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Dissertations / Theses on the topic 'Metropolitan Museum of Art New York'
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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.
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Geiger, Stephan. "The art of assemblage the Museum of Modern Art, 1961 ; die neue Realität der Kunst in den frühen sechziger Jahren." München Schreiber, 2005. http://d-nb.info/98913458X/04.
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Alamsjah, Winnie 1974. "Rethinking the modern : imagining the future of the Museum of Modern Art, New York." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62954.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (p. 103-105).
The thesis seeks to explore the implications of the emergence of the digital media as a new art form on the museum space. The museum as an institution has faced some ideological and philosophical contradictions in recent times. Economically, heightened competition for dwindling funds has begun to shape programming decisions. Philosophically, the museum's perceived authoritarian role clashes with the critiques of cultural hegemony that are so much a part of the contemporary art world. Contemporary art forms that intentionally subvert the equation of art and object are often less compatible with traditional conceptions of museum space. And socially, museum expansion is often used as a tool for the gentrification of museum neighborhoods, a stratagem that cheers civic boosters and troubles social critics. All these point to a social, philosophical, political critique of the museum as an institution. The thesis does not attempt to resolve all the issues rooted in the current museum culture/structure. Rather, it seeks to study the various museums built historically and propose a new way of understanding the role of the museum in relation to the issues brought up by artists, social critics, historians alike. The exploration involves both spatial and material articulation. What could a museum be?
by Winnie Alamsjah.
M.Arch.
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Wright, Lesley. "Surviving in New York : an exploration of development at the Museum of Modern Art." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/85.
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Manzano, Raul. "Language, Community, and Translations| An Analysis of Current Multilingual Exhibition Practices among Art Museums in New York City." Thesis, Union Institute and University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10060087.
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This dissertation provides an analysis of current multilingual practices among art museums in New York City. This study is located within the current theoretical analysis of 1) museums as sites of cultural production and 2) the politics of language, interpretative material, and technology. This study demonstrates how new roles for museums embracing multilingual exhibitions and technology may signal new ways of learning and inclusion.
The first part is a theoretical-based approach. The second part consists of a mixed-method research design using qualitative and quantitative methods to create three different surveys: of museum staff, of the general public, and finally my observations of museum facilities and human subjects.
Multilingual exhibitions are complex and require changes at all levels in a museum's organizational structure. Access to museum resources can provide more specific data about language usage. The survey responses from 175 adults provides statistics on multilingual settings and its complexity. The survey responses from 5 museums reveals the difficulty, and benefits, of dealing with this topic. Visual observations at 36 museums indicate that visitors pay attention to interpretative material, while production cost, space, and qualified linguistic staff are concerns for museums. Technology is a breakthrough in multilingual offerings, for it can help democratize a museum's culture to build stronger cultural community connections.
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Barrere, Laetitia. "La photographie documentaire à l'épreuve du modernisme au "Museum of Modern Art" de New York (1937-1970)." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010594.
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Cette thèse est consacrée aux questions de réception et d'institutionnalisation de la photographie documentaire et de la photographie de reportage à partir de 1937 jusqu'aux années 1970 au Museum of Modem Art (MoMA) de New York. Le premier chapitre revient sur la genèse et les enjeux de l'instauration de la straight photography comme canon d’une tradition esthétisante du médium et éclaire l’influence de la critique formaliste dans l'émergence d'un modernisme documentaire, exemplifié par la production de Walker Evans. De nombreux photographes dont les pratiques ne correspondaient pas aux idéaux de perfection technique de la straight photography ont de exclus des circuits de légitimation institutionnelle, en particulier les membres de la Photo League de New York. La photographie documentaire urbaine, développée en dehors de la doxa moderniste, fait l'objet du deuxième chapitre de cette étude. A. cet égard, une attention particulière est consacrée à l'œuvre critique d'Elizabeth McCausland, principale porte-parole de la fonction sociale de la photographie. Le troisième chapitre se concentre sur la période de l’après-guerre. Dans ce nouveau contexte, les Américains sont à la recherche de nouveaux canons artistiques, qu'ils trouvent dans la photographie de reportage française, dont Henri