Este trabalho disserta sobre o ensino da arte contemporânea a partir de duas questões básicas: (1) por que se resiste ao ensino da arte atual, e (2) de que forma é possível exercê-lo. O tema proposto divide-se em cinco capítulos. O primeiro deles propõe uma reflexão sobre a união entre arte e educação, os valores resultantes dessa relação e seus objetivos. No segundo capítulo, são abordadas as heranças e as influências provenientes da Europa e da América do Norte, que contribuíram para a formação do ensino de arte no Brasil durante o período de 1816 a 1960. Em seguida, a pesquisa apresenta teorias contemporâneas do ensino da arte ainda sob a influência estrangeira, entre os anos 1960 e 1990. No Capítulo III, passamos aos fundamentos e conceitos de cultura e arte contemporânea para que, a partir deles, possamos entender o nosso tempo e a arte como pontos fundamentais para o pensamento do ensino de arte. O quarto capítulo traz, como exemplo de proposta curricular atual, o novo currículo de arte da Secretaria da Educação do Estado São Paulo para que, por meio de sua análise, possamos desenvolver uma reflexão sobre o ensino da arte contemporânea nas escolas formais. Essa reflexão é apresentada no quinto e último capítulo do presente estudo e não objetiva formular uma metodologia para o ensino de arte contemporânea, mas buscar aproximações e elaborar sugestões que possam auxiliar o educador de arte em sua prática de sala de aula. / This dissertation is a research study concerning teaching practices of Contemporary Art in Brazil and it was based on two major issues: (1) why is it that Art Professors still struggle when it comes to teaching Contemporary Art?, and (2) which are the teaching strategies to help them in their classroom practices? This theme has been divided into five chapters. The first chapter proposes some reflection concerning the association between education and art and looks at the values resulting from this union, as well as its main objectives. In the second chapter, we speak of the foreign heritage and influences from Europe and North America, which have contributed to the introduction of Art teaching in Brazilian schools, during the time between 1816 and 1960. Following that, this research presents the contemporary theories involved in the teaching practices of Art Education, still under foreign influence, between 1960 and 1990. In Chapter III, we move to the basics and concepts of Contemporary Culture and Contemporary Art in order to encourage better understanding of our present time and art, as the key point for deeper reflection on Art Education. The fourth chapter presents the content of the new Arts Curriculum of the Department of Education in the State of São Paulo, as a case study and example of current curriculum, so that, through its analysis, we could develop more thinking on current Contemporary Art teachings in formal schools. This reflection is presented in the fifth and last chapter of this study and does not aim to build a methodology for Contemporary Art teaching but to seek new approaches and offer suggestions which may encourage Art Professors in their classroom practices.

This thesis explores how the art world negotiates what contemporary African art means, in the context of the international contemporary art system and in relation to the histories of Western perspectives on Africa. Using conceptual and methodological approaches drawn from cultural geography, it examines the field of contemporary African art, foregrounding the terms of negotiation framing contested geographical imaginations and ideas of Africa. The research considers curatorial practices, exhibitions, art institutions, networks and the wider art infrastructure as an arena in which geographical concepts and categories are formulated, debated and contested in relation to contemporary African art. It draws on interviews with artists, curators, gallerists, collectors and scholars, as well as ethnographic fieldwork conducted in institutions and at art events, to unpick the idea of 'contemporary African art' as a working category and conceptual frame. It reveals tensions running through the field hinging on questions of categorisation, scale and location, the geographical dimensions and implications of which are currently under-explored. The conclusions argue for the importance of geographical awareness in debates around contemporary art from Africa and its shifting position internationally, particularly in the context of globalising trends in the art world and beyond, which engender complex geographies of mobility, identity, belonging and opportunity. The thesis also highlights the relevance of debates around contemporary African art for geographers, proposing new directions in research on art within cultural geography.

