The spatial distribution of heavy minerals along the mine paths 2014 and 2015 at the wet concentrate plant B shows an increase of heavy minerals sand concentration northwards and slime contents southwards, and it is commonly associated with depth and grain sorting; the increase of heavy minerals concentration with depth is considered to be from the surface formed by Unit 6 to the bottom of Unit 7. The Unit 82 is characterized by low heavy minerals concentrations and high slime contents declining northwards. The mineral proportion estimation suggests that ilmenite is the most abundant heavy mineral in the entire area followed by zircon, rutile and mozanite, and some accessory minerals such as chromite, kyanite, staurolite, tourmaline, epidote, spinel and quartz. The ilmenite occurrence is divided into ilmenite low (< 53% TiO₂) and high (> 53% TiO₂); the ilmenite high with zircon and rutile shows tendency to increase northwards while ilmenite low increase southwards. Zircon, monazite, rutile, chromite, kyanite and staurolite show low variability, which is probably associated with high resistance of minerals for abrasion during transportation and diagenesis. The depositional model of the Namalope deposit, in the flat area and wet concentrate plant B in particular, suggests deposition in a shallow marine environment associated with regression for deposition of Unit 6, 7 and 9 and transgression during deposition of Unit 82. The spatial distribution of heavy minerals in the Namalope deposit and its environment of deposition are the key points for discovery of new deposits around the Namalope with the same characteristic of mineral assemblage and they are used for mine strategic plans such as update block model and mine design.

Museum of Modern Art har varit mycket tongivande för historieskrivningen och definitionen av modernismen, "the international style". Svensk modernisms mest kärnfulla period 1930-1960, representeras av 55 objekt i MoMAs arkitektur och designsamling. De svenska objekten i samlingen visar på en reception av svensk design som mest inflytelserik under 1950-talet. Årtiondet är det mest välrepresenterade, till antalet objekt räknade, men ger också den mest representativa bilden av hur svensk design marknadsfördes i USA. De mest inflytelserika tillfällena för marknadsföringen av svensk design i USA under åren 1930-1960 är enligt konstprofessor Jeff Werner (Medelvägens estetik: Sverigebilder i USA), världsutställningen i Chicago 1933, världsutställningen i New York 1939 och utställningen Design in Scandinavia 1954-1957. Knappt hälften av de representerade formgivarna i MoMAs samling fanns med under marknadsföringen ,vilket kan visa på samband mellan marknadsföringen och samlingens karaktär. / Museum of Modern Art has been very influential for the historiography and definition of modernism, "the international style". Swedish modernisms most vigorous period 1930-1960, is represented by 55 items in MoMA´s Architecture and Design collection. The Swedish objects in the collection show at a reception of Swedish design as most influential during the 1950s. The decade is the most well-represented, in number of objects counted, but also gives the most representative picture of how Swedish design was marketed in the United States. The most influential opportunities for the promotion of Swedish design in the United States during the years 1930-1960 are according to art professor Jeff Werner (Medelvägens estetik: Sverigebilder i USA), the World's Fair in Chicago in 1933, the World's Fair in New York in 1939, and Exhibition Design in Scandinavia 1954-1957. Just under half of the represented designers in the MoMA collection, were included in the marketing, which can show correlations between marketing and the collection's character.

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.

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.

In this essay I analyze the performative aspects relating to Marina Abramović's The Artist Is Present, which took place in spring 2010 at MoMA in New York, from the context of the artist and work, institution and documentation. In this performance work, for the duration of the exhibition, Abramović sits completely still opposite another chair where anyone from the audience may sit. The art arises through this participation. The audience are not only viewers, but also the observed, thus becoming part of the work and the negotiation of this exchange of living gazes. The performative pervades this work on multiple levels. The Artist Is Present reached a surprisingly large public, of over 500,000 visitors and continues to circulate in the form of blogs, documentary film and photography long after the exhibition duration. In order to conduct a performative analysis of The Artist Is Present I apply the theories of Peggy Phelan, regarding the relationships between the political and representative visibility in contemporary culture. Phelan's explanation of the unmarked field reveals the importance of the 'other' to see oneself. This is especially relevant in Abramović's performance which challenges and revolves around self reflection in the other. Phelan's theories are also pertinent in analyzing what Abramović as the performer and her work create for re-negotiations around positions and the gaze. The assertions of Carol Duncan in considering the Art Museum as a place of ritual are applied to the ritualistic context of The Artist Is Present, which may well build up a form of liminality. Duncan's claims of the museum as ritual in combination with Phelan's theories provide interesting grounds to further investigate the effect and eventual mythology of the performance work and artist. How do these contexts of institution, documentation, artist and art, which I propose contribute to a kind of myth creation, operate in a ritualized performance art work? This essay analyses these contexts together in order to find a connection between the performative aspects and the effect that they have on the viewer and receiver, which have contributed to the public success of this exhibition. Despite that we now live in an era of reproduction, perhaps the wishes of our era still revolve around a cult value? That even in this post industrial age of reproduction, new needs are recreated for mythology and cult? Or can it be that the reverse is true, that the rites and symbols speak to us before the mythology has fully arisen?