Cartier-Bresson représente le chef de file. Ce chapitre dévoile les intérêts diplomatiques du modernisme dans les échanges transatlantiques avec la France, ainsi que ses intérêts économique à travers l'exemple d'André Kertész dont l'exposition au MoMA suscite l'envol de sa cote sur le marché naissant de la photographie dans les années 1970This thesis is dedicated to questions of reception and institutionalization of documentary photography and reportage photography from 1937 through to the 1970s at the New York Museum of Modern Art (MoMA). The first chapter looks at the development and objectives of the advent of straight photography as a canon or an aestheticizing tradition of the medium, and sheds light on the influence of formalist criticism in the emergence of a form of documentary modernism, exemplified by the works of Walker Evans. Many photographers whose practices do not correspond to the ideals of technical perfection of straight photography were excluded from the circuits of institutional legitimization, particularly the members of the New York Photo League, Urban documentary photography, developed outside of the modernist doxa will be the subject of the second chapter of this study. In this respect, particular attention is paid to the critical work of Elizabeth McCausland, a major spokesperson for the social function of photography. The third chapter focuses on the post-war period. ln this new context. The Americans were looking for new artistic canons, which they found in French reportage photography, with Henri Cartier-Bresson leading the fray. Finally, this chapter reveals the diplomatic interests of modernism in Transatlantic exchanges with France, as well as its economic interests, taking André Kertész, as an example, whose exhibition at MoMA caused his works to suddenly rise in value on the inchoate photography market of the 1970s
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Shiffrar, Genevieve Ruth 1966. ""Its future beyond prophecythe City of New Jersey, worthy sister of New York": John Cotton Dana's vision for the Newark Museum, 1909-1929." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278461.
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A member of America's established cultural elite, John Cotton Dana (1856-1929) aimed to wrest cultural and economic authority from the nouveau riche through his role as the first director of the Newark Museum. In his favorite exhibition, "New Jersey Textiles," he encouraged local immigrant laborers to improve the design of goods that he simultaneously prompted middle-class women to purchase. He imagined that, as a result, Newark's manufacturing sector would blossom without nouveau-riche involvement; the region would soon rival its new-money neighbor, New York City. Under Dana's supervision, Jarvis Hunt (1859-1941) designed the 1926 Newark Museum building, employing the conventions of contemporary office architecture (predating a similar strategy at the Museum of Modern Art) to articulate this vision. The Metropolitan Museum of Art designed a series of exhibitions indebted to Dana's ideas. Ironically, the Metropolitan has received credit for innovations that Dana had designed to challenge New York's preeminence.
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Haines, Cooke. "Frederick Kiesler's Art of This Century Gallery in New York (1942-1947), in the context of the twentieth century art museum." Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438419.
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Kivlan, Anna Karrer. "An eye for vulgarity : how MoMA saw color through Wild Bill's lens." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39314.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 67-71).
This thesis is an examination of the 1976 Museum of Modern Art exhibition of color photographs by William Eggleston-the second one-man show of color photography in the museum's history- with particular attention to the exhibition monograph, William Eggleston's Guide. From hundreds of slides, MoMA Director of Photography John Szarkowski dominated the process of selecting the 75 images for the exhibition and 48 to be carefully packaged in the Guide, a faux family photo album/road trip guidebook. It is my contention that, despite their verbal emphasis on the Modernist and universal (rather than Southern) nature of the images, the photographs can be read as being replete with the mythology of the Old South- its decay, vulgarity, and even horror. Through this act of manipulation, the images in the Guide appealed in a voyeuristic way to an elite Northern art world audience, ever eager to reinforce its own intellectual, economic, and ethical superiority over other parts of the country. Due to its presumed "vulgarity" and absence of aesthetic mystique at the time, color photography required for its inaugural moment at the museum a sharp distancing from the documentary tradition and advertising-the complete erasure of social context afforded by a Modernist aesthetic.
(cont.) The two-faced posture maintained by the curator and photographer combined a canny understanding of the cultural power of the images with an overtly Modernist disavowal of it.
by Anna Karrer Kivlan.
S.M.
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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.
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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.
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Imbert, Clémence. "Oeuvres ou documents ? : un siècle d’exposition du graphisme dans les musées d’art moderne de Paris, New York et Amsterdam (1895-1995)." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080084/document.