A partir de uma análise das práticas desenvolvidas nas aulas de artes, este trabalho apresenta uma proposta de fundamentação para o ensino de artes articulada à arte contemporânea. Objetiva-se configurar uma prática escolar em artes mais reflexiva e investigativa, que valorize a experiência, a abertura, a complexidade e o aprofundamento no processo produtivo e cognitivo dos alunos. É com origem no reconhecimento e na análise das mudanças, das características e das questões da arte contemporânea, da cultura contemporânea e do ensino de artes que se formula a proposta na qual a pluralidade de processos, de poéticas e de experimentações são concepções que permeiam tanto a discussão sobre arte quanto a produção dos alunos e para a qual são necessárias novas posturas, objetivos e metodologias mais atentos ao momento contemporâneo. / Starting from an analysis of practices developed in art school classes, this work presents a proposal of a foundation for art teaching articulated with contemporary art. It objects to create an artistic scholar practice more reflexive and investigative, which valorizes experience, openness, complexity and deepness in the students cognitive and productive process. Its from the recognition and analysis of the changes, characteristics and questions of contemporary art that its formulated the proposal where plurality of processes, poetics and experimentations are conceptions that permeate both the discussion about art and the students production, for which are necessary new postures, objectives and methodologies more aware with the contemporarys time

Diversity has entered the leadership arena, as it has all other aspects of life. As we prepare leaders to lead in a more diverse world and train managers in the skills needed to succeed in a competitive society, we must understand what managers’ activities consist of and how leadership styles differ. The purpose of this qualitative study was to investigate the activities of Chief Executive Officers in businesses from a variety of sectors, document differences in male and female leadership styles, and compare these findings with previous studies. Data were collected through observation and creative interviews with three female and three male CEOs, one of which was a minority. The CEOs had been employed in his or her position for at least two years, and the organizations were diverse, successful, and well-known. Observation notes, dialogue and creative interviews were analyzed using Glaser and Strauss’s (1967) constant comparative method. Variety, brevity, and fragmentation were found in the activities of a contemporary manager, and attitudes toward scheduled breaks, interruptions, outside activities, outside businesses, reflection, communication, technology, and identity were found to be similar between male and female leaders. The CEOs tended to value the importance of breaks, have tolerance for interruptions, participate in outside activities, and establish outside business relationships. Also, they tended to value reflection, have informal and formal ways of sharing information with employees, have been impacted for the better by technology, and have a multi-faceted identity. Additional qualitative and quantitative research was recommended to further explore how studies can help prepare leaders by understanding the activities and leadership styles of contemporary managers.

In 2013, the 55th Venice Biennale, the world's oldest bi-annual international contemporary art exhibition, opened under the title The Encyclopedic Palace, organized by Italian curator Massimiliano Gioni. The international exhibition section is always flanked by an amalgamation of distinct national spaces, a dual exhibition model that has been the hallmark of the Biennale since 1998. In 2013, the United States pavilion was devoted to American artist Sarah Sze's work Triple Point and her signature arrangement of everyday objects and materials, such as Q-tips, water bottles, painter's tape, and desk lamps. The title of Sze's multi-room installation, culled from earlier works as well as created from new materials, refers to the thermodynamic equilibrium of any given substance--specifically, a "triple point" is the temperature and pressure at which a substance is solid, liquid and gas at the same time. The quasi-scientific installations provide constantly shifting viewpoints as the viewer circumnavigates the interconnected spaces of the U.S. pavilion, moving amid, around, and through the work, but also focusing on different individual objects before pulling back to catch glimpses of the work as a whole. In this thesis, I apply a phenomenological analysis to Triple Point in order to make sense of its scientific references in conjunction with its complex form. I view Triple Point as a culmination of the ideas that Sze has sustained and explored over the course of her career--such as the investigation of everyday objects in relation to site, space, and viewer--that situates the viewer in an experience caught between empirical order and individual perception. To examine Triple Point using the idea of "embodied perception," I formally analyze the work in relation to its scientific meanings as suggested by its titles of individual works--Gleaner, Planetarium, Eclipse, Scale, Orrery, Pendulum, Observatory, and Compass. I then trace the discourse surrounding phenomenology and the rise of installation art through the writings of art historians Michael Fried, Rosalind Krauss, and Claire Bishop, before finally situating French philosopher Maurice Merleau-Ponty's phenomenology as an apt theory for analyzing this work. In embracing both the scientific objectivity implied by Sze's installations without sacrificing the import of physical perception, I contend that Triple Point invites the viewer to look at--but also beyond--the array of familiar objects, emphasizing a shifting sense of the work that is never exhaustively fixed. Thus, Triple Point does not expose the classic dichotomies between art and science, natural and manufactured, image and object, but instead opens up the moment of their confluence--the paradoxical achievement of an embodied perception as described by Merleau-Ponty. Understood phenomenologically, Triple Point invites viewers to get caught-up in the dynamic experience of "between-ness" invoked by the installation's title and to engage with their everyday experiences of contemporary life in a new way.

