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 Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.

L’exposition Orazio and Artemisia Gentileschi : Father and Daughter Painters in Baroque Italy se tint au Metropolitan Museum of Art à New York du 14 février au 12 mai 2002. De tout ce qui fut écrit en lien avec cet événement, il ressort deux tendances principales. Tandis que certains clament la prééminence d’Orazio Gentileschi sur sa fille en se basant sur le message véhiculé tant dans l’exposition que dans son catalogue, d’autres, rassemblés autour des féministes, remettent en question cette vision en relevant les partis-pris culturels jouant en défaveur des femmes. Le jumelage expositionnel constitue un événement muséal temporaire dans lequel deux artistes sont juxtaposés afin de faciliter un jugement comparatif. Parmi les épisodes récents de cette nature, on compte notamment Matisse-Picasso. Nous nous pencherons ensuite sur deux artistes issus d'une même famille, mais appartenant à deux générations différentes, à savoir : Orazio et Artemisia Gentileschi. En relation avec l’exposition qui leur fut dédiée en 2002, nous nous demanderons plus précisément comment la prédominance que désiraient accorder les commissaires à Orazio Gentileschi s'articule devant la célébrité affirmée d’Artemisia depuis 1916. Le dossier critique de l'événement servira de point de départ à notre étude. Toute exposition constituant un discours, nous analyserons les commentaires et critiques provenant tant des revues savantes que populaires. La théorie de la réception de Stuart Hall aidera à catégoriser les différentes interventions selon qu'elles appartiennent au code hégémonique, c'est-à-dire à la vision exprimée par les commissaires, au code oppositionnel, correspondant ici à la critique féministe, ou encore au code négocié qui représente une synthèse des deux tendances précédemment mentionnées. / Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy took place at the Metropolitan Museum of Art in New York from 14 February 14 to 12 May 2002. Of all that was written about the event, two main tendencies stand out. While some claim Orazio’s preeminence by basing their assumption on both the exhibition and its catalogue, feminists call into question this assumption by drawing attention to cultural biases that disfavor women’s artistic recognition. The exhibitional pairing formula constitutes an extension of this phenomenon by allowing the public to make up their own judgement. Among recent episodes of that nature, we can think of Matisse-Picasso. We are also going to study two artists of the same family, to wit, Orazio and Artemisia Gentileschi. Relative to the exhibition dedicated to them in 2002, we are going to ask ourselves how Orazio’s dominance defended by the two exhibition organizers is articulated with Artemisa’s celebrity. The critical dossier of the event will serve as the starting point of our analysis. Considering that every exhibition constitutes a discourse, we are going to examine both popular and academic comments and critiques of the event. Stuart Hall’s reception theory is also going to assist us in determining if these interventions belong to the exhibition curators’ dominant code, the feminist critique’s oppositional code or the negotiated code that represents a blend of the former two positions. / Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposé au Service de la gestion des documents et des archives de l'Université de Montréal.

Zugl.: Wien, Univ., Diss.

This dissertation deals with a study conducted in the public spontaneously University Museum of Art. For this, we research on the history of the Museum. This research took place at the University Museum of Art with the exhibition \"Concrete Animals\" artist Alex Hornest. We use as theoretical research on university museums Adriana Mortara Almeida, researchers John Falk and Lynn Dierking and his theory of interactive experience in museums, on public research studies of Pierre Bourdieu and Alain Darbel. Abigail Housen\'s research with the theory of aesthetic development in the study and assisted in the analysis of audience responses. We develop scripts of interviews for the research field. We analyzed the answers of the interviews in order to define profiles typical visitor found within this museum. In order to propose ways and materials to continue the study and research about the visiting public of art museums. / Este trabalho de dissertação trata de estudo do público espontâneo realizado no Museu Universitário de Arte. Para isso, realizamos pesquisa sobre a história do Museu. Tal pesquisa teve como cenário o Museu Universitário de Arte com a exposição Animais de Concreto do artista Alex Hornest. Utilizamos como referenciais teóricos sobre museus universitários a pesquisa de Adriana Mortara Almeida, os pesquisadores John Falk e Lynn Dierking e sua teoria de experiência interativa em museus, sobre os estudos de público a pesquisa de Pierre Bourdieu e Alain Darbel. As pesquisas de Abigail Housen com a teoria do desenvolvimento estético auxiliaram no estudo e na análise das respostas do público. Desenvolvemos roteiros de entrevistas para a realização da pesquisa de campo. Analisamos as respostas das entrevistas com o objetivo de delinear perfis típicos de visitantes encontrados no espaço deste Museu. Ao fim propomos formas e materiais para dar continuidade ao estudo e a pesquisa acerca do público visitante de museus de arte. / Mestre em Artes