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La thèse s’intéresse aux expositions de design graphique, à la fois en tant qu’événements constitutifs de l’histoire de la discipline et en tant qu’espaces (scénographiques et discursifs) où se manifestent ses liens plus ou moins assumés avec la création artistique. Elle s’appuie sur un corpus de quatre cents expositions, organisées entre 1895 et 1995, au sein de trois institutions muséales : le Stedelijk Museum d’Amsterdam, fondé en 1895, le Museum of Modern Art (MoMA) de New York, créé en 1929 et le Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), né en 1993 de la fusion de deux départements du Centre Pompidou. L’étude des archives de ces manifestations met au jour ce que furent les choix de programmation des musées (quels objets, quelles époques, quels graphistes mettent-elles en avant ?) ; mais aussi les différents statuts qui sont conférés aux objets imprimés, par la scénographie ou par les discours qui les environnent. La thèse révèle, notamment, la préférence des musées d’art moderne pour l’affiche, pour le graphisme « d’utilité publique » et pour le travail des « graphistes-auteurs ». À ce graphisme « de musée » sont appliqués des cadres interprétatifs qui le rapproche de la création artistique : assimilation du graphiste à un artiste, omission des circonstances de la commande, description des styles, recherche des influences… Les expositions de « communications visuelles » organisées par le CCI offrent un singulier contrepoint à ce modèle, dans la mesure où elles consacrent moins les « œuvres » du graphisme qu’elles ne s’interrogent sur leur contexte social de production et d’utilisationThis dissertation looks at graphic design exhibitions both as events that are part of the history of the discipline and as scenographic and academic forums for expressing, more or less consciously, its links with artistic creativity. It is based on the analysis of four hundred exhibitions, held between 1895 and 1995 at three modern art museums : the Stedelijk Museum in Amsterdam, founded in 1895, the MoMA in New York, inaugurated in 1929 and the Musée national d’art moderne-Centre de création industrielle (Mnam/Cci), created in 1993 after the fusion of two separate departments of the Centre Pompidou. The archives of these exhibitions highlights both the choices of programming (what objects, eras and graphic designers do they ?), and the various status confered to printed objects by scenography and surrounding texts and discourses. The dissertation reveals the preference of modern art museums for posters, for graphic design for the public domain, and for the work of ‘graphic designers-cum-authors’. This specific graphic design elected by museums is envisionned according to interpretative frames that likens it to artistic creation through the rapprochement between graphic designers and artists, the omission of circumstances pertaining to commissions, descriptions of styles, search for influences, etc. The ‘visual communication’ exhibitions organised by the CCI provide a striking contrast to this model in so far as they concentrated less on the actual ‘works’ of graphic design than on the social context of their production and use
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Benlian, Michèle. "Modes d'émergence de l'architecture contemporaine à travers l'édification des premiers musées d'art moderne, entre New York et Paris au XXème siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA013.
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Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architectureThe thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building
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Popescu, Diana. "Perceptions of Holocaust memory : a comparative study of public reactions to art about the Holocaust at the Jewish Museum in New York and the Israel Museum in Jerusalem (1990s-2000s)." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/367397/.
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This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. Created by the inheritors of Holocaust memory, second and third-generation Jews in Israel and America, the artworks titled Your Colouring Book (1997) and Live and Die as Eva Braun (1998), and the group exhibition Mirroring Evil. Nazi Imagery/Recent Art (2002) were hosted at art institutions emblematic of Jewish culture, namely the Israel Museum in Jerusalem, and the Jewish Museum in New York. Unlike artistic representation by first generation, which tends to adopt an empathetic approach by scrutinizing experiences of Jewish victimhood, these artworks foreground images of the Nazi perpetrators, and thus represent a distancing and defamiliarizing approach which triggered intense media discussions in each case. The public debates triggered by these exhibitions shall constitute the domain for analyzing the emergent counter-positions on Holocaust memory of post-war generations of Jews and for delineating their ideological views and divergent identity stances vis-à-vis Holocaust memory. This thesis proposes a critical discourse analysis of public debates carried out by leading Jewish intellectuals, politicians and public figures in Israel and in America. It suggests that younger generations developed a global discourse which challenges a dominant meta-narrative of Jewish identity that holds victimization and a sacred dimension of the Holocaust as its fundamental tenets.
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Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.
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Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.
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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold War period.
