An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.

Being First generation born Mexican American I am looking into the blend of the two cultures and the disparity between them. The border is the core of my investigation; by traveling across the border I have become conscious of the differences among both sides and duality within myself. My identity has developed from a synthesis of these two cultures, and my wok explores these two factions that cannot be one without the other. fusion is apparent in my self-portraits where I dress up with the colors from both sides of the border. But I also take a personal look into understanding the history and identity of each nation. I create a juxtaposition with these two identities that become one and explore the social, cultural, and political issues we face in the everyday. I recreate my “investigation,” by trying to dig deeper, exposing the layers, and facing my own identity crisis in the process.

Abstract This research is for the purpose of designing a teaching plan on integrating the digital archives of the NPM into elementary visual arts appreciation classrooms. Coordinate art and humanities domain textbook content, and cites the teaching pedagogy of critical thinking. Respectively take " Gradation " and " Contrast " as the core concept. Actual conducts motion research two circulation teaching. The first circulation teaching take "the form", "the succession", "thetechnology", "the style" advances gradually as the unit design center of gravity, after procedure and so on back coupling, introspection,revision teaching process, finally, implements take "the space", "theideal condition", "the life", "the skill" the contrast as the unit design center of gravity second circulation curriculum. In the curriculum melts into the digital archives of the NPM,Proceeds in an orderly way guides the student to carry on arts appreciation teaching. This research take "the study list" as formative assessment, records the student to study the course. Using "The Art Appreciation Ability Test" is summative assessment. Inspect student after teaching implementation art appreciation ability whether does promote. And uses "the study feeling to ask the volume" understands the student to the digital archives of the NPM and the art appreciation study feeling. The findings in this study were as follows: ¢¹. The Art Appreciation Ability 1. Looked from formative assessment. Take the question guidance as the principle of design, may stimulate the student ponder and be dialectical. The penetration guidance type question, the increase art glossary refers for the student, can effectively promote arts appreciation integrity. 2. Looked from summative assessment. The teaching can improve student¡¦ ability of " content description ability "," formal analysis ability "," meaning interpretation ability " , " value evaluation ability " effectively. ¢º. The digital archives of the NPM 1. On first circulation resources type, most can initiate student's interest is " 3D Virtual Artworks Display System" and " The Fashionable vs. The Antiquarian Teaching disc ". " Surprise Below:Ode to the Red Cliff " and "Componentsthe" function in 3D Virtual Artworks Display System , " 360¢XView " function in The Fashionable vs. The Antiquarian Teaching disc help study effect is best. 2. On second circulation resources function, The student thought "the animation character illustrated" the study feeling is most profound. Also may arouse a higher interest, also can effectively help the study. The demonstration in the teaching, the author or the historical personage offers one's experiences as an example, is helpful to the student in the arts appreciation study. Finally,the researchers provided a motion research teaching result,limitation,and suggestions for the further research in the field of art appreciation teaching at the elementary school. Key word¡Gdigital archives,the teaching of art appreciation,the ability of visual art appreciation.

If community is defined as a group of teachers, learners, and others who collaborate to achieve common goals, art education that is based on the interests and needs of that community can be identified as community-based art education (CBAE). CBAE programs often have goals that are congruent with educational theory or pedagogy for social justice. In this study five CBAE programs were examined for purposes, goals, instructional methods, and curriculum in order to determine how pedagogy for social justice could be applied to art education in community-based settings. The five CBAE programs were evaluated with a rubric integrating social justice into community-based art education. That information was used to create a set of best instruction practices for teaching for social justice in CBAE, as well as curriculum recommendations.

This paper explores and compares the ways in which novelist and playwright Tomson Highway and visual artist and poet Neal McLeod use traditional and contemporary Cree narratives to represent personal and collective cultural experiences, both past and present. In Highways novel <i>Kiss of the Fur Queen</i>, and in McLeods exhibition of paintings <i>Sons of a Lost River</i>, the mythic figure of the wîhtikow, a cannibalistic entity that symbolizes the destructive forces of colonialism and urbanization, as well as the self-abusive patterns found within the individual psyche, is used in counterpoint with the Cree trickster wîsahkecâhk, elemental spirits like the Thunderbird, and heroes such as ayash and pîkahin okosisa to express a multi-stylistic array of cultural meanings that avoid absolute interpretations. Highway and McLeod create myths that explore the oppressive as well as the redemptive processes of their cultural heritage over centuries of engagement with colonial powers and institutions.

This paper explores and compares the ways in which novelist and playwright Tomson Highway and visual artist and poet Neal McLeod use traditional and contemporary Cree narratives to represent personal and collective cultural experiences, both past and present. In Highways novel <i>Kiss of the Fur Queen</i>, and in McLeods exhibition of paintings <i>Sons of a Lost River</i>, the mythic figure of the wîhtikow, a cannibalistic entity that symbolizes the destructive forces of colonialism and urbanization, as well as the self-abusive patterns found within the individual psyche, is used in counterpoint with the Cree trickster wîsahkecâhk, elemental spirits like the Thunderbird, and heroes such as ayash and pîkahin okosisa to express a multi-stylistic array of cultural meanings that avoid absolute interpretations. Highway and McLeod create myths that explore the oppressive as well as the redemptive processes of their cultural heritage over centuries of engagement with colonial powers and institutions.

My research explores the concept of visual art as a form of critical inquiry and the gallery as a site for critical dialogue and social change. I argue that art galleries can be spaces of change and can be used to mount a critique of contemporary society’s dominant narrative of neoliberalism that is being incorporated into our public and private lives. Art galleries are public spheres for civil society that offer citizens opportunities to engage in debate on contemporary issues, where we can expose ourselves to new ideas, stimulate our minds, and explore other ways of knowing and becoming agents of change. My investigation takes the form of researching, developing, and presenting an exhibition of selected photographs as part of the exhibition, Open Conversations. This exhibition explored the art practice of Canadian photographers Carole Condé and Karl Beveridge, who have developed an artistic process that involves direct collaboration in the production of art employing a participatory, socially engaged framework. I claim the role of “insurgent curator” (a person who challenges the current state of affairs) through my attempt to locate my inquiry within my current praxis as curator, that is, within a critical form of creative inquiry. As an insurgent curator, I attempt to insert alternative histories and perspectives in a public art gallery as a means of offering different ways of knowing contemporary society. The concept of critical inquiry and the use of dialogical aesthetics underlie my concept of insurgent curatorial practice. I propose that the use of dialogue has important implications in helping to situate art galleries as public spaces that invite participation, dialogue, and community, and thereby have a profound impact on visitors’ meaning making. Through the use of critical creative inquiry, I ask how this research can generate individual transformation and help create progressive forms of social action. / Graduate / scottmarsden@haidagwaii.ca

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-03Bitstream added on 2014-06-13T18:49:07Z : No. of bitstreams: 1 chagas_mls_me_ia.pdf: 915219 bytes, checksum: d601eee135e7d3d68f9e91654d4d8c9c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O trabalho procura refletir sobre as condições de validação do discurso da Arte destinada aos espaços públicos. O chamado espaço público de convívio encarna a contradição dos interesses entre sujetividade, capital e estado, tornando esse ambiente ideologicamente tenso e descontínuo. Discutir sobre a validez social de uma obra de arte instalada em lugar público, além de investigar os procedimentos conceituais e poéticos dos artistas, representa a reflexão sobre a tensão do conceito de público, da sua materialização geográfica, política e histórica e sobre a formação de uma opinião pública que confere - ou não - essa validez. / This research reflects upon the conditions of validation of the discourse of Art destined to public spaces. The so called public space of living incarnates interests contradictions between subjectivity, capital and sate, making this environment ideologically tense and discontinuos. Arguing about social validness of a work of art installed in a public spot, beyond investigating conceptual and poetical proceedings of artist, represents refleting about the tension of the concept of public. its geographical, political and historical materialization, and about the formation of a public opinion that confers - or not - this validness.

