This study is concerned with an analysis of twenty paintings by Western European artists from the thirty-five-item segment of the Anthony Denney Collection on permanent loan to the Dallas Museum of Fine Arts. The paintings were considered separately in a two phase visual and verbal analysis accompanied by visual diagrams. Phase one described the primary visual qualities of each painting through examination of the art elements and principles. Phase two was a verbal description of each painting. The purpose of this investigation is to provide an analysis format suitable for abstract and non-objective works of art.

This dissertation offers the first in-depth, socio-political history of the National Institute of Fine Arts in Tetouan. Organized into four chronological chapters, this study illustrates how generations of artists laid the groundwork for the development of modern and contemporary art in Morocco. My first chapter examines how the pedagogy of the Preparatory School of Fine Arts, founded in 1946 by Spanish painter Mariano Bertuchi Nieto, informed the Pictorial School of Tetouan, articulating myths of Andalusian nationalism, Hispano-Arab culture, and Hispano-Moroccan brotherhood. The role of arts and culture in Spain’s imperialist project is a lens for understanding how the colonial encounter and its afterlife affected Moroccan artists of the mid-twentieth century. My second chapter examines the post-independence period, between 1957, when the Preparatory School was re-inaugurated as the National School of Fine Arts by King Mohammed V, and the 1970s. Decades of Spanish colonialism resulted in the region’s socio-political, cultural, and economic marginalization and a disregard by scholars for seminal figures such as Ahmed Amrani, Saâd Ben Cheffaj, Meriam Maziane, Mekki Megara, and Mohamed Sarghini. I assert that rather than replicate colonial artistic styles, they were engaged in identity exploration and formal experimentations. The 1970s and 1980s in Morocco were recognized as the Years of Lead, a period of state-sponsored violence and oppression under King Hassan II, thus, in my third chapter, I delve into the work of artists responding to these tumultuous decades, such as Aziz Abou Ali, Mohamed Drissi, and Ahmed Amrani. Other artists openly reacted against the school’s marginalization and conservative pedagogy via the Spring Exhibitions, a series of five ephemeral outdoor exhibitions in al-Faddān square. Rebranded once more in 1994 as the National Institute of Fine Arts, the school has produced a generation of contemporary artists such as Mohamed Larbi Rahhali, Younès Rahmoun, and Safaa Erruas, who work primarily with Installation art and are socially and politically engaged. To that end, my fourth chapter highlights the decolonial artistic practices and pedagogical shifts introduced by innovators such as Abdelkrim Ouazzani, Mohammed Chabâa, and Faouzi Laatiris, who cultivated a more liberal artistic environment at the school. / 2029-03-31T00:00:00Z

Nous proposons d’examiner le concept adornien de la rationalité esthétique en vue de sa distinction entre une raison bourgeoise universalisante et une raison dialectique qui maintien la prédominance de l’objet par une opération d’autocritique intellectuelle selon qui les catégories sont évalués en vue des objets qu’elles décrivent pour identifier leurs insuffisances conceptuelles. Nous explorons la distinction qu’établit Adorno entre deux rationalités en traçant la genèse historique de la raison bourgeoise dans la philosophie occidentale. Nous démontrons comment les critiques lancées par Adorno contre Hegel et Lukács influencent sa lecture de la tradition marxiste de la critique de l’idéologie et de l’économie politique. Nous illustrons la différence entre la critique de la rationalité bourgeois et l’irrationalisme propre en démontrant qu’Adorno offre une critique rationnelle de la raison qui ne se positionne pas en dehors de la raison. Ayant construit cette fondation conceptuelle, nous tournons vers l’esthétique d’Adorno. Nous démontrons que la raison esthétique se déroule en parallèle avec la raison bourgeoise, et que la raison esthétique participe à la domination de la nature exercée par la raison par la médiation de la forme des œuvres d’art. Nous soulignons deux aspects de la raison esthétique, l’aspect constructif et l’aspect critique, et nous démontrons comment la raison esthétique utilisent ces deux aspects pour remplacer le concept de l’art déjà établie afin d’ouvrir des nouvelles possibilités pour l’art. En explorant les catégories de la beauté naturelle, la beauté de l’art, et du laid, nous démontrons comment la raison esthétique se constitue avant de se mettre en question soi-même par le moyen de la dissonance de l’art moderne. Finalement, nous démontros la manière dont l’art moderne risque de devenir neutralisé par la raison homogénéisante qu’il proteste, et nous conclurons en considérant la pertinence à la question de la normativité esthétique de la lecture adornienne de Samuel Beckett, dont le théâtre pose une challenge critique à la société de l’après-guerre en même temps qu’il met en question le concept de l’art existant. / I propose to examine Theodor Adorno’s concept of a developing aesthetic rationality in light of his distinction between a universalizing bourgeois rationality and a dialectical rationality that strives to maintain the preponderance of the object by challenging its categories with the experience of their object. I will first explore Adorno’s distinction between two rationalities, tracing the historical genesis and growth of bourgeois reason in Western philosophy. I will account for how Adorno’s criticisms of Hegel and Lukács influence his reading of the Marxist traditions of ideology critique and political economy. I will show how Adorno’s criticism of bourgeois rationality differs from irrationality in its attempt to offer an immanent critique of Enlightenment rather than in attempting to position itself outside of Enlightenment. I will then turn to Adorno’s aesthetics, showing how aesthetic rationality progresses in lockstep with Enlightened rationality and how artworks dominate experiential materials through the determining mediation of form. I will highlight two aspects of aesthetic rationality, a constructive aspect and a critical aspect, and I will show how aesthetic rationality uses both to overturn the existing concept of art in order to redefine what counts as art. By exploring the categories of natural beauty, art beauty, and ugliness, I will show how aesthetic rationality establishes itself only to put itself in question through the dissonance of modern art. I will then show how modern art itself falls victim to the very homogenizing rationality it protests, before concluding with a discussion of how Samuel Beckett’s theatre embodies Adorno’s call for an art that critically positions itself against society as well as the pre-existing concept of art.