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Junior, Eustáquio Ornelas Cota. "A formação da coleção latino-americana do Museu de Arte Moderna de Nova York: cultura e política (1931-1943)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-09122016-152003/.
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Este projeto tem como objetivo central analisar a formação da coleção latino-americana do Museu de Arte Moderna de Nova York (MoMA), entre 1931 e 1943, buscando entender as relações entre política e cultura. Essas balizas cronológicas se abrem com a primeira exposição do pintor mexicano, Diego Rivera, ocorrida em 1931, e se fecham com a primeira exposição coletiva de artistas da América Latina no MoMA, em 1943. Por meio da análise do extenso catálogo publicado sobre a coleção, pretendemos acompanhar a sua criação e os principais atores envolvidos nesse empreendimento. Pensamos que o texto tinha a finalidade de justificar artisticamente a formação da coleção e de mostrar uma determinada visão sobre a arte da América Latina. Entendemos que a coleção está conectada com as perspectivas da chamada Política da Boa Vizinhança, que marcou as relações entre os Estados Unidos e os países da América Latina nesse período.This dissertation aims to analyze the making of the Latin American Collection of the Museum of Modern Art (MoMA) in New York, between 1931 and 1943, emphasizing the relationship between politics and culture. It begins with the first exhibition of a Mexican artist, Diego Rivera, at the Museum, which took place in 1931, and it ends with the first exhibition of Latin America artists in 1943. Our main source is the extensive catalog of the collection that presents the actors and the ideas involved in the project. The relevance of the collection is connected to the so called Good Neighbor Policy, which designed the international relations between the United States and the countries of Latin America in the period between 1933 and 1945.
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Armaos, Georges. "L'exposition de l'histoire de l'art : recherches sur vingt-quatre expositions contemporaines organisées et/ou tenues au Musée National d'Art Moderne, Paris et au Museum of Modern Art, New York, 1977-1999." Paris 1, 2002. http://www.theses.fr/2002PA010535.
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Cette thèse se donne comme objet l'étude les conditions et les pratiques d'exposition dans les musées d'art du ne siècle. Elle utilise les outils de l'histoire de l'art et de la muséologie pour examiner l'existence et les activités du Musée national d'art moderne au Centre Georges Pompidou, Paris, et du Museum of Modern Art. De New York, de 1977 à 1999. A partir des contextes économiques, politiques et sociaux de la France et des États-Unis, elle met en parallèle l'histoire, l'architecture, l'administration, les budgets, les collections, la programmation, la réalisation des expositions et les publications de ces deux musées. La construction de l'histoire de l'art, entre musée université en particulier, sont mises en exergue. Douze expositions de peinture et/ou de sculpture modernes et contemporaines de tout type et taille sont présentées en détail pour chaque musée. L 'histoire de chaque exposition est reconstituée à partir de sa conception originale en passant par l'organisation, les budgets, le prêt des oeuvres, la mise en espace-temps (expographie), les catalogues, la réception critique et des publics jusqu'à son influence sur l'histoire de l'art. L'intention est d'exposer et d'interpréter les similitudes et les différences qui existent entre le MoMA et le Mnam aussi bien en ce qui concerne la conception de l'art et de son histoire qu'en ce qui concerne les moyens de communication de ces conceptions aux publics. L'évolution historique de la notion du "cube blanc", les rapports des musées avec les artistes, les conservateurs, les galeries, les collectionneurs, l'état, la finance, leur "aura" et leur place au sein de la diplomatie culturelle internationale, sont aussi parmi les sujets examinés.
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Nastari, Danielle Misura. "A gênese da coleção de arte brasileira do MoMA: a década de 1940, Portinari e artistas seguintes." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-07032017-102630/.
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Este trabalho apresenta uma investigação pioneira dos encadeamentos que conduziram a formação da coleção de arte brasileira do Museu de Arte Moderna de Nova York (MoMA), buscando desvendar os fatores que levaram peças nacionais a serem incorporadas ao acervo da proeminente instituição americana, partindo da primeira aquisição em 1939 e mapeando todos os ingressos ao longo dos anos 1940. O objetivo central do estudo é compreender os processos históricos que direcionaram a aquisição e permitiram a recepção das obras por parte da instituição no período investigado, bem como os fatores que permitiram que ela divulgasse a arte brasileira no contexto cultural americano no decênio de 1940.This study presents a pioneering effort to set out the formation processes of the Museum of Modern Art in Ney York (MoMA) Brazilian art collection, revealing the sequence of events that lead artworks from Brazil to be acquired by this institution from 1939 to 1949. Its aim is to understand the historical scenarios that allowed these artworks to be received by the museum in the delimited time, as well as to comprehend the reasons that propelled MoMA to promote Brazilian art in the 1940s. The investigation work was based on correspondence of key people in this process Nelson Rockefeller, Alfred H. Barr Jr., Lincoln Kirstein and Cândido Portinari as well as on documents produced by the MoMA; the results of this research opens new possibilities of understanding the relations between Brazil and the United States, in the fields of art, culture and politics.
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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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Gresh, Kristen Ann. "The Family of man : histoire critique d'une exposition américaine." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0132.
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En 1955, Edward Steichen organise l'exposition monumentale «The Family of Man» au Museum of Modem Art (MoMA) à New York, qui a été ensuite exposée dans le monde entier sous les auspices de l’United States Information Agency. L'objectif principal de cette thèse est de retracer les arcanes de cette exposition afin de créer un document de référence dévoilant sa nature concrète. Cette démystification de l'exposition a été conçue à partir de témoignages directs de photographes participants recueillis par l'auteur, complétée par un travail d'analyse de documents d'archives inédits. La première partie s'interroge sur les programmes du Musée lors de la Seconde Guerre mondiale qui ont préparé le terrain pour «The Family of Man», sur le personnage de Steichen et sur son rôle de directeur du département de la photographie du MoMA. La deuxième partie remonte aux prémices du projet, afin d'éclaircir les diverses collaborations de Steichen, comme de nombreuses correspondances, des réunions collectives, et un voyage déterminant en Europe. La troisième partie met en lumière les méthodes et les résultats du travail de Steichen, à la fois comme photographe et comme éditeur. A l'appui d'une discussion des sources, notamment journalistiques, les contours du monde de la photographie de presse à l'époque sont esquissés, suivis d'une synthèse de l'exposition et de sa diffusion à l'étranger en plusieurs versions. Ce travail révèle que «The Family of Man», à la fois véritable prouesse de la photographie et arme de propagande, témoigne de toute une chaîne de contacts et de connaissances au sein du monde de la photographie et de la politique, et des croisements entre ces deux mondesIn 1955, Edward Steichen organized the historic exhibition "The Family of Man" at the Museum of Modem Art (MoMA) in New York. Under the auspices of United States Information Agency, it was exhibited throughout the world and gained a mythic status. This dissertation looks beyond that myth, in order to present a reference document with background information not previously examined. It is based on the author's research involving personal interviews with photographers who contributed to the exhibition as well as the analysis of unpublished archival documents. Part 1 explores the MoMA's World War II programs that paved the way for "The Family of Man", Steichen's career and his role as director of the museum's photography department. Part II traces the origins of the project, showing Steichen's various collaborations through a thorough examination of his correspondence, his individual and group meetings with photographers, and, in particular, his decisive trip across Europe. Part III examines the methods and results of Steichen's work, as both photographer and editor. A discussion of the sources of "The Family of Man", mainly photojournalistic, illustrates the contours of press photography at the time followed by a synopsis of the exhibition and its international circulation, in several versions. This dissertation demonstrates how "The Family of Man" was a tour de force in the history of photography because of Steichen's ability to combine his innovative photographic and editing skills that exploited the medium to communicate a political agenda that is a reflection of a complex network of colleagues, friends and acquaintances from the world of photography and of politics
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Jones, Julie. "Un modernisme hétérogène : identités institutionnelles et esthétiques de l'art photographique aux États-Unis (1931-1947)." Paris 1, 2012. http://www.theses.fr/2012PA010691.