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-26Bitstream added on 2014-06-13T20:09:38Z : No. of bitstreams: 1 lima_fcs_me_ia.pdf: 5612890 bytes, checksum: d486a3344d8153fef5b7c31ec2847d3d (MD5) / Universidade Estadual Paulista (UNESP) / Este trabalho trata das obras realizadas pelo artista plástico Antonio Dias entre 1960 e 1970, e que são compostas com imagens e palavras. Antes, porém, são feitos aqui dois percursos históricos: o primeiro tratando da relação imagem/palavra na arte ocidental desde o surgimento da escrita até a contemporaneidade; e o segundo refere-se à biografia do artista demonstrando a diversidade de suas criações e de sua contribuição para a vanguarda artística brasileira. Por fim, as análises de alguns trabalhos de Antonio Dias, dividindo-os em fases nas quais se percebe a transição da composição formal para a conceitual, terminando com os trabalhos que o artista chama de diagramas. As análises basearam-se em conceitos da gestalt e da semiótica pierciana, considerando o contexto histórico de cada obra e estabelecendo, em alguns momentos, paralelos entre a construção compositiva dos diagramas e a poesia concreta. É válido dizer ainda que as entrevistas concedidas pelo artista à Autora foram de grande importância para o trabalho, bem como outras fontes que embasaram as análises / This work deals with the works done by the artist Antonio Dias between 1960 and 1970 and are made with pictures and words. First, however, are made here two histories: the first dealing with the relationship picture / word in Western art since the advent of writing to the contemporary, and the second refers to the biography of the artist showing the diversity of his creations and his contribution to the Brazilian artistic vanguard. Finally, there is the analysis of some works of Antonio Dias, dividing them into phases in which one perceives the transition from the conceptual to the formal composition, ending with the works that the artist calls diagrams. Analyses were based on the concepts of semiotics and gestalt piercian, considering the historical context of each work and doing, in some instances, compositional parallels between the construction of diagrams with concrete poetry. It is still valid to say that interviews with the author by the artist, as well as through other vehicles also were critical to support analysis

Orientador: Omar Khouri / Banca: Julio Mendonça / Banca: José Leonardo do Nascimento / Resumo: Este trabalho trata das obras realizadas pelo artista plástico Antonio Dias entre 1960 e 1970, e que são compostas com imagens e palavras. Antes, porém, são feitos aqui dois percursos históricos: o primeiro tratando da relação imagem/palavra na arte ocidental desde o surgimento da escrita até a contemporaneidade; e o segundo refere-se à biografia do artista demonstrando a diversidade de suas criações e de sua contribuição para a vanguarda artística brasileira. Por fim, as análises de alguns trabalhos de Antonio Dias, dividindo-os em fases nas quais se percebe a transição da composição formal para a conceitual, terminando com os trabalhos que o artista chama de diagramas. As análises basearam-se em conceitos da gestalt e da semiótica pierciana, considerando o contexto histórico de cada obra e estabelecendo, em alguns momentos, paralelos entre a construção compositiva dos diagramas e a poesia concreta. É válido dizer ainda que as entrevistas concedidas pelo artista à Autora foram de grande importância para o trabalho, bem como outras fontes que embasaram as análises / Abstract: This work deals with the works done by the artist Antonio Dias between 1960 and 1970 and are made with pictures and words. First, however, are made here two histories: the first dealing with the relationship picture / word in Western art since the advent of writing to the contemporary, and the second refers to the biography of the artist showing the diversity of his creations and his contribution to the Brazilian artistic vanguard. Finally, there is the analysis of some works of Antonio Dias, dividing them into phases in which one perceives the transition from the conceptual to the formal composition, ending with the works that the artist calls diagrams. Analyses were based on the concepts of semiotics and gestalt piercian, considering the historical context of each work and doing, in some instances, compositional parallels between the construction of diagrams with concrete poetry. It is still valid to say that interviews with the author by the artist, as well as through other vehicles also were critical to support analysis / Mestre