While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.

While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.

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.

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Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T17:02:44Z (GMT). No. of bitstreams: 1 Lima_VeraFerreira_M.pdf: 17948557 bytes, checksum: 19c248c3e9867a869c23cd112712c983 (MD5) Previous issue date: 2015 / Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de, preliminarmente, conceituar esta tipologia arquitetônica para, na sequência, apresentar suas transformações ao longo dos anos, fruto da constante busca por adequar o continente ao conteúdo e a sociedade. Enfatizando que as produções artísticas foram as causadoras das diversas necessidades de alterações espaciais também foi dedicada uma parte da monografia para apresentação do experimentalismo existente no período de reflexão. Cabe ressaltar que as variações nos suportes artísticos criaram novos desafios para os arquitetos no desenvolvimento dos projetos de museus, além da contaminação do seu imaginário com uma gama de infinitas possibilidades criativas. Para a criação destes espaços, por vezes, devem-se ponderar demandas antagônicas tais como: grandes ou pequenas áreas, claridade ou escuridão, silêncio ou ruído, cores ou neutralidade. Com o propósito de melhor entender estas edificações foram analisadas três instituições que apresentam condições específicas para a exibição de arte contemporânea, destacando-se duas distintas exposições em cada para melhor avaliarmos a conformação dos espaços às atuais demandas / Abstract: This dissertation aims to identify the ideal contemporary exhibition space, specifically museums, for showing contemporary art produced since the 1950s. In the research process, we primarily conceptualize this architectural typology and then presented its historical development related to its adequacy to social and artistic alterations. Considering that exhibition spaces must be adequate to show the wide range of artistic creations we also dedicated a chapter to understand and analyze all that happened in arts universe during the period. It¿s necessary to highlight that artistic developments in addition to being a big challenge to architects design are also a huge inspiration, mainly due to presenting infinity new possibilities. To design these spaces sometimes one must deal with antagonist forces like: amplitude or cosines, clarity or darkness, silence or noise, colorful or neutral. In this dissertation three reckon contemporary art institutions were analyzed highlighting two different shows in each one. The objective was to study the space adequacy to the art it contained / Mestrado / Artes Visuais / Mestra em Artes Visuais

Este estudo trata da crítica de arte de Geraldo Ferraz durante o período das primeiras Bienais de São Paulo. Foi dada especial atenção aos artigos sobre as IV, V e VI Bienais, publicados no jornal O Estado de São Paulo. Através da pesquisa nos arquivos da Fundação Bienal (Arquivo Histórico Wanda Svevo), do Museu de Arte Moderna de São Paulo (MAM SP), do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), do Arquivo Edgard Leuenroth da Universidade Estadual de Campinas (AEL UNICAMP), do Centro de Documentação e Memória da Universidade Estadual de São Paulo (CEDEM UNESP) e do Arquivo do Estado de São Paulo, foram selecionados e analisados documentos em critica de arte. O crítico Geraldo Ferraz, proveniente do jornalismo e da literatura, contribuiu para difusão da crítica de arte e para o desenvolvimento do jornalismo na área da cultura. Na análise de sua trajetória como crítico, destacou-se a sua reflexão sobre a organização das Bienais e seus posicionamentos estéticos. / This paper regards the art criticism articles written by Geraldo Ferraz about the early Art Biennials in São Paulo. We focused our analysis in the articles written about the 4th, 5th and 6th Biennials, published by the newspaper O Estado de S. Paulo. We used articles, documents and other materials from the following institutions: Fundação Bienal (Historic Archive \'Wanda Svevo\'), Museum of Modern Art of São Paulo (MAM SP), Museum of Contemporary Art of São Paulo University (MAC USP), State University of Campinas\' Arquivo Edgard Leuenroth (AEL UNICAMP), Documentation and Archive Center of the State Universty of São Paulo (CEDEM UNESP) and Archives of the State of São Paulo. The art critic Geraldo Ferraz was an author and journalist, and his work contributed to the establishment of art criticism sections in Brazil\'s media, as well as the development of cultural journalism in the country. In this analysis of his career as a critic, the study highlights his reflections about the organization of the Art Biennials and its aesthetic postures.

This thesis investigates events prior to, during and after the founding of the Swedish Museum of Architecture, in November 1962. Through the application of concepts derived from Bruno Latour’s Actor-Network-Theory, traces of the actors involved in the processes are followed, such as the activities of the museum’s first head archivist and superintendent, Birgitta Wallgren. The Museum of Modern Art’s traveling exhibition Visionary Architecture is studied as an example of how, in Latour’s sense, actors transform ”the elements that they are supposed to carry”. The thesis is thus looking for activity, the ”doing” of the museum. The institution’s earliest years is a previously rather unstudied topic. Thus, the thesis aims to contribute to the growing research field that focuses on how architectural history has been written in Sweden.

In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on José Gómez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gómez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gómez Sicre’s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the “intellectual.” Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the “new man.” I reconstruct how the phrase “new man” became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Ché Guevara. Throughout this dissertation, I indicate how Gómez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today. / text

The main focus of this diploma thesis is Jiří Kotalík, his relationship with the United States of America and projects in which he participated as the director of the National Gallery in Prague. To understand projects, it was necessary to clarify the broader circumstances, especially the relationship of the Czechoslovak Socialist Republic to the United States of America and the cultural policy of both states. Therefore, the time frame was extended, both in the historical introduction and the first exhibition of American art in Czechoslovakia in 1947. It was also necessary to put into context the purpose for which large traveling exhibitions and other US cultural projects were organized and what reception they caused in the Czechoslovak Socialist Republic. The six largest exhibitions of American art, which took place in the Czechoslovak Socialist Republic in the years 1967-1990, were selected as a sample. In the end, other forms of cooperation of the National Gallery, respectively Jiří Kotalík with American institutions were indicated but also other forms of promotion of Czechoslovak art in the United States of America were indicated. Key words: Jiří Kotalík, National Gallery in Prague, Czechoslovak Socialist Republic, USA, Thomas Messer, Solomon R. Guggenheim Museum, propaganda, cultural policy,...