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Cette étude analyse les évolutions pratiques et institutionnelles de la photographie d'art aux États-Unis, depuis l'ouverture de la Julien Levy Gallery (1931) jusqu'à la nomination de Steichen à la direction du Département de photographie du MoMA (NY, 1947). Elles permettent d'observer l'existence de conceptions multiples de la modernité photographique qui révèlent, tant dans leurs aspects formels que théoriques, des compréhensions diverses du rôle social du photographe dans une société en crise, en dehors de la pratique documentaire engagée. Si cette période est marquée par une prédilection pour l'approche photographique non manipulée (straight photography), on observe néanmoins une richesse d'expérimentations, qui démontrent l'influence des avant-gardes européennes. Le premier chapitre est consacré aux phénomènes de récupération ou de rejet de ces courants et du Pictorialisme par J. Levy, B. Newhall, A. Adams et A. H. Barr Jr. , avant la création du Département de photographie du MoMA (1931-1937). Le second traite du basculement du concept d' « art» photographique vers ceux de communication visuelle et de créativité populaire (\937-1947), d'abord à l'appui d'une analyse de l'art publicitaire au New Bauhaus de Chicago et au sein de la direction artistique de la Container Corporation of America, puis au moyen d'une étude des politiques d'exposition de B. Et N. Newhall et A. Adams au MoMA. Le dernier chapitre (1931 - 1 947) est consacré à un ensemble de propositions critiques de la modernité et résistant à l'approche artistique straight promue pendant les premières années de son institutionnalisation (W. Mortensen, W. Connell, B. Morgan, C. 1. Laughlin, F. Sommer, E. Weston).
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Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
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The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
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Paley, Valerie. "Founders and Funders: Institutional Expansion and the Emergence of the American Cultural Capital, 1840-1940." Thesis, 2011. https://doi.org/10.7916/D82F8VCF.
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The pattern of American institution building through private funding began in metropolises of all sizes soon after the nation's founding. But by 1840, Manhattan's geographical location and great natural harbor had made it America's preeminent commercial and communications center and the undisputed capital of finance. Thus, as the largest and richest city in the United States, unsurprisingly, some of the most ambitious cultural institutions would rise there, and would lead the way in the creation of a distinctly American model of high culture.
This dissertation describes New York City's cultural transformation between 1840 and 1940, and focuses on three of its enduring monuments, the New York Public Library, the Metropolitan Museum of Art, and the Metropolitan Opera. It seeks to demonstrate how trustees and financial supporters drove the foundational ideas, day-to-day operations, and self-conceptions of the organizations, even as their institutional agendas enhanced and galvanized the inherently boosterish spirit of the Empire City. Many board members were animated by the dual impulses of charity and obligation, and by their own lofty edifying ambitions for their philanthropies, their metropolis, and their country. Others also combined their cultural interests with more vain desires for social status.
Although cohesive, often overlapping social groups founded and led most elite institutions, important moments of change in leadership in the twentieth century often were precipitated by the breakdown of a social order once restricted to Protestant white males. By the 1920s and 1930s, the old culture of exclusion--of Jews, of women, of ethnic minorities in general--was no longer an accepted assumption, nor was it necessarily good business. In general, institutions that embraced the notion of diversity and adapted to forces of historical change tended to thrive. Those that held fast to the paradigms of the past did not.
Typically, when we consider the history and development of such major institutions, the focus often has been on the personalities and plans of the paid directors and curatorial programs. This study, however, redirects some of the attention towards those who created the institutions and hired and fired the leaders. While a common view is that membership on a board was coveted for social status, many persons who led these efforts had little abiding interest in Manhattan's social scene. Rather, they demanded more of their boards and expected their fellow-trustees to participate in more ways than financially. As the twentieth century beckoned, rising diversity in the population mirrored the emerging multiplicity in thought and culture; boards of trustees were hardly exempt from this progression.
This dissertation also examines the subtle interplay of the multi-valenced definition of "public" along with the contrasting notion of "private." In the early 1800s, a public institution was not typically government funded, and more often functioned independent of the state, supported by private individuals. "Public," instead, meant for the people. Long before the income tax and charitable deductions for donations, there was a full range of voluntary organizations supported by private contributions in the United States. This dissertation argues that in a privatist spirit, New York elites seized a leadership role, both individually and collectively, to become cultural arbiters for the city and the nation.
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Kouyoumdjian, Mary. "Creating with Ghosts: Identity and Artistic Purpose in Armenian Diaspora." Thesis, 2021. https://doi.org/10.7916/d8-4fqv-ch76.
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The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.
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Kondo, Jennifer Mari. "The spatial and temporal diffusion of museums in New York City, 1910-2010." Thesis, 2013. https://doi.org/10.7916/D8W9589F.
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The aim of this dissertation is to understand and analyze the museum location decision, defined as where museum founders choose to establish or relocate their institution. The empirical case is the museum population of New York City from 1910-2010. In three substantive chapters, I explore this complex decision process from the organizational-level, the population-level, and the audience-level. In the first chapter, I argue that the museum location decision has evolved over the past century, and has experienced three major paradigm shifts. Out of each era, a new model of the museum location decision has taken hold, resulting in the current organizational landscape. I demonstrate how these eras emerged through historical, comparative case studies of two New York museums, the Museum of Modern Art and the Whitney Museum of American Art. In second chapter, I show that the location decisions illustrated through the histories of the Whitney Museum of American Art and the Museum of Modern Art are representative of New York's museum population overall. Using a dataset of all museums that have existed in New York City (and all of those museums' relocations), I chronicle the aggregated movements of the museum population between 1910 and 2010. I argue that the three eras of the museum location decision interacted with key demographic changes to create the unique distribution we observe today. The insights from these findings indicate that the spatial diffusion of museums in New York is systematically patterned in relation to demographic changes. The final substantive chapter is devoted to exploring the possibility that institutional location impacts audience composition. I argue that proximity to museums and other kinds of arts institutions is a significant, yet understudied determinant of attendance. The introduced concept of institutional exposure suggests that local access to arts institutions has cognitive, behavioral, and interactional consequences. Although directly testing the effect of institutional exposure is beyond the parameters of this dissertation, I show that there is a strong correlation between exposure and attendance. I illustrate the increasingly unequal access to arts between white and African American New Yorkers, which correlates highly with still-unexplained low attendance rates of African Americans. The observed evolution of the museum location decision explains when and how New York institutions adopted and then abandoned each institutionalized practice of museum location. In the Conclusion, I highlight several implications of this work, both of sociological theory and on current cultural policy.
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Kuzica, Rokytová Bronislava. "Hannes Beckmann (1909-1977). Desava - Praha - New York." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-379073.
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Hannes Beckmann (1909-1977). Dessau - Prague - New York This PhD thesis is dedicated to an exceptional, though still forgotten personality, an artist of German descent, Hannes Beckmann |1909-1977|. A graduate of Germany's Bauhaus, he was one of the refugees fleeing Nazism to Czechoslovakia, and among many other achievements, he later became the director of the photography department of the Guggenheim Museum in New York. Through his work, he fulfilled avant-garde ideas on the synthesis of artistic fields: he was a painter, stage designer, art theorist and pedagogue, but also a creator of abstract objects moving along the boundaries of minimalistic and kinetic constructions. His fate in life and created body of work began gaining a clearer form in the framework of research on visual artists, who found sanctuary in interwar Czechoslovakia from demagogic political systems. Until that time, Hannes Beckmann had been utterly unknown to Czech art history and elsewhere. This is seen in the absence of his name in Czech technical literature, but also because he was never mentioned even in publications published by the Bauhaus with which he had been involved for some time. There was only sketchy information on his pedagogical and artistic work in the area of Op-Art (optical art) from the 1960s to 1970s in the United...
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Táborská, Eva. "Peggy Guggenheimová v kulturně-politickém obraze doby." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-310970.
Full textAbstract:
Peggy Guggenheim belongs to the essential collectible figures of the 20th century art. She has created a unique art collection during her lifetime and she has opened up new artistic movements (in particular Abstract art) by organizing exhibitions, debates and by publishing catalogues in which she participated. She was active in many art projects and she had friendship among many after-war modern artists. Her collection included front works of Cubism, Futurism, Metaphysical art, Abstract art, Surrealism and Avantgard sculpture. Peggy moved to the Venetian palace Venier dei Leoni in 1949, where she was living following thirty years. Today her extensive collection is opened to public under the patronage of Solomon R. Guggenheim Foundation. The Diploma thesis "Peggy Guggenheim in a Cultural-Political Picture of her Time" will outline Peggy Guggenheim's life in context of emerging modern art (particularly American art) and her diverse activities which were connected with it. Furthermore it will focus on culture-political context of post-war time and finally it will evaluate her contribution to evolution of abstract art and its approach to the general public.