Realizada a partir de métodos e suportes diversificados, a produção de Gordon Matta-Clark desponta como um exemplo significativo no desenvolvimento da arte, sobretudo a partir da década de 1960/70 (momento caracterizado pela ampliação da atuação e direcionamento das pesquisas estéticas contemporâneas). Distante dos limites definidos pela prática artística institucional, o artista dedicou-se a investigar novas e inusuais formas de atuação, articulando processo e apropriação como estratégias de intervenção. Tensionando composição material e temporal do objeto/espaço, Matta-Clark expõe a relação entre constituição material e comportamento. Usando o edificado como matéria prima, lida com a dimensão discursiva do espaço evidenciando a imprescindível relação existente entre arquitetura, contexto e urbano. Das experimentações materiais e destaque do contexto social em Garbage Wall (1970); alteração da percepção sobre objeto arquitetônico e seu contexto em Splitting (1974); ao questionamento da limitada atuação do público frente à transformação urbana de Conical Intersect (1975); Matta-Clark opera em uma área de transição, mobilizando reflexões sobre estruturas (materiais, discursivas e simbólicas) fundamentais para a definição dos espaços e sociedade de seu tempo. Frente à atualidade e relevância de Gordon Matta-Clark, a presente dissertação propõe um estudo sobre sua a trajetória, partindo da relação entre esta e os campos da Arte e Arquitetura. / Made from diverse methods and supports, Matta-Clarks production emerges as a significant example in the development of contemporary art, especially since the 1960s and 1970s (moment characterized by the amplification of the activity and direction of contemporary aesthetic researches). Far from the limits defined by institutional artistic practice, the artist devoted himself to investigate new and unusual forms of action, articulating process and appropriation as intervention strategies. Tensioning the material and temporal composition of the object/space, Matta-Clark exposes the relation between material constitution and behavior. Using built as raw material, deals with the discursive dimension of space highlighting the essential relationship between architecture, context and the urban. From the material experiments and emphasis of the social context in Garbage Wall (1970); alteration of the perception about architectural object and its context in Splitting (1974); to the questioning of the limited action of the public in face of the urban transformation of Conical Intersect (1975); Matta- Clark operates in a transition area, mobilizing reflections about the structures (material, discursive and symbolic) fundamental for the definition of spaces and society of his time. In the view of the present and relevance of Gordon Matta- Clark, this dissertation proposes a study about his trajectory, starting from the relation between it and the fields of Art and Architecture.

Experience of Antarctica is unique and overwhelming and the phenomenon of the landscape and knowledge of its history continues to inspire artists and writers. Since Antarctica's discovery and exploration both before and during the Heroic Age; explorers, expeditioners, artists and writers have attempted to record and visualise Antarctica. In1982 international Antarctic programmes started to assist artists to travel to Antarctica with the intention of providing perceptive interpretations no longer attached to science or exploration. This practice-led research is the first project where a jeweller has explored and interpreted a personal experience of Antarctica to produce souvenir and jewellery objects. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and souvenir object. This research has produced new contemporary souvenir and jewellery objects by interpreting both personal photographs and re-examining the historic stories, photographs and representations of Antarctica. The bibliographic investigations of historical jewellery and souvenirs provided specific examples of historical personal mementos that are now displayed in museums. This research analyses the meaning of historical examples of souvenirs and jewellery and examines the way in which photography has been manipulated and used on hard media. Through this analysis and examination of historical examples the research focuses on studio-based experimentation with enamelling and contemporary technologies to establish the links enamelling has had with micromosaics and miniature painting. This practice-led research investigates new and innovative ways to interpret these historical techniques and draw on the notion of the souvenir. Thinking through the processes used in this research and retelling the personal experience of Antarctica, contemporary technologies are used to reimagine historical examples of tourist jewellery and personal souvenirs presenting a further understanding of Antarctica's significance both culturally and environmentally. The research not only provides an addition to the diverse range of interpretations of Antarctica it also explores the area of enamelling in contemporary jewellery and object making by contributing to the current revival of the tradition both locally and internationally. This research offers new experiences and knowledge through the investigation, experimentation, manufacture and installation of enamelled objects.

In this dissertation, "An Archive of Shame: Gender, Embodiment, and Citizenship in Contemporary American Culture," I use the affect of shame in its multiple forms and manifestations as a category of analysis in order to examine complex relationships between gender, sexuality, the body, and citizenship. Through chapters on incest, gender normalization, and disease, I build an "archive" of the feeling of shame that consists of literary texts such as Sapphire's Push: A Novel, Jeffrey Eugenides?s Middlesex, