects observed in the study. Findings indicated that the adjusted value of properties in Cincinnati declined with distance from the site of development in the post-test period, and not in the pre-test period. Hedonic results for properties in St. Louis were not significant. However, the museum's development was one among other factors that signified to investors that the area was ready for restoration. Interviews and document review indicated that community participation in the development planning process, distinctive architecture, and commercial contexts were associated with developments meeting their stated goals.
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Ferrell, Susanna S. "Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.
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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.
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Antunes, Ornelas Marta Sobral. "O papel da autoria dos jovens na relação entre o museu de arte contemporânea e a escola." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398961.
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Esta investgação versa sobre diversos modos de relação entre jovens e museus de arte contemporânea, mediados pela escola. Através de quatro estudos de casos, foi possível verifcar que os jovens reclamam por pratcas mais partcipatvas do que aquelas que tradicionalmente a escola e os museus lhes oferecem. O cumprimento do currículo e as imposições programatcas dos museus consttuem constrangimentos à criação de relações pedagogicas entre museus e escolas. Além disso, a legitmidade para ensinar esta ainda muito centrada na fgura docente ou de quem dinamiza as visitas nos museus, enquanto aos alunos é atribuído um papel essencialmente subordinado. É a escola que aprende com o museu, sendo muito raramente criadas oportunidades para que o museu aprenda também com a escola. Contudo, a forma como as professoras e as educadores de museu encaram o conhecimento, a aprendizagem e a arte contemporânea é determinante para o modo como os estudantes aprendem. Se aos jovens for dado um espaço partcipatvo e de autoria na relação com o museu, isso permitra a criação propostas alternatvas às macro-narratvas, sejam estas provenientes dos museus ou mesmo da propria escola tradicional que perpetua a ordem social. No caso desta investgação, foram as propostas alternatvas concebidas pelos jovens que lhes proporcionaram a realização de aprendizagens dotadas de sentdo.This research is about the various kinds of relationship between young people and museums of contemporary art, mediated by school. Through four case studies, it was possible to find that young people claim for more participatory practices than those, traditionally, school and museums offer them. The compliance with the curriculum and the programmatic impositions of museums are constraints to the creation of pedagogical relationships between museums and schools. Moreover, the legitimacy of teaching is still very focused on the teacher and on the museum educator, while students are assigned to an essentially subordinate role. It is the school that learns from the museum, and very rarely are created opportunities for the museum learn from school. However, the way the teachers and museum educators face knowledge, learning and contemporary art is crucial to the way students learn. If young people are given a participatory and authoring space in the relationship with the museum, they will create alternative proposals for macro-narratives, whether this ones come from museums or even from the traditional school itself, perpetuating the social order. In this research, the alternative proposals designed by the young people, helped them to construct learning, to which they gave sense.
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Finbow, Acatia. "The value of performance documentation in the contemporary art museum : a case study of Tate." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32561.
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Performance and documentation have a complex historical relationship, based around perceived binaries of ephemerality and endurance, liveness and fixedness, originality and representation. This thesis explores this relationship and the ontological perspectives which underpin it, but moves beyond this by building on those contemporary theories which consider the potential of the performance documentation in relation to the performance moment, and the expanded, continuing performance artwork. Using the example of Tate as a contemporary art museum which has a history of creating and collecting performance documentation, this research engages the lens of value as an analytic tool through which to understand the positions and purposes of performance documentation in the contemporary art museum. Rather than attempting to measure the amount of value a performance document is perceived to have in economic terms, the intention here is to understand the nuanced types of value those within the museum apply to the performance document, based on an understanding of valuations as subjective, context-dependent, pluralistic and changeable. This thesis will explore both the museum’s creation of performance documents, tracing the variety of practices across Tate’s numerous departments, and how those within the museum approach acquiring, conserving, and displaying existing performance documents. Six case studies will be used to explore how different models of temporality, materiality, and authorship impact on the actions individuals and departments within Tate have taken around the creation, collection, and use of performance documents, and will explore what these indicate about the multiple, changeable types of value a performance document is perceived to have. The thesis will end by proposing how these findings around value and valuation can feed back into strategies and practices which are being developed at Tate to provide centralised, reflexive, mobile and easily accessible documentation of those live art works in the museum collection.
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Palma, Adriana Amosso Dolci Leme. "Invenções museológicas em exposição: MAC do Zanini e MASP do casal Bardi (1960-1970)." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-24042015-171943/.
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A presente investigação examina a atuação de duas instituições museológicas paulistas o MASP e o MAC USP enfocando os pensamentos e práticas de seus dirigentes Pietro Maria e Lina Bo Bardi e Walter Zanini especialmente entre fins da década de 1960 e início da década de 1970. Através do estudo de textos desses diretores e de exposições por eles concebidas junto a essas instituições busca-se entender como suas concepções de arte e museu foram colocadas em prática. O frutífero histórico de ações e reflexões que envolveram as atuações do casal Bardi no MASP e de Zanini no MAC USP compuseram nessas instituições ambientes condizentes com a ideia de museu entendido como espaço vivo e atento à manutenção do diálogo com as suas funções sociais e com a dinâmica do meio no qual está inserido.This research examines the performance of two museological institutions in São Paulo MASP and MAC USP focusing on the thoughts and practices of their directors Pietro Maria and Lina Bo Bardi and Walter Zanini especially between the late 1960s and the early 1970s. Through the study of these directors texts and exhibitions designed by them in these institutions we seek to understand how their conceptions of art and museum were put into practice. The fruitful historic of actions and reflections involving the actings of the couple Bardi in MASP and Zanini in MAC USP composed in these institutions environments harmonized with the idea of the museum understood as living space and attentive to the maintenance of the dialogue with its social functions and with the dynamics of the environment in which it is inserted.
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Landis, Tamra R. "How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.
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Jankauskas, Jennifer Kathleen. "Acquiring contemporary art in today's global market : collecting strategies at small, mid-sized and regional American museums." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32246.
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Over the years, prices for contemporary works of art have continued to rise to the point that many small, mid-sized and regional American art museums have difficulties collecting in this arena. Few authors have examined this phenomenon, or the different tactics in place to combat it. This study aims to fill this gap by undertaking a detailed analysis of successful museum acquisition processes at several museums. To ground the discussion I closely examine the hierarchical systems of the art world and its subset, the art market, and investigate the ways in which particular actors, including collectors, dealers and museum curators, negotiate this realm. Despite the economic hardships that they face, many museums embark on creative strategies to compete in this global market. In order to identify and evaluate these strategies I take an ethnographic approach to the research. Participant observations were undertaken at three American art fairs to fully understand the role of key participants in the market. Furthermore, semi-structured interviews with gallery dealers, museum curators and museum directors revealed both the challenges and solutions involved in the acquisition process, and led to the examination of six key strategies currently in place at museums around the United States. An analysis of these strategies demonstrates the creativity and entrepreneurial nature necessary for continued collecting of contemporary art in a market that has outpaced acquisition budgets.
