I Want to Know What Love Is is a road movie about Hanna, who’s got something going on with a hot DJ-guy in Berlin and is heading down to his gig, but misses the train, leading to an unwanted road trip. Will Hanna and dj___snorksenzation__000 become an official couple tonight? What’s cool and who´s not? Are all middle-aged men perverts? A visually explorative movie where characters in papier mache meets the real world with goPro filmed material mixed together wildly with stereotypical stock images.

"I dream that you batter away at me until my joints come apart like wax, and I fall into pieces" delves into the intertwined realms of homosexuality, martyrdom, and mortality. Through a lens that spans from historical figures like Saint Sebastian to gay painters during the HIV epidemic like Patrick Angus and Hugh Steers, the essay navigates the complexities of desire, shame, and societal perception. It traces the trajectory of homoeroticism in art, from Renaissance paintings to modern sculptures, illuminating the enduring struggle for visibility and acceptance faced by the LGBTQ+ community. The narrative weaves personal introspection with an analysis of cultural iconography, culminating in a reinterpretation of Saint Sebastian as a symbol of queer resilience and defiance. In its exploration of mortality and extinction, the essay unveils the interconnectedness of individual identity with broader societal narratives, inviting readers to contemplate the delicate interplay between desire and societal constraints.

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This study explored the perceptions of 74 activity directors responsible for the intergenerational programming that is currently taking place at shared-sites, facilities where older adults and young people receive services and programs simultaneously in a co-located space. Data for this study was collected through a national survey of 149 shared-sites collected from the Generations United data base. the questionnaire asked respondents about their facility’s intergenerational programming, demographic information, and perceived sense of community exhibited by participants in the intergenerational program. Descriptive data regarding the location, primary emphasis, ages and number served, and specific program characteristics, including visual art programming, at IGSS facilities were collected and analyzed. Results from the analysis were reported with limitations. There was a statistical significance suggested in the association of the frequency and duration of art activities with some of the sense of community variables. the study is valuable in determining the current demographics of IGSS facilities that offer visual art programs. Further research needs to be conducted to answer questions regarding the specific role that the visual arts play in creating a sense of community among intergenerational participants at shared-site facilities.

This thesis explores changing curatorial strategies at the Museum of Fine Arts, Houston. This is preceded by an assessment of the Museum of Modern Art’s earlier role in systematizing and defining this field throughout the 1930s and 1940s. Three exhibitions of art from Latin America and Latino art will illustrate how the MFAH contributed to shifts in this field proposing parallel and expanded readings to those first introduced at MoMA. Firstly, the Gulf-Caribbean Art Exhibition (1956) was a collaboration with the Pan American Union. This exhibition was framed by Cold War modernist approaches and a re-imagined geographical conception of the Gulf region. Secondly, Hispanic Art in the United States- Thirty Contemporary Painters and Sculptors (1987) sought to include Latino art and reflect the community in Houston within this mainstream institution. This lead to traditional museum practices emphasising the quality of artworks, while the criteria for selection was based on the ethnicity of the artists. Finally, Inverted Utopias- Avant-Garde Art in Latin America (2004) revised curatorial structures that were based upon the geographical and national survey format. Six constellations emphasising nodal connections between movements from Latin America disrupted established narratives of this field. The extensive use of archival documents further aided this historical review. I will answer how political, diplomatic, social, and art historical contexts have influenced the curation of these exhibitions and the outcomes of each. I will argue that through the location of the MFAH in the south of the United States, this institution is able to experiment with curatorial approaches and contribute to reviewed readings of art and art history in the United States.