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / 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 / 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 conhecimento e a interpretação desse significativo conjunto de obras do patrimônio artístico-cultural paulista, ampliando as perspectivas de debate do tema no Brasil. Ainda com este escopo são oferecidas ao final do trabalho traduções com notas, de textos selecionados, escritos pelo artista entre 1911 e 1938. / Abstract: It is presented in this text an approach to the work of the artist Giorgio de Chirico from its five paintings belonging to the MAC-USP, executed between 1914 and 1940 circa and some of his writings. It is intended to provide more elements for the knowledge and interpretation of this significant collection of artworks of paulista cultural artistic heritage, extending the perspective of debate on this subject in Brazil. Still with this scope, translations with notes of selected texts, written by the artist between 1911 and 1938, are presented by the end of this material. / Mestrado / Historia da Arte / Mestre em História

A dissertação focaliza as transformações do processo de trabalho da arquitetura, ao longo do século XX, detendo-se na análise da produção de duas obras que constituem referências culturais da cidade de São Paulo, analisadas a partir da maneira pela qual, nelas, o vidro ganhou forma: o Teatro Municipal de São Paulo (1903-1911) e o edifício do Museu de Arte de São Paulo (1957-1968). O Teatro Municipal, construído como teatro de ópera no início do século XX pelo escritório de Ramos de Azevedo, no centro da cidade, possui um conjunto de vitrais no corpo de entrada, parte deles importada da Alemanha, parte fabricada em São Paulo, aplicados em esquadrias fabricadas no Liceu de Artes e Ofícios de São Paulo. O Museu de Arte, MASP, cartão postal da cidade, de autoria da arquiteta Lina Bo Bardi, tem seu bloco principal fechado por grandes placas de vidro de seis metros de altura, as primeiras dessa medida fabricada no país, encaixilhadas em montantes metálicos fabricados também nas oficinas do Liceu de Artes e Ofícios de São Paulo. Através da análise de relatórios de obra, correspondências, fotografias e imprensa, em cada período, a pesquisa articula as transformações da produção da arquitetura e dos agentes envolvidos na concepção e construção do objeto arquitetônico, à luz dos processos de modernização da construção civil e do projeto de arquitetura em São Paulo. / This dissertation focuses on the changes in the labor processes in architecture throughout the twentieth century, circumscribing the analysis to the way glass was shaped on two referential buildings to the cultural history of São Paulo: the Teatro Municipal de São Paulo (1903-1911), and the building of the Museu de Arte de São Paulo (1957-1968). The Teatro Municipal, built downtown as an opera theater in the beginning of the twentieth century by Ramos de Azevedo`s office, assembles VITRAIS on the entrance, built as much in Germany as in São Paulo, applied on frames produced in the Liceu de Artes e Ofícios de São Paulo. The main volume of Museu de Arte, MASP, the city\'s postal card, designed by the architect Lina Bo Bardi, is shut by big glass plates, measuring six meters high, the first of its size manufactured in Brazil, framed in metal structures also produced in the Liceu de Artes e Ofícios de São Paulo. Through the analysis of the construction\'s rep orts, and of mail, photographies and the press, in each period, our research articulates the changes of the architectural production and the agents involved in the conception and production of the architectural object, in light of the processes of modernization in construction and the architectural design in São Paulo.

Esta investigación tiene como objetivo principal explorar y definir los lineamientos de las intervenciones contemporáneas en edificios históricos, y servir de guía para la elaboración de un programa de ampliación para el Museo de Arte de Lima. / Tesis

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