Esta dissertação apresenta uma reflexão sobre o intercâmbio artístico realizado entre São Paulo e Buenos Aires, no decorrer da década de 1970. Essa rede de trocas está focada no Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), sob a gestão de Walter Zanini, e no Centro de Arte y Comunicación (CAYC), dirigido por Jorge Glusberg. Para tanto, iniciamos com um breve estudo sobre as políticas de modernização cultural na Argentina e no Brasil, desde a fundação das primeiras instituições de caráter moderno, nas décadas de 1950 e 1960. Nessa trajetória, traçamos os locais na Argentina onde houve o estímulo às novas vanguardas, desde a ascensão da pop art até a desmaterialização do objeto artístico. Sabemos que o MAC USP e o CAYC constituíram-se como plataformas interdisciplinares e multimídias fundamentais para a ampliação e o incentivo das práticas experimentais, sobretudo da arte conceitual. Desse modo, estabeleceram-se como importantes polos de arte contemporânea na América Latina nesse período. Procuramos analisar os interesses particulares de ambas as gestões, o perfil institucional e os mecanismos de divulgação e circulação das propostas conceituais amparadas pelas duas entidades. E, por fim, mapeamos a presença dos artistas argentinos do Grupo de los Trece, ligados ao CAYC, no acervo do MAC USP. / This dissertation offers a reflection on the artistic exchange occurred between Sao Paulo and Buenos Aires in the 1970s. This reciprocal network is centered in the University of Sao Paulos Museum of Contemporary Arte (MAC USP), under de auspice of Walter Zanini, and in Buenos Aires Art and Communication Center (CAYC), directed by Jorge Glusberg. We begin with a brief study of cultural modernization programs in Brazil and Argentina, as of the establishment of the first institutions of a modern nature, in the 1950s and 1960s. In this trajectory we map venues in which new avant-garde were stimulated, from the dawn of pop art to the dematerialization of the artistic object. We demonstrate that MAC USP and CAYC established essential interdisciplinary and multimedia platforms aiming at amplifying and motivating experimental practices, especially concept art, thus constituting important loci of contemporary art in Latin America at that time period. We aim to analyze the particular interests of each administration, their institutional profile and mechanisms to broadcast and promote conceptual propositions sustained by each organization. Finally, we trace the presence of Argentine artists of Grupo Los Trece, associated to CAYC, in MAC USPs collection.

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Through the analysis of Judy Baca's mural, The Great Wall of Los Angeles, Baca's reevaluates muralism to create her revisionist take on the Mexican tradition of muralism. The piece combines different cultural and historical perspectives that convey the diversity of California, and bring people together through shared experiences. In addition to portraying the histories of minority races, ethnicities, religions and sexuality, the piece was created by a diverse team of community members who each contributed their own viewpoints to the piece. Unlike the traditional practice of muralism, Baca works with community members to create a mural that includes a varied sense of identity so as to facilitate social change and foster community.

The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. The visual arts also have responded to Oregon's utopian myth. During the nineteenth century, the landscape was a primary focus for utopian art. In the twentieth century, past human achievements, recreation, agriculture, and industry have joined the environment as themes which inspire utopian imagery. The objective of this study is to demonstrate that twentieth-century art that responds to Oregon's utopian myth has given rise to an iconography which both energizes and reflects the development of that myth and which informs an important component of the state's identity. Using as a criteria that which idealizes Oregon as a place, an inventory of utopian art was compiled. It includes over 300 works of visual art, plus a number of artists for whom utopian subjects served as a consistent element. From this information, dominant themes were identified which demonstrate the existence of iconography, or visual symbolism, that expresses Oregon's utopian myth. Through the themes of natural environment, heroic images of Oregon's human past, and interaction between humans and the environment-plus numerous sub-themes-the artistic evidence demonstrates that visual imagery and symbols play an important role in how Oregonians define themselves and their history. It also suggests what form the state's utopian myth, identity' and the decisions made by its people may take in the next century.

Since the early nineteenth-century when Americans began recording their short history in earnest, European explorers have held a central role in the nation's historical narrative, standing alongside the Founding Fathers as symbols of American ingenuity, determination, and fortitude. The nineteenth century also saw an explosion in the number of representations of first contacts between native populations and European and Euro-American explorers. These works range from fine art examples to illustrations in the popular media and were produced by artists across the artistic spectrum. Despite the popularity of the First Contact subject and its longevity within American art history, the importance of these images has, as of yet, been unexplored. This dissertation examines First Contact images created in America during the nineteenth and early twentieth-century by artists Robert Walter Weir, George Catlin, Thomas Moran, Albert Bierstadt, and Charles M. Russell. I argue that the subject's popularity can be attributed not just to their importance as depictions of epic moments of transition in national and cultural history, but to the openness, or the mutability, of the subject itself. The first meeting of two people is an event of great possibility and potential, but, as this extended examination of the subject demonstrates, it can also be transformed to communicate vastly different messages at different moments in history. As Americans simultaneously struggled to create a past, understand the present, and visualize the future, the First Contact subject, with its focus on the ambiguous meeting of two cultures, allowed a site in which to grapple with central questions and anxieties of the period, even as it depicted the past. They are thus complicated paintings that speak not to the facts of contact, but to the purposes served by these constructions and corrupted histories. Reading these First Contact paintings can help to illuminate a nineteenth-century understanding of history and also begin to elucidate the troubled legacy of Native/white relations since Columbus first encountered the New World.

This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.

This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son of missionaries in China and the Philippines, among other influences, have affected and shaped his compositions. Resources include source material gathered from Mahy's personal archives, manuscripts and scores, and personal interviews with Mahy. This information provides comprehensive insight into a unique and deserving composer of modern American art song.

Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. John Corrigan, Florida State University, College of Arts and Sciences, Dept. of Religion. Title and description from dissertation home page (viewed 5/4/04). Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Department of Art History, June 2001. / Includes bibliographical references (leaves 333-361). Also available on the Internet.