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Almeida, Adriana Mortara. "Museus e Coleções Universitários: Por que Museus de Arte na Universidade de São Paulo?" Universidade de São Paulo, 2001. http://www.teses.usp.br/teses/disponiveis/27/27143/tde-10092003-160231/.
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Essa tese trata do perfil dos museus universitários - sua origem, desenvolvimento e perfil atual -, com ênfase para os museus de arte. Procura definir o que seria um museu universitário modelo e busca identificar o quanto desse modelo existe na prática. Descreve a formação e as características dos museus da Universidade de São Paulo e dos museus universitários de arte no Brasil. Analisa a coleção e o museu de arte da Universidade de São Paulo - Coleção de Artes Visuais do Instituto de Estudos Brasileiros e Museu de Arte Contemporânea - diante do modelo proposto para museus universitários. E finalmente, discute a necessidade da Universidade de São Paulo possuir ou não essas coleções de arte.This thesis addresses the profile of university museums - their origin, development and current profile with emphasis on art museums. It attempts to define what a model university museum should be and to compare it to the existing situation. It describes the foundation and characteristics of the University of São Paulo museums and of university art museums in Brazil. It analyses the art collection and the University of São Paulo art museum - Visual Arts Collection of the Brazilian Studies Institute and the Contemporary Art Museum - in comparison to the university museum model proposed. And finally it discusses the need for those art collections in the University of São Paulo.
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Lima, Ana Paula Felicissimo de Camargo. "Fluxus em museus : museus em fluxus." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280776.
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Orientador: Nelson Alfredo AguilarTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Durante os anos de 1960 e 1970, os festivais Fluxus promoveram a indissociação entre arte e vida, por meio de proposições apoiadas no cotidiano, possíveis de serem realizadas por qualquer pessoa. Esta produção - valorizando o processo, a participação do público e a desmaterialização do objeto artístico questionava os sistemas discursivos e legitimadores da arte, dentre eles o museu e o mercado. Os objetos, textos, imagens e depoimentos resultantes destes atos Fluxus tornaram-se, contudo, memória e registro de r:ais proposições, que foram postos, a partir da década de 1980, no âmbito institucionalizado das coleções e museus de arte dos quais se tornaram reféns de procedimentos museológicos tradicionais, submetidos as categorias e padrões herdeiros das Belas Artes, afastando-se de seu pulsar original, da 'liberdade de estar num curso de água almejada no próprio nome desse coletivo internacional. Abordando sua música, seus eventos e sua (auto)poiesis, nossa tese focaliza as coleções e exposições Fluxus para analisar criticamente a premência de uma produção em processo, cujas ideias-matrizes potencializam a germinação contínua entre acervo, público e instituições: museus em fluxus
Abstract: During the 1960s and 1970s, the Fluxus' festivals promoted Art and Life through proposals supported in daily activities made by everyone. Their production, which valued the process through open participation of the public and art object dematerialization, criticized the cultural systems and art legitimizers, as well as the market and institutions. Therefore, objects, texts, pictures and statements resulted from these Fluxus...Note: The complete abstract is available with the full electronic digital thesis or dissertations.
Doutorado
Historia da Arte
Doutor em História
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Whitley, Zoe. "Against a sharp white background : dialogic and exhibitionary practices of Black contemporary artists and curators in art museums." Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/23580/.
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This research seeks to better understand how Black artists experience the mainstream art museum. The thesis makes an original contribution to scholarship on curating contemporary art through qualitative analysis of subjective approaches to art museum space. It makes evident responses to institutionalised systems of address. Foundational in establishing this action research methodology (Lewin 1946; Carr & Kemmis 1986) are the dialogic frameworks provided by the theories of Mikhail Bahktin (1975), Edouard Glissant (1997), and chiefly the writing of Zora Neale Hurston (1929). It concludes that art museums can become sites of dialogic exchange (Bennett, 2006) for those who have been traditionally excluded from such spaces, though the means may be other than those formally sanctioned by the institution. Examining racial difference in museological and curatorial spheres potentially allows for multiple dialogues, referred to by Bakhtin as ‘polyphony.’ Interviews with fourteen international artists and curators suggest that critical debate around the racialisation of museum space has progressed relatively little since the 1990s, with identity politics and institutional critique having fallen out of favour in contemporary museum discourse (Bishop 2012, Haq 2014). Indeed, recent academic research into race and the art museum tends to focus on the past (Cooks 2011, Cahan 2016) or artists’ continued lack of visibility (Chambers 2015). While museum-centred research interrogates the relationship between audience and museum space (McClellan 2003; Karp et al. 2006; Bourriaud 1998; Kester 2011), little consideration has been dedicated to Black contemporary artists’ physical presence in art museums. As a critical paratext to curatorial projectsThe Shadows Took Shape and In Black and White which I co-authored, this study examines Black artists’ roles as uniquely informed generators of address (speakers) and respondents within the art museum. Given the insular and highly specialised body of curatorial writing (Hoffmann 2013; Lind 2010; Obrist 2008; Martinon & Rogoff 2015), it is therefore proposed that studying modes of Black curatorial and artistic address can ultimately yield new translations for contemporary museum-going publics.
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Dunfee, Melissa Catherine. "Financial Challenges of New Media Art in Contemporary Arts Institutions." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1487646333901318.
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Neumann, Sabine [Verfasser], Birgit [Akademischer Betreuer] Mersmann, Marion [Akademischer Betreuer] Müller, and Victoria [Akademischer Betreuer] Szabo. "Art Museums online - New visual challenges of Modern and Contemporary Art Collections / Sabine Neumann. Betreuer: Birgit Mersmann. Gutachter: Birgit Mersmann ; Marion Müller ; Victoria Szabo." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2016. http://d-nb.info/1098532848/34.
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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.
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Tuttoilmondo, Joana Vieira. "Presente nos museus: processos de formação de acervos de arte contemporânea brasileira." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-12012012-141718/.
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A presente pesquisa analisa os processos de atualização de acervos de arte contemporânea brasileira em dez museus do país e as condições dessa prática na atual confi guração do sistema da arte. Como recurso de aprofundamento, examina mais detidamente os processos curatoriais ligados à formação do acervo do Museu de Arte Moderna de São Paulo nos anos 1990 e 2000. A partir do diagnóstico da situação dos museus brasileiros no que se refere à incorporação da produção artística das últimas duas décadas, procura-se discutir as características do campo sociocultural da arte, os desafi os que os museus enfrentam e as implicações de sua prática colecionista sobre a constituição da memória das artes visuais recentes do país e sobre a construção da história da arte. O estudo procura contribuir para o entendimento dos processos de formação de valor e legitimação na arte contemporânea a partir do exame das dinâmicas de institucionalização da produção recente. Com esse intuito, busca articular a análise da ação preservacionista dos museus ao acionamento e visibilidade da produção contemporânea brasileira no circuito internacional de arte.This study analyses the collection building processes focused in Brazilian contemporary art in ten Brazilian museums and the circumstances of this practice under the current art systems configuration. As a case study, it investigates the curatorial processes and collection policy of the Museu de Arte Moderna de São Paulo [São Paulo Modern Art Museum] during the 1990s and 2000s. Based on the diagnostic of the conditions of Brazilian art museums towards the acquisition of artworks produced in the last two decades, this research aims to discuss some aspects of the sociocultural art field, the challenges that art museums face today, as well as the infl uence of its collection practice on the constitution of the recent artistic heritage and on the construction of art history. This investigation seeks to contribute to the understanding of the value foundation process and its legitimacy in contemporary art, examining the institutionalization dynamics of the contemporary art production. In this sense, it articulates the analysis of the preservation policy of museums to the exposure and insertion of Brazilian production in the international art circuit.
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Muller, Mirjam. "A comparative analysis of outreach and communication strategies in museums of modern and contemporary art: A case study of three publicly-owned museums in Strasbourg, Mannheim and Glasgow." Thesis, University of the West of Scotland, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.753301.
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Andrews, Krista M. "Reduced Model Analysis of Performing Arts Programming at the Massachusetts Museum of Contemporary Art, 2002-2005." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1216910235.
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Prokůpek, Marek. "Prezentace současného umění v kontextu muzea umění." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-150379.
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The aim of my diploma thesis is the exploration of the fine arts presentation options and methods with a focus on contemporary fine arts in context of the museums of art. The main terms concerning the topic are defined in my work prior to the main research of the museums of art and the presentation of fine arts. In the beginning of my work the reader can familiarize himself with the historical development of art museums from its genesis until the present form of this institution. Following the research part I am explaining the main aspects relevant to the presentation of fine arts, such as the spatial character of art museums and the evolution of its design. One part of my work is focused on a role of curator, who is a very important figure in the presentation of fine arts. The main basis of art museum are its art collections, which are transformed into long-term exhibitions. On the other hand, the museum should also manage the production of temporary exhibitions which plays an essential role in the presentation of fine arts in the last few decades. The methods and technique of installations are no less important for the presentation. All these aspects are described in my diploma thesis and supported by concrete examples from various museums. In the last part of my work, the theoretical thesis are applied on a specific example of an institution with the largest art collection in our country - Veletržní palác.
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Kim, Sujin. "A Case Study of Pages at the Wexner Center for the Arts and Its Implications for Collaborative Art Museum-School Programs." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1530882425478519.
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Pasqualucci, Luciana. "As contribuições do espaço museológico para uma construção interdisciplinar do conhecimento." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/9807.
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The objective of this study was to increase the understanding on how museums may aid the interdisciplinary construction of knowledge. The study was based on the description of some activities carried out in a cultural institution in the city of São Paulo SP, and its objective is to evidence how interdisciplinarity may be exercised, and how it is possible to currently justify the construction of an interdisciplinary attitude towards knowledge. The notions of Phenomenology and Contemporary Art are the bases of the study. Interdisciplinarity emphasizes the importance of intersubjectivity and of partnerships. Considering its five categories (humbleness, respect, coherence, expectation, and detachment), it is an attitude that may make the educational and institutional intentionality of the museum viable, in its attempt to share its cultural and artistic patrimony with the public. Interdisciplinarity, as a category of action, may make institutional demands and educative projects possible in museums, based on a phenomenological vision of men - understanding men as a creative, collective, and questioning beings. This man that asks about the sense in everything, when facing contemporary art production in museums, may construct knowledge by articulating his experiences with the different areas of knowledge that involve plastic arts, adding aspects of reality to conceptual discourses. Museums have an important social role, when reality is considered: they generate motivation and reflections that are not limited to the museum space. Phenomenology is used as a conceptual drive and a research method in order to build, together with the reader, references for the development of an interdisciplinary work in museums, an interdisciplinary knowledge that also aids the formation of interdisciplinary individuals, once the description of the some of the activities is the driver of reflection and collaborate on the understanding of its sense and on the exercise of an interdisciplinary attitude in museum spaces
Esta pesquisa busca ampliar a compreensão de como o espaço museológico pode colaborar para uma construção interdisciplinar do conhecimento. Partindo da descrição de alguns dos trabalhos realizados em uma instituição cultural da cidade de São Paulo SP, o trabalho objetiva evidenciar de que modo a interdisciplinaridade pode ser exercitada, bem como se pode justificar atualmente a construção de uma atitude interdisciplinar frente ao conhecimento. As noções da Fenomenologia e da Arte Contemporânea fundamentam a pesquisa. A interdisciplinaridade, ao enfatizar a importância da intersubjetividade e das parcerias, além de evidenciar seus cinco conceitos norteadores (humildade, respeito, coerência, espera e desapego), torna-se uma atitude que pode viabilizar as intencionalidades educativas e institucionais do museu, na tentativa de compartilhar seu patrimônio cultural e artístico junto ao público. A interdisciplinaridade, na condição de categoria de ação, pode concretizar, no espaço museológico, demandas institucionais e projetos educativos calcados numa visão fenomenológica de homem, o que significa compreendê-lo como ser criador, coletivo e questionador. Esse homem, que pergunta pelos sentidos das coisas, ao deparar-se com a produção contemporânea de arte no museu, pode construir conhecimentos articulando suas experiências às diferentes áreas do saber que permeiam as artes plásticas, agregando aos discursos conceituais aspectos da realidade. Ao considerar a realidade, o museu desempenha um importante papel social: gerar motivações e reflexões que continuem para além do espaço museológico. Com o intuito de construir referências para o desenvolvimento de um trabalho interdisciplinar em museus, mirando um conhecimento interdisciplinar que auxilie também a formação de sujeitos interdisciplinares, a fenomenologia ocupa, aqui, tanto o âmbito conceitual, quanto o de método de pesquisa, já que a descrição de algumas ações desenvolvidas norteiam as reflexões e colaboram para compreensão do sentido e do exercício de uma atitude interdisciplinar no espaço museológico
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Lam, Chi Hang. "Framing “contemporaneity” in public museums of art and visual culture in the 21st Century : A study of the impact of acquisition policies of the Moderna Museet and M+ through the lens of actor-network theories." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194885.
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In the 21st century, public museums who are collecting contemporary art has simultaneously begun to reframe the role of museums in society. Two museums – the Moderna Museet of Stockholm and M+ of Hong Kong that have completely different historic and geographic backgrounds, as well as operating models are now working closely with their acquisitions and collections to draw audience of old and new closer to them. These two museums that are located in the center of two well-defined cultures – geographically representing the west and the east, play vital roles in their respected social and cultural spheres. In view of how these two museums are responding to the present time by deploying art that are seemingly different in terms of theme and discipline, the immediate distinction that this study aims to frame is how the Moderna Museet, established in the 20th century and still prevailing in the present differ from M+ that comes from a younger generation of museums who proclaims itself as a museum of visual culture, and not art. Instead of analyzing their exhibitions, this study focuses on their policies of acquisitions, thus offering a perspective including many varying actors and networks. Hence Bruno Latour’s actor-network theories have been introduced to unfold the highly entangled networks of these two museums. Two important actants, the so-called acquisition policy and the institutional curators are taken into consideration in order to outline what constitute as acquisition policies of these two museums and investigate if the benchmarking of contemporary art, and in addition, if the notion of contemporaneity can be identified from written documents. Furthermore, this study is based on interviews with curators employed at the two museums to find out how the professionals have understood these policies and used them accordingly to justify their practices while fulfilling the museums’ missions. This study has found out there are many crucial relationships between these actants and that they are constantly interacting with each other. The strength and interaction of these relationships fostered the positioning for these two museums today and also determined how the knowledge of art can be shaped and dispensed to the public. Looking from the point of view of the history of museums, practices of donation and acquisition, late- capitalism, cultural differences between the west and east, this study provides a pragmatic explanation of how collections may transform the landscape of a museum, and in turn how a museum may perhaps alter the meaning of art.
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Macedo, Wesley. "PS1 / MoMA-PS1: a transformação de um edifício em espaço expositivo de arte." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-29102015-094943/.
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A pesquisa aborda o movimento dos espaços alternativos de arte contemporânea observado em Nova Iorque (EUA), nas décadas de 1960 e 1970, com foco no PS1 lnstitute of Contemporary Ar/, inaugurado em 1976. Embora sua criação abarque características latentes do modelo dos espaços alternativos, logo indicou uma progressão inevitável rumo à institucionalização desses espaços, cujos padrões administrativos se afastaram de suas concepções e ideias mais experimentais. Ainda que alguns autores classifiquem o PS1 como antimuseu\", não tardou para que este centro de arte contemporânea fosse incorporado ao tradicional Museu de Arte Moderna de Nova Iorque - MoMA-NY. Com isso, o PS1 adentra o mainstream da arte sob o título de MoMA-PS1, oficialmente em 2010. A abordagem discorre sobre o objeto de estudo como resultado de manifestações artísticas que contribuem na mudança de convenções estabelecidas no sistema da arte. Essas manifestações incluem a prática de apropriação da arquitetura como tema da criação artística. Assim, este trabalho contribui para fomentar novas interpretações na análise crítica do projeto de arquitetura para espaços expositivos de arte, instalados em edifícios não projetados para um fim museológico.The research addresses the movement of alternative spaces for contemporary art seen in New York (USA), in the 1960s and 1970s, focusing on the PS11nstitute of Contemporary Art, opened in 1976. Though his creation comprises /atent characteristics of the model of the alternative spaces, soon it indicated an inevitable progresswn bound for the institutionalization of these spaces, whose administrative standards have drifted away from their conceptions and more experimental ideas. Even though some authors c!assify the PS1 as \"antimuseum \", soon this contemporary art center was incorporated into the traditional Museum of Modem Art of New York- MoMA-NY. Thus, the PS 1 enters the mainstream of art under the title of MoMA-PS1, officially in 201 O. The approach discusses the object of study as a result of artistic events that contribute to the change of conventions established in the art system. These events include the practice of architecture appropriation as theme for artistic creation. 7his work contributes to fostering new interpretations on critica/ analysis of the architectural project for exhibition spaces of art instal/ed in buildings not designed for Museum purpose.
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Bargue, Elisabeth Evangélie. "Passion(s) dans l'espace public : histoire des collectionneurs et des collections privées d'art contemporain en Grèce au XXe siècle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010571.
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Cette étude se propose de présenter l'évolution des collections privées d'art contemporain en Grèce au cours du siècle dernier. Malgré la forte présence du phénomène, les études à ce sujet sont rares, surtout concernant la période contemporaine qui est souvent délaissée au profit de l'archéologie et de la période byzantine. Pourtant, le phénomène du collectionnisme est très présent en Grèce et il est étroitement lié à I'histoire politique et sociale du pays, à des phénomènes tels que l'évergétisme, la diaspora et l'essor économique du pays à partir des années quatre-vingts lors de son entrée dans la Communauté Économique Européenne. Ainsi, l'aspect du phénomène se trouve-t-il en constante mutation. L'objectif de cette étude est donc une première approche des divers aspects du collectionnisme, étudié en relation avec l'histoire culturelle du pays, à travers les portraits de nombreux collectionneurs grecs qui ont vécu au XXe siècle. Ces passionnés d'art ont fortement marqué le paysage artistique et culturel de leur pays d'origine - mais aussi parfois de leur pays d'accueil - notamment grâce à la mise en valeur d'artistes et à l'influence du goût, mais surtout parce que leur activité est liée à la constitution de collection de musées de beaux-arts et de fondations privéesThis study aims to describe the history and situation of the private contemporary art collections in Greece du ring the last century. Despite the strong presence of the phenomenon, studies on this subject are scarce, especially in regard to the contemporary period, which is often neglected in favor of the Archeological and Byzantine period. However, the phenomenon of collecting contemporary art is very present in Greece and it is closely linked to the political and social history, to phenomenas such as benefaction, diaspora and the economic growth of the country, from the eighties upon entry into the European Economic Community. Thus, the appearance of the phenomenon is constantly changing. What is studied here is a first approach to the various aspects of collecting contemporary art in relation to the cultural history of the country, through the portraits of many iconic Greek collectors who lived in the twentieth century. These art lovers have strongly influenced the artistic and cultural landscape of their country of origin - but also sometimes to their home countries - through the discovery of artists and the influence of taste. The latter was achieved especially because their activity was related to the establishment of the permanent collections of fine art museums and private foundations
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Liegey, Edith. "Ecomorphisme(s), vers une culture du vivant : formes et évolution d'une symbolique de l'écologie dans l'art contemporain." Thesis, Paris, Muséum national d'histoire naturelle, 2018. http://www.theses.fr/2018MNHN0029.
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L’écomorphisme — oikos/habitat et morphé/forme — est le résultat d’une adaptation d’une espèce vivante suivant son environnement. Appliqué à l’art, récurrence d’œuvres, scénographies et récits d’expositions, l’écomorphisme est ce processus d’adaptation qui change nos perceptions et notre conscience écologique vers une culture du vivant. Comment des artistes réussissent-ils à créer une relation singulière au vivant qui perdure dans le temps ? Par delà un panorama de formes de nature en crise, des artistes fabriquent des points de vue et des liens singuliers en symbiose avec le vivant. Vu(e) des arbres et des nuages, postes d’observation symboliques de notre environnement —plus de 90 expositions expérimentées in situ— nous avons analysé les relations complexes entre création artistique, effets esthétiques expérimentés in situ, scénographies d’installation, récits d’exposition et prise de conscience écologique. Suivons la piste de l’écomorphisme, (r)évolution silencieuse, tel un envahissement artistique de formes de la nature sauvage au musée et autant de possibilités de rencontres du vivant capables de nous trans-former. Formes contemporaines de la nature, (éco)morphogénéalogie Notre premier corpus de formes s’est révélé à 70% européen —174 artistes internationaux—d’après une classification de 800 œuvres en lien avec les principes d’écologie diffusées —et légitimées— dans les musées en France de 2012 à 2016. Un second corpus est extrait sur la symbolique des arbres, figure statistique la plus fréquente, puis des nuages, objet-symbole émergent au 21e siècle. Une esthétique de la complexité confirme la nécessité d’ordonner ses formes. Ainsi, notre création d’(éco)morphogénéalogie en cinq branches principales est liée aux mouvements dans l’histoire de l’art et de l’écologie à partir de 1916. Nous avons classé les branches —et filiations— par ordre d’importance : 1. biomorphisme écologique (sculptures intra-muros) ; 2. l’art environnemental dans l’environnement extérieur ; 3. l’art écosystème technologique en mimèsis de milieux naturels et artificiels ; 4. l’arte povera et l’art du rebut ; 5. bioart lié à la génétique et l’hybridation du vivant. Vu(e) des arbres au musée-ville, « perchoirs » symboliquesLa singularité du musée « perchoir » réside dans sa capacité à conserver la beauté manifeste de la nature dans la ville. Avatar du monde humain de la ville, le musée cultive des forêts symboliques. Les formes de la nature en crise sont un signal visible symbolique de conscience écologique et de culture du vivant au musée. A posteriori, la singularité et l’efficacité d’œuvres et expositions tient d’un processus de création-observation d’un écosystème in vivo et d’une capacité à restituer des liens avec des êtres vivants. Nous qualifions ces voies de passage fécondes d’écologie artistique (éco)poétique cultivée à la fois dans les objets et la littérature des musées. Nous suggérons que les musées et leurs expositions sont devenus des « perchoirs » contemporains. Sorte d’appel de la forêt symbolique à vivre en lien avec le vivant, le musée-perchoir est un observatoire essentiel d’évolution de nos sociétés.Au-dessus des nuages de crise, théorie de l’écorphisme et prospectiveL’ambiguïté du nuage, objet-symbole, réside autant dans l’annonce du danger qu’il prévient que dans celui qu’il occasionne. Le nuage sert d’inducteur théorique à Aristote, Descartes, Howard ou Damisch. Nos analyses démontrent un Homme en recherche d’un renouvellement de positionnement vis-à-vis de la nature. La place de l’humain n’est plus au-dessus de la nature mais au milieu du vivant via un ADN symbolique commun. Des formes à l’écopoétique singulière et sur-réaliste révèlent une autre réalité que nous ne percevons plus. In fine, l’écomorphisme agit comme la conscience d’un patrimoine génétique où se mêlent formes naturelles et artificielles. N’est-il pas temps de reconsidérer ces formes tel un enjeu culturel d’évolution du vivant ?Ecomorphism—from oikos as habitat and morphé as form—is the result of a species’ adaptation to its environment. Applied to the recurrence of artistic works, scenographies and exhibition narratives, ecomorphism is this process of adaptation that pushes our perceptions and ecological consciousness towards a culture of the living. How do artists manage to create over time a unique long term relationship with the living world? Beyond a panorama of forms of nature in crisis, artists create singular point of views and links in symbiosis with the living world. From the point of view of trees and clouds, symbolic observation posts of our environment—more than 90 experienced exhibitions in situ—we have analysed the complex relationships between artistic creation, aesthetic effects experienced in situ, installation scenographies, exhibition narratives and ecological awareness. Let us follow the path of ecomorphism that leads through a silent (r)evolution like an artistic invasion of wild nature forms in a museum and as many opportunities of transformative encounters with the living world.Contemporary forms of nature, (eco)morphogenealogyOur first corpus of forms was revealed to 70% European—174 international artists—according to a classification of 800 works related to the principles of ecology disseminated—and legitimised—in museums in France from 2012 to 2016. A second corpus is extracted on the symbolism of trees, the most common statistical figure, then clouds, object-symbol emerging in the 21st century. An aesthetic of complexity confirms the need to order its forms. Thus, our creation of (eco)morphogenealogy into five main branches is related to the movements in the history of art and ecology from 1916. We have classified the branches—and filiations—in order of importance: 1. ecological biomorphism (intra-muros sculptures); 2. environmental art in the external environment; 3. technological ecosystem art in mimèsis of natural and artificial environments; 4. arte povera and recycling art; 5. bioart related to genetics and hybridization of the living. From trees at city museum, symbolic “perches”The uniqueness of the “perch” museum lies in its ability to preserve the manifest beauty of nature in the city. Avatar of the human world of the city, the museum cultivates symbolic forests. The forms of nature in crisis are a symbolic visible signal of ecological awareness and culture of the living in a museum. Retrospectively, the singularity and effectiveness of works and exhibitions result from a process of creation-observation of in vivo ecosystem and an ability to restore links with living beings. We define these fertile pathways of passage as artistic (eco)poetic ecology cultivated both in objects and in the litterature of museums. We suggest that museums and their exhibitions have become contemporary “perches”. As a call of symbolic wild to live in relation with the living, the perch-museum is an essential observatory on evolution of our society. Above the clouds of crisis, ecomorphism theory and prospective analysisThe ambiguity of the cloud, object-symbol, resides as much in the announcement of the danger it prevents, as in the one it may cause. The cloud serves as a theoretical driver for Aristotle, Descartes, Howard or Damisch. Our analyses show a human in search of a renewal of positioning in relation to nature. The place of human beings is no longer above nature but in the middle of the livings, via a common symbolic DNA. Forms with unique and over-realistic ecopoetics reveal another reality that we no longer perceive. In the end, ecomorphism acts as the consciousness of a genetic heritage where natural and artificial forms mingle. Is it time to reconsider these forms as a cultural challenge of living evolution?
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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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Igreja, Paulo Antonio Pereira. "Da contemplação à imersão e subjetividade: estéticas dos museus de arte contemporânea e centros culturais." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5761.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorO estudo desenvolvido nesta Tese de Doutorado trata da análise crítica da estética dos conceitos: forma, tectônica, funcionalidade, semiótica e afetuosidade, no âmbito da arquitetura, no programa de museus de arte contemporânea e centros culturais. Os museus de arte contemporânea e centros culturais, estudos de caso, selecionados para nossa Tese de Doutorado foram inaugurados na década de 1990. Como segue: Centro Cultural Jean-Marie Tijibaou (Nova Caledônia, França), de Renzo Piano; Museu de Arte Contemporânea de Naoshima (Japão), de Tadao Ando; Museu Guggenheim Bilbao (Espanha), de Frank O. Gehry; Museu de Arte Contemporânea Fundação Serralves (Portugal), de Álvaro Siza Vieira; Museu de Arte Contemporânea de Niterói (Brasil), de Oscar Niemeyer; Fundació Museu d'Art Contemporani de Barcelona (Espanha), de Richard Meier; Museu de Arte Contemporânea Carré d'Art de Nimes (França), de Norman Foster; Museu de Arte Contemporânea de Lyon (França), de Renzo Piano; Centro Cultural Consonni (Espanha), ausência de um arquiteto autor do projeto. Tanto os estudos de caso como os arquitetos, autores dos projetos, são considerados de destaque no panorama da arquitetura internacional erudita contemporânea. Os teóricos que forneceram a fundamentação conceitual deste estudo multidisciplinar são, em primeiro lugar, o Professor Catedrático Luiz Felipe Baêta Neves Flores (Transdisciplinaridade) além da Professora Catedrática Maria Luisa Amigo Fernández de Arroyabe (Ócio Estético) e ainda, os também importantes, Manuel Cuenca Cabeza (Ócio Humanista), Charles Jencks e Gonçalo Miguel Furtado Cardoso Lopes (Crítica de Arquitetura), Jesús Pedro Lorente, Chris van Uffelen e Roberto Segre (Museus de Arte Contemporânea).