This dissertation examines the powerful role that museums played in constructing national art-historical narratives during the 1930s. By concentrating on Three Centuries of American Art—the 1938 exhibition organized by the Museum of Modern Art (MoMA) for viewing in Paris—I argue that the intertwining of art, political diplomacy, and canon formation uncovered by an analysis of the exhibition reveals American art’s unique role in supporting shared 1930s cultural ideologies. MoMA’s curators created the most comprehensive exhibition to date of the history of American art with works from 1590 through 1938, and with over five hundred architectural models, drawings, films, paintings, photographs, prints, sculptures, and vernacular artworks. With World War II on the horizon, these artworks took on new meaning as the embodiment of the United States. Adding complexity to notions of display, five chapters trace in chronological order how curators, politicians, journalists and art critics reimagined American art in the display, canonization, and reception of Three Centuries of American Art. Chapter 1 gives a synopsis of the exhibition, places it within the larger discourse of American art exhibitions in Paris, and documents how American and French relations developed during this pivotal time. Chapter 2 explores the different meanings ascribed to the artworks during loan negotiations and maps the works’ transportation to Paris. Chapter 3 elaborates on the notion of a unified American art in the 1930s by examining the histories of art created by each of MoMA’s departments. Chapter 4 offers the first substantive historiography of 1930s publications that examined American art across media to determine instances when MoMA curators echoed prior histories and when they deviated from them at a moment when scholars disputed the merit of such disciplinary histories. Chapter 5 grapples with the means by which audiences first learned about Three Centuries of American Art and unearths what American and international critics wrote about the exhibition. In sum, Three Centuries of American Art provides a model to understand how MoMA curators inserted their histories of American art into the emerging art historical discourse and how government agencies invested them with political meaning during the critical interwar period. / 2018-08-11T00:00:00Z

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.

1- En primer lugar se ha elaborado sucintamente la perspectiva histórica del museo de arte moderno, es decir desde que nace la ayuda institucional al artista con la celebración de los Salones y la creación del primer museo de artistas vivos del mundo en el palacio Luxemburgo de París. 2- Posteriormente, nos centramos en el nacimiento del Museum of Modern Art de Nueva York, Moma, creado en 1929 con apenas 13 obras, el cual se convirtió en referencia obligada desde el punto de vista museológico para la creación de los futuros museos de arte moderno en el mundo durante casi seis décadas. Termina el trabajo con el modelo creado en los años setenta, la factoría beaubourg, el museo de la época postindustrial, y el museo postmoderno de los ochenta y sus repercusiones en la nueva museología. Si el Moma de Nueva York, creó una colección enciclopédica del arte del siglo XX, el Musée National d'art Moderne, consiguió implicar a la ciudadanía en el arte moderno. Tan importantes eran las colecciones que se mostraban en su interior como el flujo de visitantes y curiosos que se agolpan en el exterior. Finaliza con una aproximación a los Fonds Regionaux d'art Contemporain y el nacimiento de los Centros de Cultura Contemporánea. / 1- In the first place, a historic perspective of the modern art museum has been concisely elaborated, that is to say, since institutional grants to artists are created with the celebration of the Halls and the creation of the first museum of living world artists at the Luxembourg Palace of Paris.2- Subsequently, we focus on the birth of the Museum of Modern Art in New York, MOMA, created in 1929 with only thirteen pieces of art. This museum became an obliged reference from a museological point of view for the creation of the future modern art museums all over the world for almost six decades. The work concludes with the model created in the 1960s, the factory "Beaubourg", the postindustrial period museum, and the postmodern museum of the 1880s and its repercussions in the new museology. If the MOMA in New York created an encyclopedic collection of the art of the 20th Century, the "Musée National d'art Moderne", achieved to involve the citizens with the modern art. The collections showed inside were as important as the flow of visitors and curious that crowded outside. It ends with approximation to the "Fonds Regionaux d'art Contemporain" and the birth of the Centres of Contemporary Culture.

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’utilisation. / This 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.

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.