Reconnu par les avant-gardes au tournant du XXe siècle pour sa rafraîchissante primitivité, encensé jusqu’aux années 1950, l’art naïf est aujourd’hui tout à fait négligé. Grâce aux expositions rares mais régulières qui lui sont consacrées, seul Henri Rousseau dit le Douanier semble encore susciter quelque intérêt. Mais les peintres révélés à sa suite, autodidactes et d’extraction populaire comme lui et répondant aux noms d’André Bauchant, Camille Bombois, Séraphine Louis, René Rimbert ou Louis Vivin, ne jouissent plus du même succès. Pourtant, leur reconnaissance durant l’entre-deux-guerres prit des dimensions insoupçonnées. «Peintres du Cœur Sacré», «Primitifs Modernes», «Maîtres Populaires de la Réalité» ou encore, outre-Atlantique, artistes folk et self-taught, ceux qui furent définitivement labellisés art naïf à partir de 1950, comptaient parmi les peintres les plus appréciés. Outre le fait de combler un chapitre encore peu investi de l’histoire de l’art et de celle du primitivisme, nous cherchons à comprendre les raisons d’un tel décalage. Notre thèse retrace et analyse ainsi la reconnaissance de l’art naïf, de son émergence avec Henri Rousseau en 1886 à son institutionnalisation par le Musée national d’art moderne français en 1948. A travers l’étude des définitions qui lui furent successivement appliquées, nous constatons que ce type de «primitifs», loin de demeurer associés aux artistes les plus avant-gardistes, fut aussi célébré par une famille artistique conservatrice et réactionnaire qui, tout en les encensant, eut certainement raison de leur postérité. / Revealed by the avant-garde at the turn of the 20th century for its refreshing primitivity, naïve art famous until the 1950’s is today completely neglected. Only Henri Rousseau known as the Douanier still draws attention thanks to the rare exhibitions that are still regularly organized on his work. But the ones who were recognized after his death, the self-taught and low-class people like him such as André Bauchant, CamilleBombois, Séraphine Louis, René Rimbert or Louis Vivin, don't ring a bell any more. However, their recognition during the in-between-wars both in France and in the United States was surprisingly successful. Known as the “Peintres du Coeur Sacré”, the “Modern Primitives”, the “Masters of Popular Paintings” or across the Atlantic as folk or self-taught artists, these painters who were definitively labeled as naïve art painters in France after 1950, were among the most appreciated ones. While completing a chapter of history of art and of the history of primitivism, we focused on trying to understand the reasons of such a shift. This PhD traces and focuses on the recognition of naïve art, from its birth with Henri Rousseau in 1886 to its institutionalization by the Musée national d’art moderne in 1948. By looking closely at the various definitions given to naïve art at different times, we can see that this type of “primitives” remains far from being associated to the most avant-gardist artists and that they were also celebrated by people from a more conservative and reactionary artistic tendency. This might have rushed their disappearance.

Made available in DSpace on 2014-07-29T16:28:00Z (GMT). No. of bitstreams: 1 dissertacao vania o pereira.pdf: 1477602 bytes, checksum: ffcf14b99598b0c40da489a9530ce7f3 (MD5) Previous issue date: 2010-03-22 / This research falls within the area of Education and Visuality of the Post-Graduate Visual Culture and discusses the meanings produced by social actors participating in the hip hop movement. The instrumental framework of support for the interpretations is composed of theoretical notions and postmodern research which is inserted in the Field of Cultural Studies. The work field rescues experiments that are carried out, in addition to those undertaken teaching experience before the masters, presented in the classroom reports, interviews and records imagistic. I adopt methodological quality/ reflexive principals for the research. Starting from a baseline of intent and ignorance, I expose the motivation and the origins of this study: I reflect on my teacher training and the Hip Hop Project, held at the Municipal School Madre Francisca in 2005. I follow the trajectory of the members of the Madre Hip Hop group, already outside the school, seeking to contextualize the neighborhood where they live and where the school is located - Village Pedroso, in the eastern region of Goiania. I seek an approach with the culture of the research subjects, discussing its conditions and social situations, political and aesthetic, through testing interpretive summaries. I attempt to identify how the analysts classify and understand their artistic productions, in contrast to some general arguments of the critique of popular art. / Esta pesquisa se insere na área de Educação e Visualidade do Programa de Pós-Graduação em cultura visual e discute os significados produzidos pelos atores sociais participantes do movimento hip hop. O quadro instrumental de sustentação para as interpretações é composto por noções teóricas pós-modernas e a investigação é composto por noções teóricas pós-modernas e a investigação é inserida no Campo dos Estudos Culturais. O trabalho de campo resgata experiências vividas, além das que foram realizadas para este estudo. Assim, utilizo três grupos de elementos de análise, para as reflexôes: minha experiência docente anterior ao mestrado, apresentada nos relatórios de aulas, entrevistas e registros imagéticos. Adoto princípios metodológicos qualitativos e reflexivos para a pesquisa. Partindo de uma situação inicial de intenções e desconhecimentos, exponho a motivação e as origens deste estudo: reflito sobre minha formação docente e sobre o Projeto Hip Hop, realizado na Escola Municipal Madre Francisca, no ano de 2005. Sigo a trajetória dos integrantes do Grupo Madre Hip Hop, já fora da escola, buscando contextualizar o bairro onde moram e onde se localiza a escola - a Vila Pedroso, na região Leste de Goiânia. Busco aproximações com a cultura dos sujeitos da pesquisa, discutindo sobre suas condições e situações sociais, políticas e estéticas, por meio de ensaios com sínteses interpretativas. Procuro identificar a forma como os analistas classificam e compreendem suas produções artísticas, contrapondo-se a alguns argumentos gerais da crítica à arte popular. Finalizo refletindo sobre alguns pontos de minha aprendizagem com este estudo e discutindo sobre o caráter polissêmico das realidades pesquisadas.

This is a copy of my thesis which I have written in its original form as a travel journal that I brought with me on a trip I took driving across the country. I have duplicated it word for word so that it may be more accessible to review. Accompanying this copy are a few photographic samples of different places I've been that offer a visual feeling of what I'm talking ahout thru-out the journal. The original copy of the journal will be displayed as part of my show (March 1st-5th at the Oliver Gallery) and can be viewed in its entirety. The form of this thesis is in journal format so you as a reader will enter right into my life on a specific data and will follow my experiences on a daily basis. The writing is done with no consideration to proper grammar so that I could flow better when I wrote it. In a lot of ways the creation of this project parallels my painting processes. The journal exists as an object that I have transformed through layers of words and images and materials that all together form an overall "big story" in it about who I am. My paintings seem to follow the same master and even though they have individual personalities they as a whole tell my story. All these different ways of communicating my experiences (painting, writing, talking) have brought out a variety of ways of remembering them and the explanation of them as stories of voice and words and paint.

@font-face { font-family: "Cambria"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; text-indent: 0.5in; line-height: 200%; font-size: 11pt; font-family: "Times New Roman"; }span.addmd { }div.Section1 { page: Section1; } Alphonse Mucha is primarily known for his early career producing Parisian Art Nouveau posters. However in 1910, Mucha left Paris to return to his home in the Czech lands where he concentrated on creating works for his country. Unfortunately, the later part of his career receives little to no attention in most art history books. His collection, The Slav Epic, represents ideas of Pan-Slavism, patriotism, and national identity. A leading scholar of national identity was Johann Gottfried Herder, a Czech sympathizer who influenced writers such as Jan Kollár and the historian František Palacký. Mucha’s works provided a visual representation of national identity and collective history specifically called for by these scholars. This thesis seeks to shed light on the late works of this artist, tracing the ever-present Slavonic influences, and also to place them in context within Czech Nationalism and Pan-Slavism in order to establish their historical significance.

Folk arts are dynamic cultural assets conveying messages of people's life styles as well as recording their daily activities. With the passing of times, they murmur the stories of common people's lives with cultural connotation. Undeniably, folk arts are precious treasures for a nation. Therefore, we'll dig out the treasures and promote them. On the other hand, with the mission of exalting folk culture, fork art groups should function as conservatories to preserve the local culture. Actually, for the purpose of showing the value of its survival in the history, an outstanding folk art group would retrospect and inspect itself continuously, improving the quality at every stage as it grows up with times. The authorities and people are expected to give their hands to such excellent folk art groups and encourage them to run persistently. For ages, how to preserve, convey and exalt the folk arts through cultural policy making and executing are great challenge for the authorities. In recent years, in response to the sense of ¡§glocalization¡¨, the authorities manage to unite the features of local industries with the international or district festival celebration activities held in very place to evoke the community awareness, develop sightseeing industry, promote the economic prosperity, build up good reputation as well as increase the opportunities for international cultural exchange. Among the folk arts in Taiwan, the performance of ¡§Sung-Chiang Martial Art¡¨ is highly praised. Converging special features of physical education, military art, religion and art, ¡§Sung-Chiang Martial Art¡¨ catches all the audience's eyes and becomes the spotlight on the stage. In recent years, the launching of Sung-Chiang Martial Art Clubs among schools at all levels has brought forth the development of this folk art. Speaking of ¡§Sung-Chiang Martial Art¡¨, it originated from the Mainland China. Unfortunately, during the ¡§Cultural Revolution¡¨ period, the weapons used by ¡§Sung-Chiang Martial Art¡¨ had been banned and the groups were forced to dismiss. From then on, Taiwan has become the only place where the whole ¡§Sung-Chiang Martial Art¡¨ skills were preserved intact. In the past, ¡§Sung-Chiang Martial Art Groups¡¨ guarded against the invading enemies; however, as time goes by, it turns into an important religious activity in the country, acting as an escort of gods on religious festivals as well as a celebrating performance to amuse people. For this reason, the portion of performing art is always associated with the religion and hasn't been emphasized. Instead of training at regular time, the Sung-Chiang Martial Art performers just follow the tradition to practice intensively before a religious celebration. When the activity is over, the performers would go back to their regular lives and there¡¦s nothing changed. Generally speaking, this way of preserving folk art won't be encouraged, letting go of nurturing high-standard performers. It would even be harmful to the development of ¡§Sung-Chiang Martial Art¡¨. Fortunately, there are still some enthusiastic people doing their best to keep ¡§Sung-Chiang Martial Art¡¨ sustainable as the folk art declines with times. The members of ¡§Sung-Chiang Martial Art Group of Shun-Hsien Temple¡¨ are among them. The founder of this group noticed the problems of traditional Sung-Chiang Martial Art performance, which was just held with the need of celebrating activities. When the activities were over, the folk art groups were dismissed again. Therefore, the founder of ¡§Sung-Chiang Martial Art Group of Shun-Hsien Temple¡¨ built up a team with cultural mission and tried to improve the disadvantages of traditional ¡§Sung-Chiang Martial Art Groups¡¨. This team executes their training weekly. Furthermore, this folk art group welcomes visitors to watch their training all year around. In this research, the folk art group ¡§Sung-Chiang Martial Art Group of Shun-Hsien Temple¡¨ is served as the target for case studying, in which we explore into the internal managerial condition of this group and test the possibility of its persistent management. At last, the strategic managerial model is offered as a reference to improve its operational condition. As for the synthetic indicators for persistent managerial appraisals, they can also be applied to other nonprofit performing groups, served as an assistant tool to improve their internal managerial conditions.

