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Tesis sobre el tema "Jacksonville Museum of Modern Art"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Alamsjah, Winnie 1974. "Rethinking the modern : imagining the future of the Museum of Modern Art, New York." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62954.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.<br>Includes bibliographical references (p. 103-105).<br>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
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2

Rasmussen, Briley. "Pedagogy for the modern : Victor D'Amico and the Museum of Modern Art, 1929-1969." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/42851.

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This thesis explores the history of the educational mission and programs of the Museum of Modern Art, New York (MoMA) from 1929 to 1969, interrogating how education programs were critical to the museum’s presentation, definition, and dissemination of modern art in this period. It centers on the work of Victor D’Amico, the first director of education at MoMA, and follows the course of his tenure at MoMA from 1937 to his retirement in 1969. The first two chapters of this thesis address the philosophical roots of the museum and its education program. It begins with an examination of the progressi
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3

Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.

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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning
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4

Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the mus
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5

Nicolescu, Gabriela. "Art, politics and the museum : tales of continuity and rupture in modern Romania." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12491/.

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This thesis provides an exploration of moments of abrupt political change in modern Romania through an analysis of the multiple transformations that have occurred in the National Museum of the Romanian Peasant (NMRP). It traces the paradoxical process by which a museum, perceived as an ‘immutable institution’ not only reflected, but also became a stage for supporting the shift from monarchy to communism and the ensuing of the post-communist order. It reveals how the present-day NMRP is a mixture of institutions, fragments and deletions, a problematic assemblage of people and practices. This mi
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6

Johansson, Michael. "Bildhuggaren, soldaten, och modern : Ivar Johnssons ”Arbete och livsbejakelse” (1939)." Thesis, Linköpings universitet, Avdelningen för kulturvetenskaper, KVA, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-124698.

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Denna uppsats har berört Ivar Johnssons verk ”Arbete och Livsbejakelse” (1939) som finns placerad på fasaden av Östergötlands museum. Uppsatsens syfte är att beskriva verkets tillkomsthistoria samt undersöka dess relation till arbetartematiken och ideologi. Tillkomsthistorien har kunnat skrivas genom en redogörande genomgång av museibyggnadskommitteens protokoll samt samtida press. För undersökningen av verkets innehåll och motivbild har en analys gjorts med utgångspunkt från Erwin Panofskys och Jan- Gunnar Sjölins metoder. En diskussion görs efter analysen och resultatet visar
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7

Gray, Campbell Bruce. "Recent design of the modern art museum in London : dissonance in theory and phenomenology." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240406.

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8

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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9

Uzumyemezoglu, Victoria Stephanie <1992&gt. "Istanbul Modern Museum: storia e analisi di un’istituzione museale moderna e contemporanea in Oriente." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13043.

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Il presente lavoro espone una panoramica sull’arte moderna e contemporanea in Turchia e si occupa in particolare di analizzare l'attività dell'Istanbul Modern Museum, nato nel 2004, che è il primo museo di arte moderna e contemporanea della città; città che a sua volta è stata una metropoli caratterizzata da un prezioso patrimonio culturale e artistico. Il lavoro si apre analizzando il sistema dell’arte in Turchia, le correnti artistiche, la storia della stessa città di Istanbul e il suo contesto culturale. Viene presentato poi uno studio dettagliato sul Museo Moderno di Istanbul: la storia d
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10

Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.

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11

Baniotopolou, Evdoxia. "Century city : art and culture in the modern metropolis : a case-study of institutional curating of contemporary art in an urban context." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5370/.

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My thesis is an interpretive case study of the exhibition Century City: Art and Culture in the Modern Metropolis (Tate Modern, 1 February – 29 April 2001). It examines a variety of issues pertaining to the making of institutional modern and contemporary art exhibitions in a Western urban context today. It is concerned with exhibition studies’ methodology, the reciprocity between the art institution and the city, and the relationship between the art institution and the independent curator. With regards to methodology, I propose various readings of an exhibition that fall under two types of know
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12

Pitman, Krista Chandler. "Understanding space the conceptualization and evaluation of display in Dia:Beacon /." Birmingham, Ala. : University of Alabama at Birmingham, 2007. https://www.mhsl.uab.edu/dt/2007m/pitman.pdf.

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13

Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art
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14

Geiger, Stephan. "The art of assemblage the Museum of Modern Art, 1961 ; die neue Realität der Kunst in den frühen sechziger Jahren." München Schreiber, 2005. http://d-nb.info/98913458X/04.

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15

Ferreira, da Rocha e. Silva Ana Beatriz. "Spectacular architecture, identity crisis, cultural politics and the reinvention of the significance of museums of modern art." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5645/.