Modern art owes a debt to Constructivism. In particular, Minimal art owes a debt to Russian Constructivism. In something akin to the suspension of Lenin’s embalmed body, Constructivism has been suspended since its demise. In this thesis I propose that the short-lived phenomenon of Russian Constructivism was revisited and further explored with the Minimal art moment in the West. Minimal artists in the United States were influenced by the works of the Constructivists, but due to the cold war this influence was suppressed. Constructivism in its original form ceased before the ideas and ideological urges of the Russian Constructivists were fulfilled. This form of art, that had a strong connection with a utopian social ideal, by 1932 was replaced by the officially decreed art of the Stalin era; Socialist Realism. The Constructivist moment did not lead into an artistic cul-de-sac because of the death of Lenin in 1924. The Constructivists have had an influence far beyond the years in which they first flourished and I intend to show that Constructivism has been unfairly misrepresented. From my research there is no question that Minimal art in the United States used Constructivist ideas. But the correlation between Minimal art and Constructivism was obscured by cold war politics, by many of the texts which have discussed Constructivism since, as well as by unconvincing curatorial decisions. This situation has led to an unacceptable degree of misrepresentation of the influence that Constructivism has had on Minimal art. Russian and Soviet Constructivism, rather than being seen as a cultural dead-end, should be viewed as a means by which the freedom to follow a non-representational path for abstract art was secured. Constructivism’s influence on Minimal art has been undervalued. This thesis aims to settle the debt.

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Orientador: Claudete Ribeiro / Resumo: Sem o uso da configuração naturalista, Ziraldo narra os problemas de uma cor deslocada no espectro do nosso imaginário. Flicts é uma cor que não está na caixa de lápis de cor, não está nas bandeiras dos países e não está no arco-iris. Seu primeiro exemplar foi lançado em 1969, pela editora Expressão e Cultura, Rio de Janeiro. O livro Flicts tomado como objeto da presente pesquisa, abrange estudos da segunda edição, 1969, à quinquagésima sétima edição, 2005. Os estudos foram apresentados em três capítulos, sendo o primeiro sobre Ziraldo , sua tragetória como autor/artista, o criador da obra estudade; o segundo para apresentação e análise da obra propriamente dita, Flicts, no seu projeto gráfico original e as reedições modificadas ao longo do tempo, como a palavra e a imagem constroem a significação da obra, e sobre a abtração das formas naturais e sua geometrização, resultando uma simplificação num nível profundo de caracterização do mundo não figurativo, mas figural; e o terceiro destinado ao regbistro da percepção e percursos do leitor, o seu primeito contato e a reflexão do desenvolvimento perceptivo das oficinas de criatividade. / Abstract: Without the use of natulalistic configuration, Ziraldo tells the problems of a dislocated color of the specter of our imaginary. Flicts is a color is not in the box of color pencil, is not in the flags of the contries and is not in the rainbow. Its first unit was launched in 1969, for the publishing company Expressão e Cultura, Rio de Janeiro. Taken de Flicts book as object of the present research, encloses studies of second edition, 1969, fifty seventh edition, 2005. The studies has been presented in the chapters, being the first one on Ziraldo, his trajectory as author/artist, the creator of the studied work; as for presentation and the analysis of the work properly said, Flicts, in its original graphical project and the new editions modified troughout the time, as the word and the image construct the meaning of the work, and on the abstraction of the natural forms and its geometry, resulting a simplification in a deep level of characterization of the world not figurative, but figural; and the third destined to the register of the perception of the passage of the reader, its first contact, and the reflection of the development of the children in creativity workshops. / Mestre

This study attempts to explore and elucidate the nature of the Diaghilev Ballets Russes' production of Le Pas d'Acier, (1927). Its focus is the contribution of the Russian artist and scenic designer, George Jakulov. The thesis is accompanied by a model through which the study has undertaken a practical exploration of Jakulov's designs for Le Pas d'Acier, and the problems and possibilities of their reconstruction. Focussing on Jakulov's set design, this study explores the problems involved in the historiography of Le Pas d'Acier, producing a `natural history' of the research process. The study considers Jakulov's designs, concept and approach through locating and analysing primary source material. Presenting some previously unpublished materials, it explores the chronology of the design process and the nature of Jakulov's designs and concept. It identifies two distinct phases in the ballet's development; the production of the first scenario in 1925, (produced by Jakulov and Serge Prokofiev along with the music and designs), and the ballet's realisation in 1927. By comparing source materials relating to these two phases, the study identifies and explores the production's adaptations to the 1925 concept and designs. It then seeks to draw conclusions as to the significance of developments and departures. Locating, analysing and then using a variety of source materials, including contextual study of Jakulov's oeuvre and review descriptions, the study explores theoretically, and practically via the model, problems and possibilities in reconstructing the set design.