This thesis examines the intersections of visual culture with processes of folklorization in Maritime Canada between 1964 and 2007. Throughout this thesis, I explore how visual culture helps make history public in the Maritimes for local and tourist audiences alike. Ultimately, I question which visions succeed when it comes to looking at this “region’s” past in order to visualize its future. I outline chapters that consider how Nova Scotia’s first provincial gallery, the Art Gallery of Nova Scotia (AGNS), labelled the cultural production of local self-taught artists “folk” art and, by collecting these objects, became the foremost expert in a category of artistic expression it had itself created; how the provincial state ideologically and economically invested in a certain “folk” aesthetic by gathering objects under the authority of a few prominent collectors; how those institutions and collectors who sought to develop contemporary folk art for the art market also became concerned with the new confrontation of a global mass culture by the last few decades of the twentieth century; how the AGNS transformed self-taught artist Maud Lewis from a local tourist attraction in the 1960s into an internationally recognized cultural icon by the 1990s through the institutionalization of her life story’s public history; and how those with state and corporate authority came to brand the Maritimes for global tourism at the turn of the twenty-first century, by employing what they understood to be the region’s strongest cultural resources. Part of my rationale here is to explore what it means to label the cultural production of self-taught artists “folk” art and the implications of state and corporate investment in this cultural form for the public narrative associated with the experience of culture in Maritime Canada. I posit a complex hegemonic relationship here between relatively powerful artworld professionals and relatively powerless self-taught artists that speaks both to the inequities and contradictions of a capitalist liberal order. In doing so, I also tackle the broader implications of writing “the history of region” in an age of “global” analyses. / Thesis (Ph.D, Art History) -- Queen's University, 2009-09-25 13:45:16.05

Med utgångspunkt i begreppet ”Art Worlds” diskuterar den här uppsatsen fanart och deltagandekultur som fenomen, och ser hur denna konstinriktning går att foga samman med andra konstvärldar. / Based on the theory of ”Art Worlds”, this thesis presents a discussion on the concepts of fanart and participatory culture, and seeks a way in which to merge the world of the fans with other art worlds.

In the 1990s internationally renowned Indian artist Sheela Gowda exchanged oil paint for cow-dung. This dramatic shift occurred in response to the rise in Hindu fundamentalism and as way to voice her distress at the violence of the Hindu / Muslim riots. From a eurocentric art-historical perspective, adopting cow-dung to create art may seem like a radical move, but in India it is a material rich in multi layered histories and one resonating with ritual, economic and gendered subtexts and overtones. This thesis analyzes Gowda's multi-coded artworks in an attempt to render more visible an artist who is an important contributor to the international contemporary art scene, to render viable arts usually considered marginal, minor or folk, and to balance an art historical canon which still favours the "high arts" as well as white, western or male artists. It argues not only for the validity of art in its many forms, but also for art historical scholarship which functions as bridge to forge meaning and open up dialogue between artists, viewers, critics and curators.

"Hawaiian glossary": leaves 604-615. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1990. / Includes bibliographical references (leaves 616-639) / Microfiche. / xxiv, 639 leaves, bound ill. 29 cm

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaf 25).