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Much of the available literature on the impact of the architecture of museums of modern art has centred upon the 'spectacularity' of such structures and the regeneration effect on sites and/or cities triggered by their presence, often highlighting their agency in promoting mass tourist activity. However, apart from these widely debated facts, more complex circumstances regarding major shifts in the socio-cultural and political arenas may have influenced the identity, conception, design and implementation of these architectural structures within cityscapes and urban fabrics - circumstances whic
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16

Roda, Erica Andreia da Silva. "A exposição de Arquitetura no MoMA The Museum of Modern Art de Nova Iorque : transformações curatoriais." Master's thesis, [s.n.], 2013. http://hdl.handle.net/10316/33210.

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17

Kim, Yon Jai. "The making of the National Museum of Modern and Contemporary Art (MMCA), South Korea, 1969-2016." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/41227.

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This thesis investigates the dynamics, debates, and contexts of the making of the National Museum of Modern and Contemporary Art in South Korea (MMCA). An interdisciplinary history, it examines and deconstructs particular episodes, events, and relationships. This thesis interrogates the dialogues of internal and external agents that drove change, influenced developments, and negotiated the form and operation of the museum against a background of socio-political change. The thesis illuminates several interrelated factors, such as trends in art production, national political change, policy devel
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18

Alvarez, Andrea. "Art Criticism, Scholarly Interpretation, and Curatorial Intent: A Reassessment of the 1998 Jackson Pollock Retrospective at the Museum of Modern Art." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/439.

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In 1998, the Museum of Modern Art held a retrospective exhibition of artworks by Jackson Pollock. Curators Kirk Varnedoe and Pepe Karmel worked in an art historical context that had been significantly shaped by the early critical writings by Clement Greenberg and Harold Rosenberg. The curators’ stated intention for the exhibition installation was to provide “a fresh chance for new generations of artists to come to terms with a legendary figure” and to enable “the broader public to reassess a quintessentially American artist in light of three decades of new scholarship,” without “ hewing to any
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19

Barrere, Laetitia. "La photographie documentaire à l'épreuve du modernisme au "Museum of Modern Art" de New York (1937-1970)." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010594.

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Cette thèse est consacrée aux questions de réception et d'institutionnalisation de la photographie documentaire et de la photographie de reportage à partir de 1937 jusqu'aux années 1970 au Museum of Modem Art (MoMA) de New York. Le premier chapitre revient sur la genèse et les enjeux de l'instauration de la straight photography comme canon d’une tradition esthétisante du médium et éclaire l’influence de la critique formaliste dans l'émergence d'un modernisme documentaire, exemplifié par la production de Walker Evans. De nombreux photographes dont les pratiques ne correspondaient pas aux idéaux
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20

Kivlan, Anna Karrer. "An eye for vulgarity : how MoMA saw color through Wild Bill's lens." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39314.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.<br>Includes bibliographical references (p. 67-71).<br>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 fami
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21

Caloghirou, Christina 1971. "Marketing the aesthetic encounter : the role of consumption in the design of the new Museum of Modern Art." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/64902.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.<br>Includes bibliographical references (p. 140-143).<br>In recent years, museum architecture has been extensively subjected to cultural critique. Perceived as an instance of architects' stylistic yearnings, reflecting control strategies, promoting institutions' economic and cultural power, catering for education through forms that increasingly associate it with commercial environments and building structures, museum architecture is examined in this thesis as a significant ground for articulating the relation bet
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22

Chawaga, Mary. "The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.

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Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum.
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23

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
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24

Doughty, Elizabeth Lynn 1984. "Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.

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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twen
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25

Garaycochea, Guido. "Museo de Arte Contemporáneo." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/114078.

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Magíster en artes, con mención en teoría e historia del arte<br>La siguiente investigación constituye una perspectiva histórica del Museo de Arte Moderno (MoMA) fundado en el año 1929 con apenas 13 obras y cuya concreción histórica revela cómo, a pesar de su modesto origen, el sueño de un pequeño grupo de personas logra convertirse en un referente museológico universal obligado. A lo largo de esta exposición se establecerá un paralelo entre la creación del MoMA, el Museo Metropolitano de Nueva York, el New Museum de Nueva York y el recientemente renovado Museo del Barrio en el Harlem, este últ
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26

Shen, Kairos. "Design as a context for research : the design of a museum of modern art as a vehicle for studying Alvar Aalto's work." Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/79014.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1991.<br>Includes bibliographical references (p. 179-180).<br>The premise of this thesis is that there is valuable knowledge embedded in the buildings and related work of an architect that can only be understood in the context of some specific design setting. This thesis is an inquiry into the work of Alvar Aalto conducted through the process of two separate design exercises. The objective of the enquiry is to demonstrate that a reflective and self-critical design process can be a useful tool for extracting design
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27

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 o
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28

Pienoski, Christine Marie Pienoski. "Pyramids of Lake Erie: The Historical Evolution of the Cleveland Museum of Art's Egyptian Collection." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461522282.

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29

Лукін, А. А. "Будівництво музею сучасного мистецтва в місті Чернігові". Thesis, Чернігів, 2021. http://ir.stu.cn.ua/123456789/25322.

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Лукін, А. А. Будівництво музею сучасного мистецтва в місті Чернігові : випускна кваліфікаційна робота : 192 «Будівництво та цивільна інженерія» / А. А. Лукін ; керівник роботи О. В. Савченко ; НУ "Чернігівська політехніка", кафедра технологій зварювання та будівництва . – Чернігів, 2021. – 104 с.<br>Даний проєкт передбачає будівництво музею сучасного мистецтва в місті Чернігові по вулиці Музейній. Конструкція будівлі являє собою повнокаркасну ригельну систему з поперечно розташованими ригелями. Фундаменти будівлі представляють собою стовпчасті та плитні фундаменти. Покрівля плоска, з організов
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30

Jacečko, Tomáš. "Středoevropské forum Olomouc." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-394003.

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The diploma thesis deals with the construction of building the Central European Forum in the vacant space on the street Denisova in Olomouc. SEFO new building is directly connected to the existing building Olomouc Museum of Art is within the urban conservation. The new facility will expand the exhibition and storage capabilities of this institution that deals with modern art. In building will be located mainly in the exhibition space and the first and sekond floor. Furthermore Library 3.NP and 4.NP. Depository, administrative offices, workshops and technical facilities are situated on two unde
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31

O'Toole, Erin Kathleen. "No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/204109.

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In 1940 the Museum of Modern Art, New York, (MoMA) became the first major American art museum to establish a curatorial department dedicated exclusively to photography. From the perspective of the photographers, curators, and critics who had sought institutional legitimacy for the medium, the founding of the Department of Photographs was a watershed event, marking the moment when photography finally came to be recognized as a museum subject equal to painting and sculpture. Although the department has since had a pervasive influence on the field and the history of photography, surprisingly litt
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32

Statzer, Mary Kathryn. ""Photography into Sculpture": Peter Bunnell, Robert Heinecken and Experimental Forms of Photography Circa 1970." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556851.

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Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated "straight" photography’s reliance on the image and optical description as its primary
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33

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 fus
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34

Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.

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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashe
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35

Mosako, Daniel Rankadi. "A study to identify and evaluate the roles and challenges of modern art museums - with special reference to the incorporation of digital technology in art museums in the Gauteng province of South Africa." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/61392.

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This research briefly introduces the roles of art museums and presents selected digital technology implementation challenges and benefits in art museums in the Gauteng Province. An art museum is a building or space for the exhibition of work of art, usually visual art. Art museums collect objects of art and other historic artefacts that are documented and exhibited for different purposes, such as aesthetic value, social, historic cultural and educational, significance and research values that are traceable to a specific society or group of individuals. In South Africa, particularly in the
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Dobranszky, Diana de Abreu. "A legitimação da fotografia no museu de arte : o Museum of Modern Art de Nova York e os anos Newhall no Departamento de fotografia." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285150.

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Orientadores: Fernando Cury de Tacca, Geoffrey Batchen<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-11T02:22:25Z (GMT). No. of bitstreams: 1 Dobranszky_DianadeAbreu_D.pdf: 17151156 bytes, checksum: 1a279a259cd47f6832cb027f6f878b7d (MD5) Previous issue date: 2008<br>Resumo: O Departamento de Fotografia do Museum of Modern Art de Nova York foi fundado em 1940 e seu primeiro curador foi Beaumont Newhall. Através de exposições e aquisições ele e sua esposa Nancy - que o substituiu nos anos em que ele serviu nas forças armadas
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Lima, Vera Ferreira 1967. "Espaços expositivos contemporâneos." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285317.

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Orientador: Mauricius Martins Farina<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-27T17:02:44Z (GMT). No. of bitstreams: 1 Lima_VeraFerreira_M.pdf: 17948557 bytes, checksum: 19c248c3e9867a869c23cd112712c983 (MD5) Previous issue date: 2015<br>Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de
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Tabibi, Baharak. "Exhibitions As The Medium Of Architectural Reproduction &quot." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606077/index.pdf.

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This thesis studies the influential role of architectural exhibitions in shaping and directing architectural discourses. The study accepts architectural exhibitions and associated publications as the critical act of architecture, in which (the work of) architecture is interpreted, reproduced and publicized. The main focus of this thesis is Modern Architecture: International Exhibition, held in 1932 at the Museum of Modern Art (MoMA). This particular exhibition is a significant historical event, which officially announced architecture of the early 20th century as International Style. The thesis
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39

Andrade, Rodrigo Vivas. "Os salões municipais de belas artes e emergencia da arte contemporanea em Belo Horizonte : 1960-1969." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280775.

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Orientador: Nelson Alfredo Aguilar<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-12T04:59:05Z (GMT). No. of bitstreams: 1 Andrade_RodrigoVivas_D.pdf: 2437271 bytes, checksum: 53789e24f5454b5d4e957822c5307ee5 (MD5) Previous issue date: 2008<br>Resumo: Encontra-se, nessa tese, o estudo das obras premiadas nos Salões Municipais de Belas Artes (SMBAs) de Belo Horizonte na década de 1960 e a transformação do SMBA em Salão Nacional de Arte Contemporânea (SNAC) em 1969. Para tanto, tornou-se necessário o ent
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Almeida, Carolina Barros de. "O Museu de Arte Moderna da Bahia e suas contemporaneidades: de Lina Bo Bardi a Solange Farkas." INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS, 2018. http://repositorio.ufba.br/ri/handle/ri/26722.

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Submitted by Carolina Almeida (carolbalmeida@gmail.com) on 2018-07-30T13:46:37Z No. of bitstreams: 1 O Museu de Arte Moderna da Bahia e suas contemporaneidades_de Lina Bo Bardi a Solange Farkas.pdf: 2220361 bytes, checksum: 84b31809cb984bc4dfae17d5b81e4eff (MD5)<br>Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-07-30T15:36:06Z (GMT) No. of bitstreams: 1 O Museu de Arte Moderna da Bahia e suas contemporaneidades_de Lina Bo Bardi a Solange Farkas.pdf: 2220361 bytes, checksum: 84b31809cb984bc4dfae17d5b81e4eff (MD5)<br>Made available in DSpace on 2018-
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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 permiti
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42

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
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43

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, st
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44

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 parti
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Abrhámová, Tereza. "SEFO Olomouc." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-354960.

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The topic of my master’s thesis was to create an architectural study of Central European Forum in Olomouc. The Forum will be housed in refurbished premises of the Museum of Modern Art on Denisova Street and a new building erected on the neighbouring vacant lot, which was created when five historical burgher houses were demolished in 1969.The forum will be focused on collecting, exhibiting and publishing activities regarding various representations of Central European art, with special attention paid to modern and contemporary art. ‘Forum’ is much wider term than, for instance, ‘museum’ or ‘gal
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46

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
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47

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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48

Toledo, Carolina Rossetti de. "As doações Nelson Rockefeller no acervo do Museu de Arte Contemporânea da Universidade de São Paulo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29012016-105805/.

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Esse trabalho investiga a importância das duas doações Nelson Rockefeller (1946 e 1950) na formação do acervo histórico do antigo Museu de Arte Moderna de São Paulo. A pesquisa demonstra como a doação fez parte de uma estratégia mais ampla para aproximar os Estados Unidos e o Brasil no Pós-Guerra por meio de iniciativas no campo das artes. Essa pesquisa traça um panorama do papel de Rockefeller como articulador da política cultural norte-americana e detalha o envolvimento de funcionários do MoMA (René dHarnoncourt) e seus curadores (Alfred Barr, Dorothy Miller e William Lieberman) na realizaçã
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49

Barbosa, Andrea Lombardi. "Narrativas do desencontro: o MAM e as novas mídias." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20252.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-27T12:24:08Z No. of bitstreams: 1 Andrea Lombardi Barbosa.pdf: 9398124 bytes, checksum: 98ce7398f49a670adefc80ffe05c928b (MD5)<br>Made available in DSpace on 2017-07-27T12:24:08Z (GMT). No. of bitstreams: 1 Andrea Lombardi Barbosa.pdf: 9398124 bytes, checksum: 98ce7398f49a670adefc80ffe05c928b (MD5) Previous issue date: 2017-06-21<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Fundação São Paulo - FUNDASP<br>The present research proposes to understand the narratives between the new media and the Museu
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Ribeiro, Mariana Karina. "A viagem do Argonauta = as poeticas de Giorgio de Chirico no acervo do MAC-USP." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279112.

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Orientador: Nelson Alfredo Aguilar<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-13T05:48:38Z (GMT). No. of bitstreams: 1 Ribeiro_MarianaKarina_M.pdf: 23924088 bytes, checksum: 9629f9aba2a553075761262ced92b28f (MD5) Previous issue date: 2009<br>Resumo: Apresenta-se neste trabalho uma abordagem da obra do artista Giorgio de Chirico a partir de cinco quadros seus pertencentes ao MAC-USP, pintados entre 1914 e 1940 circa e alguns de seus escritos. Pretende-se fornecer mais elementos para o conhecim
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