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No description available.

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.

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) / 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 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / The present research proposes to understand the narratives between the new media and the Museum of Modern Art of São Paulo, from a brief mapping of institutions that act at the intersection with the digital media as a confrontation production exercise, or in creative circumstances that explore new languages and approaches. In terms of functions, some issues stand out: how to create and implement new ways of performing museums? What are the changes necessary for the museum to account for the exposure and conservation of work in new media? What is the position of the museum in the face of new technologies, both in its use in the management and documentation of the collection and in the aid of education projects and support for visitation? For both the established museums and the museums being created today, the challenges that the new media present are enormous. They are ephemeral and dematerialized actions, works in process, built collectively, that manifest themselves in the direct clash with the ubiquitous time of cyberspace, generating strategies that subvert, recreate, amplify and deconstruct the meaning often anticipated by the digital context. In this way, the balance between conservation and exposure is threatened by the very dynamics of artistic production that stresses spatiotemporal distances, breaks with the paradigm of contemplation and calls for intervention, participation and intensifies mediation with works. In this sense, the present research addresses not only the productions and the experience of the museums in the context of the new media that cross the MAM-SP, but also points to questions to discuss the perspectives of the digital aesthetics in contemporary museums / A presente pesquisa propõe que se compreenda as narrativas existentes entre as novas mídias e o Museu de Arte Moderna de São Paulo a partir de um breve mapeamento de instituições que atuam na intersecção com as mídias digitais como exercício de produção de enfrentamento, ou em circunstâncias criativas que exploram novas linguagens e abordagens. No plano das funções, algumas questões se sobressaem: como criar e implementar novas formas de atuação dos museus? Quais são as mudanças necessárias para que o museu dê conta da exposição e da conservação dos trabalhos em novas mídias? Qual é o posicionamento do museu frente às novas tecnologias, no que se refere ao seu uso no gerenciamento e na documentação da coleção, bem como no auxílio aos projetos de educação e no apoio à visitação? Tanto para os museus já estabelecidos, como para os que atualmente estão sendo criados, os desafios que as novas mídias apresentam são enormes. São ações efêmeras e desmaterializadas, obras em processo, construídas coletivamente, que se manifestam no embate direto com o tempo ubíquo do ciberespaço, gerando estratégias que subvertem, recriam, ampliam e desconstroem o sentido muitas vezes previsto pelo contexto digital. Dessa forma, o equilíbrio entre a conservação e a exposição se vê ameaçado pela própria dinâmica da produção artística que tensiona as distâncias espaçotemporais, rompe com o paradigma da contemplação e solicita a intervenção, a participação, intensificando a mediação com as obras. Neste sentido, a presente investigação aborda não somente as produções e a experiência dos museus no contexto das novas mídias que atravessam o MAM-SP, mas também aponta questões no sentido de discutir as perspectivas da estética digital nos museus contemporâneos

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.

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) / 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) / Made available in DSpace 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) / A presente dissertação analisa o Museu de Arte Moderna da Bahia (MAM-BA) e sua gestão no contexto das recentes mudanças e avanços ocorridos nas políticas culturais baianas. O recorte temporal está concentrado no período entre 2007 a 2010, quando o Estado passou a ter uma Secretaria de Cultura autônoma, independente do turismo. Nesse período a curadora de arte Solange Farkas esteve à frente do museu e buscou dinamizá-lo com uma intensa programação de atividades, com o objetivo de inseri-lo no sistema nacional e internacional de arte contemporânea. A investigação leva em consideração a concepção original do MAM-BA, conforme idealizada pela arquiteta italiana Lina Bob Bardi, como um importante elemento legitimador da instituição na cena das artes visuais. Nesse sentido, confrontam-se aspectos entre as gestões Farkas (2007-2010) e a gestão Bo Bardi (1959-1964), visando identificar aproximações e diferenças. Para compreender diferentes aspectos da gestão, as influências das políticas culturais implementadas e a referência ao pensamento de Lina, foram realizadas entrevistas com gestores, artistas, curadores e pesquisadores atuantes no cenário cultural baiano. / This dissertation analyses the Museum of Modern Art of Bahia (MAM-BA) in its contemporary context and the relationship that existed between its management and the recent changes and advances in the cultural policies of the state of Bahia. The temporal cut is concentrated in the period between 2007 and 2010, when the State of Bahia reorganized its administration to have an autonomous Secretariat of Culture, independent of Tourism activities. During this period the curator Solange Farkas took over the management of the museum and sought to energize it with an intense activity, with the objective of inserting it into the national and international scenario of the contemporary art. The research considers the original MAM-BA, as originally designed by the Italian architect Lina Bo Bardi as a legitimating element of the institution in the scene of the visual arts. In this sense, aspects are confronted between the Farkas administration (2007-2010) and the Bo Bardi management (1959-1964), to identify approximations and differences. To understand the different management aspects, the influences of cultural policies and the reference of the Lina’s thought, interviews were carried out and a questionnaire was applied with managers, artists, curators and researchers in the Bahia’s cultural scene.

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.