The study developed in this Thesis Doctoral presents a critical and aesthetics analysis of the concepts: form, tectonic, functionality, semiotic and affectivity, in view the rchitecture, in the contemporary art museums and cultural centers program. The contemporany art museums and cultural centers, case's studies, selected for our Thesis Doctoral were opened during the years ninety, as follows: Jean-Marie Tijibaou's Cultural Center (New Caledony, France), of Renzo Piano; Naoshima's Contemporary Art Museum (Japan), of Tadao Ando; Bilbao's Museum Guggenheim (Spain), of Frank O. Gehry; Foundation Serralves' Contemporary Art Museum (Portugal), of Álvaro Siza Vieira; Niterói's Contemporary Art Museum (Brazil), of Oscar Niemeyer; Barcelona's Fundació Museu d'Art Contemporani (Spain), of Richard Meier; Nimes' Contemporary Art Museum Carré d'Art (France), of Norman Foster; Lyon's Contemporary Art Museum (France), of Renzo Piano; Consonni's Cultural Center (Spain), absent an architect author of project. The case's studies as well as the architects, authors of the projects, are outstanding in the international theoretical panorama of contemporary architecture. The theorists who have offered the fundamental conceptual for this multidisciplinary study are mainly the Full Professor Luiz Felipe Baêta Neves Flores (Transdisciplinarity), the Full Professor Maria Luisa Amigo Fernández de Arroyabe (Aesthetics Leisure) and also the equally important Manuel Cuenca Cabeza (Humanist Leasure), Charles Jencks and Gonçalo Miguel Furtado Cardoso Lopes (Critical Architecture), Jesús Pedro Lorente, Chris van Uffelen and Roberto Segre (Contemporary Art Museums).
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Pinheiro, Maria de Paula. "Ensino de arte em museus da cidade de São Paulo: tópicos modernos e contemporâneos." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-08122014-131411/.
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Considerando que a arte-educação em museus é uma área de atuação recente no Brasil (as experiências iniciais datam da primeira metade do século passado), este estudo investiga e discute a influência dos pressupostos teóricos e didáticos da educação em arte associados à livre expressão modernista e à perspectiva contemporânea do fazer e ler influenciados pela cultura na mediação entre arte e público em dois museus da cidade de São Paulo. A partir de considerações históricas sobre as tendências pedagógicas do ensino de arte, analisamos as proposições práticas e reflexivas trabalhadas por dois destacados arteeducadores que foram coordenadores das ações educativas de museus da cidade de São Paulo ao longo da década de 1980: Paulo Portella Filho, coordenador do Serviço Educativo da Pinacoteca do Estado de São Paulo, entre os anos de 1976 e 1987; e Denise Grinspum, coordenadora da Área de Ação Educativa do Museu Lasar Segall, entre os anos de 1985 e 2001. A presente pesquisa se insere no campo das investigações qualitativas, sendo os dados coletados predominantemente descritivos. Ressalta o levantamento de fontes primárias documentais produzidas na época, como relatórios, artigos de jornais e revistas que fazem referência aos projetos que são objeto de estudo dessa pesquisa o curso Laboratório de Desenho (1976-1987), da Pinacoteca do Estado de São Paulo, e o Programa de Educação para o Patrimônio Atendimento ao Público de Escolas (1985-2001), do Museu Lasar Segall. Como apoio à análise documental, foram colhidos depoimentos e narrativas dos protagonistas que são foco dessa investigação a respeito de suas práticas associadas ao ensino de arte. Tais depoimentos se configuraram como matérias-primas vivas permeadas de informações, enfatizando experiências que se inter-relacionam e desvelam concepções teóricas e práticas significativas para a área da educação em arte em museus e instituições culturais.Whereas art-education in museums is a recent area of work in Brazil (the early experiences took place in the first half of last century), this study investigates and discusses the influence of the theoretical and didactic assumptions of education in art associated with the modernist free expression and the contemporary perspective of doing and reading influenced by the culture in the mediation between art and the public in two museums of the city of São Paulo. Starting with historical considerations about the pedagogical tendencies in the teaching of art, I have analyzed the practical and reflexive propositions worked by two outstanding arteducators who were in charge of the educational actions in museums of the city of São Paulo in the 1980´s: Paulo Portella Filho, head of the Educative Service at the Picture Gallery of the State of São Paulo, between 1976 and 1987; and Denise Grinspum, head of the Educational Action Area of Lasar Segall Museum, between 1985 and 2001. This research develops in the field of qualitative investigations, and collected data was predominantly descriptive. Highlight is the survey of primary documental sources produced at the time, such as reports, magazine and newspaper articles that make reference to the projects that were the scope of this study the course on Drawing Laboratory (1976-1987), at the Picture Gallery of the State of São Paulo, and the Program for the Education about Heritage Service to the Public from Schools (1985-2001), at the Lasar Segall Museum. In support to the documental review, I have gathered testimonies and narratives of protagonists who are the core of this investigation regarding their practices involving the teaching of art. Such testimonies turned out to be living raw materials full of information, emphasizing experiences that are intertwined and reveal intertwined and reveal theoretical and practical conceptions that are significant for art education in museums and cultural institutions.
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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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Defossez, Ramalho Lizá Marie. "La imagen visual de las instituciones de arte moderno y contemporáneo." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/671400.
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La investigación realizada analiza las diferentes aproximaciones a la imagen de identidad visual en los museos y centros de arte europeos en el período que va desde la última década del siglo XX hasta la actualidad. La necesidad y el deseo de democratizar el museo (apelando a un público no especializado), el argumento de la competencia, pero sobre todo la presión económica, abrió el camino para la entrada del marketing en los museos y centros de arte moderno y/o contemporáneo. En este contexto, la orientación basada en un enfoque mercantilizado lleva a instituciones y diseñadores a incorporar nuevas posiciones que tienen implicaciones en términos de problemas, de los procesos, de las limitaciones y de los resultados en el campo del design de identidad visual.
Este nuevo paradigma se traducirá en la importación del modelo de identidad gráfica de las empresas, provocando problemas de falta de correspondencia entre los museos y centros de arte y su identidad visual. La importación de un modelo desarrollado para dar respuestas al territorio empresarial y caracterizado por la centralidad del logo y la normatividad de la imagen es contraria a la idea de pluralidad y apertura de valores que los museos y centros de arte buscan promover. Así, se cuestiona la transposición de argumentos, sensibilidades, estéticas y estrategias de comunicación para la venta de bienes o servicios a museos y centros de arte porque da lugar a propuestas mecánicas, predecibles y homogéneas, que no reflejan ni la experiencia de la visita ni la performance de un servicio público. En este contexto, uno de los temas centrales de esta investigación radica en la correspondencia entre la naturaleza del museo o centro de arte y su representación gráfica a través de diferentes modelos de diseño de imagen identitaria.
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Bingham, Margaret M. "Professional Machine Quilting and Its Impact On The Contemporary Quilt Movement." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279395269.
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Oliveira, Maria Genoveva Moreira. "Museus e escolas: os serviços educativos dos museus de arte moderna e contemporânea, um novo modo de comunicação e formação." Doctoral thesis, Universidade de Évora, 2011. http://hdl.handle.net/10174/12107.
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A parceria escola-museu é uma relação importante. A maioria das pessoas fazem a
sua primeira visita a um museu com um grupo escolar e essas experiências iniciais ajudam
a moldar as suas atitudes para com os museus. Esta parceria assume um novo significado
à medida que a nossa sociedade expande a sua definição de "educação"para descrever
um processo de desenvolvimento permanente de conhecimentos, competências e carácter
que ocorre não apenas no espaço da sala de aula, mas numa variedade de contextos
formais e informais. Museus e escolas figuram nessa rede de aprendizagem e há muito
que têm trabalhado juntos em direcção a metas comuns de educação. Esta tese de
doutoramento focaliza a questão sugerindo que, para alcançar o potencial da parceria, os
educadores do museu e os professores devem desenvolver uma compreensão mais
aprofundada da natureza do ambiente do museu de aprendizagem, como ela difere da sala
de aula e como as duas definições são complementares; ### Abstract:
The museum-school partnership is an important institution. Most people make their
first visit to a museum with a school group, and these experiences help to shape their
attitudes toward museums. This partnership takes on new significance as our society
expands its definition of "education" to describe a lifelong process of developing knowledge,
skills, and character that takes place not just in the classroom, but in a variety of formal and
informal settings. Museums and schools both figure in this learning network, and they have
long worked together toward common educational goals. This doctoral tesis recommended
that to achieve the potential of the partnership, both museum educators and teachers
should develop a fuller understanding of the nature of the museum learning environment,
how it differs from the classroom, and how the two settings are complementary.
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Shuqair, Noura. "Islamic Patterns as an Allegory for an F-1 Student's Experience in the Context of Global Capitalism: The Aesthetics of Cognitive Mapping as an Approach to Art-Based Research." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703421/.
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Building on Fredric Jameson's critical theory, this dissertation examines how the aesthetics of cognitive mapping were used to uncover overlooked political, economic, social and cultural dimensions behind my artistic engagement with Islamic patterns. Using a critically informed variant of arts-based research (ABR), I explored the complexity of the interconnected economic, social, political and aesthetic realities informing my positionality as a Muslim Saudi female artist/research completing her dissertation in a Western country. Particularly, my work revealed how certain global forces (including capitalist relations between Saudi Arabia and the USA, as well as global postmodern cultural influences) shape the processes of appropriation and re-signification of patterning appropriated from Islamic aesthetics. This research culminated in a body of artwork for a solo exhibition at Paul Voertman's Gallery at the College of Visual Arts and Design at the University of North Texas located in Denton, Texas. I conclude the study with recommendations for a regional ABR to be developed by educators for the Middle East and North Africa (MENA) region. The study also suggests that this model of cognitive mapping as a critical art making methodology would be a great pedagogical tool for museums and art education curriculum to implement in Saudi Arabia.
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Santiago, Restoy Caridad de. "Los museos de arte moderno y contemporáneo: historia, programas y desarrollos actuales." Doctoral thesis, Universidad de Murcia, 1999. http://hdl.handle.net/10803/10881.
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1- En primer lugar se ha elaborado sucintamente la perspectiva histórica del museo de arte moderno, es decir desde que nace la ayuda institucional al artista con la celebración de los Salones y la creación del primer museo de artistas vivos del mundo en el palacio Luxemburgo de París. 2- Posteriormente, nos centramos en el nacimiento del Museum of Modern Art de Nueva York, Moma, creado en 1929 con apenas 13 obras, el cual se convirtió en referencia obligada desde el punto de vista museológico para la creación de los futuros museos de arte moderno en el mundo durante casi seis décadas. Termina el trabajo con el modelo creado en los años setenta, la factoría beaubourg, el museo de la época postindustrial, y el museo postmoderno de los ochenta y sus repercusiones en la nueva museología. Si el Moma de Nueva York, creó una colección enciclopédica del arte del siglo XX, el Musée National d'art Moderne, consiguió implicar a la ciudadanía en el arte moderno. Tan importantes eran las colecciones que se mostraban en su interior como el flujo de visitantes y curiosos que se agolpan en el exterior. Finaliza con una aproximación a los Fonds Regionaux d'art Contemporain y el nacimiento de los Centros de Cultura Contemporánea.1- In the first place, a historic perspective of the modern art museum has been concisely elaborated, that is to say, since institutional grants to artists are created with the celebration of the Halls and the creation of the first museum of living world artists at the Luxembourg Palace of Paris.2- Subsequently, we focus on the birth of the Museum of Modern Art in New York, MOMA, created in 1929 with only thirteen pieces of art. This museum became an obliged reference from a museological point of view for the creation of the future modern art museums all over the world for almost six decades. The work concludes with the model created in the 1960s, the factory "Beaubourg", the postindustrial period museum, and the postmodern museum of the 1880s and its repercussions in the new museology. If the MOMA in New York created an encyclopedic collection of the art of the 20th Century, the "Musée National d'art Moderne", achieved to involve the citizens with the modern art. The collections showed inside were as important as the flow of visitors and curious that crowded outside. It ends with approximation to the "Fonds Regionaux d'art Contemporain" and the birth of the Centres of Contemporary Culture.
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Travis, Sarah Teresa. "Portraits of Young Artists: Artworlds, In/Equity, and Dis/Identification in Post-Katrina New Orleans." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157583/.
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Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions. Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans, 1) How do contextual figured worlds influence artist identity work? 2) How does artist identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work? The findings of the study highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.
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Wray, Lynn Marie. "Turning left : counter-hegemonic exhibition-making in the post-socialist era (1989-2014)." Thesis, Liverpool John Moores University, 2016. http://researchonline.ljmu.ac.uk/4426/.
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This research examines how the practice of curating has been used to further counter-hegemonic agendas in public art institutions since 1989. The central aim is to provide a fuller, contextualised, and medium specific understanding of the how the institutional exhibition might be used to challenge the hegemony of neoliberalism and the post-political consensus politics that sustains its dominance. It provides insights, through both historic case studies and reflective practice, that problematise the idea that the institutional art exhibition is a viable medium for counter-hegemonic critique, or represents the ideal space for the development of an agonistic public discourse. This thesis presents collaborative research undertaken with Tate Liverpool and Liverpool John Moores University. The research presented both extrapolated from, and contributed to, the development of an exhibition, co-curated with Tate Liverpool, entitled Art Turning Left (8 November 2013 – 2 February 2014) and a supplementary publication of the same name. The first section investigates how the idea that curators can counter neoliberal dominance, through institutional exhibition-making, developed. It draws from analyses of previous exhibitions, and the theory of Chantal Mouffe, in order to critically evaluate the curatorial application of counter-hegemonic critique and agonistic practice. It also provides a review of how exhibitions (held in major art institutions since 1989) have articulated politics, in order to determine their relationship to neoliberal dominance, and to identify significant gaps in the dialogue facilitated by these institutions. These analyses provides the theoretical and contextual grounding for the final two chapters, which provide a rationale and critical evaluation of my own attempt to develop an alternative counter-hegemonic curatorial strategy for the exhibition at Tate Liverpool. They document, and analyse, the areas of dissensus, and the ideological and pragmatic limitations that emerged, in trying to realise these theoretical propositions (in practice) in a public art museum. The thesis therefore provides a critical framework for the development of an alternative practice that positions the exhibition as a form of post-political critique and specifically targets the hegemonic role that institutional exhibitions play in reinforcing class distinctions and devaluing nonprofessional creativity.
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Amengual, Quevedo Irene. "Saberes y aprendizajes en la construcción de la identidad y la subjetividad de una educadora de museos: El caso del proyecto “Cartografiem-nos” en el museo Es Baluard." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/92561.
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Esta tesis es una investigación narrativa sobre la construcción de mis saberes y aprendizajes como educadora en Es Baluard Museu d’Art Modern i Contemporani de Palma. Después de una necesaria introducción al marco general dentro del cual se desarrolla este estudio, en la que analizo tanto el museo como la función del departamento educativo dentro del mismo, paso a abordar el escenario concreto donde se centra este trabajo: “Cartografiem-nos”. Éste es un proyecto educativo para trabajar a largo plazo con escuelas, que iniciamos el curso 2006-07, y que ha tenido continuidad hasta el presente, con diversas variaciones. Las experiencias a las que este programa ha dado lugar me han permitido estudiar mi posición como educadora desde lo conflictivo y lo paradójico, dando lugar a una narrativa de la educación en museos que trasciende los discursos fundacionales y hegemónicos al uso, y que se centra en las dificultades de llevar a cabo pedagogías radicales en contextos situados. El objetivo de la presente investigación no es ofrecer recetas pedagógicas, sino reflexionar y compartir la labor que desarrollo junto con mis compañeros en el departamento educativo, con la esperanza de activar resonancias en el lector, que le ayuden a pensar sobre su propia práctica educativa.This thesis is a narrative research that deals with the building of my knowledge(s) and learning(s) as a gallery educator at Es Baluard Museu d’Art Modern i Contemporani de Palma. After an introduction to the general context that frames this study, in which I analyse both the museum as a whole and the education department’s function within it, I describe the setting in which this work focuses: “Cartografiem-nos”. This is a long term educational project designed to work with schools. The program was initiated in 2006-07 and continues to the present with some variations. The experiences that “Cartografiem-nos” has generated have allowed me to study my own position as a gallery educator from its complexities and paradoxes, creating a narrative about gallery education that transcends foundational and hegemonic discourses, and that focuses on the difficulties of undertaking radical pedagogies on situated contexts. The aim of this research is not to offer educational prescriptions, but to share and reflect on the work I undertake with my colleagues within the education department. I hope that this thesis will activate resonances in the reader, which might help him or her to think about their own educational practice.
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Cass, Nicholas. "Contemporary art and heritage : interventions at the Brontë Parsonage Museum." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12608/.
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In this thesis I examine the Contemporary Arts Programme at the Brontë Parsonage Museum, with a particular focus on the commissioning and installation of artwork in the period interior of the museum. Reading the work of Paula Rego, Cornelia Parker, Su Blackwell, Charlotte Cory and Catherine Bertola through the literature of heritage and dialogical aesthetics, I seek to map the unexplored liminal territory between the Brontë Parsonage Museum as 'shrine' and the contemporary art installations as 'intervention'. The purpose, through following a trajectory which has its origin in what Malinowski described as 'foreshadowed problems', has been to produce a rich account of the ways in which art and heritage practices intersect. A reflexive ethnographic stance, in which the process has developed through and in, rather than prior to, the research process, acknowledges my own position as artist, museum educator and academic, engaged with a particular site where I have used visitor comment books and semi structured interviews with artists, staff and visitors to produce this account. This stance acknowledges that writing about art is itself a creative practice and should not be seen as existing as an independent, external addition; to be so, it would remain a 'shadow' of that which it describes. Instead, it is my purpose to map the complexity of these installations as points of reference in the broader topology of heritage practice and contemporary art to demonstrate that they are not reducible to the paradigmatic arguments which are used to describe their existence within the museum space. Often characterised as 'social outreach, public relations, economic development and art tourism', I argue it is more productive to consider these 'interventions' as dialogic heritage, both in order to understand their 'affective' role in the process of interpreting the legacy of the Brontës, and to understand ways in which they address visitor experience.
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DEGRAAF, NATHAN MARK. "MILIEU, MEANING AND ARCHITECTURE: CONTEMPORARY INSTALLATION ART GALLERY DESIGN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148191782.
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Valente, Liz Fagundes Oliveira. "Space and art – interrelations between architecture and contemporary art at Inhotim." Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.
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A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.
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MENDES, PATRICIA STEINTHAL DE ANDRADE. "THE INTERLACE OF ART AND ARCHITECTURE IN THE CONTEMPORARY MUSEUM SCENE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25576@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO intenso movimento em torno da construção, ampliação e reforma dos museus de arte em todo o mundo aponta para uma valorização do papel da arquitetura na circulação da arte, como evento midiático ou como geradora de novas centralidades urbanas, e na adequação dos museus às importantes transformações que ocorrem no campo da arte desde os anos 1960. O trabalho apresenta três abordagens do tema, contempladas uma em cada capítulo. O primeiro examina a participação da arquitetura nas estratégias de representação e de comunicação no ato da exposição, o segundo trata da arquitetura icônica que transforma o museu em imagem e símbolo que circula na mídia a serviço da instituição, uma terceira abordagem coloca o foco na arquitetura efêmera e trabalha com a ideia do museu como espaço contingencial que não se ancora em uma estrutura fixa, mas num sistema de conexões sociais e espaciais.
The intense movement revolving around the construction, expansion and remodeling of art museums throughout the world signals the growing importance of the role of architecture in the circulation of art, whether as a media even or as a generator of new urban centralities, and in the adaptation of museums to the important transformations that have occurred in the field of art since the 1960s. The paper presents three approaches to the theme, each contemplated in a chapter. The first examines the participation of architecture in the communication and representation strategies in the act of exhibition, the second addresses iconic architecture that transforms the museum into image and symbol that appears in the media at the institution s service, the third chapter focuses on ephemeral architecture in the context of art, working with the idea of the museum as an undetermined space that is not anchored to a fixed structure, but to a system of social and spatial connections.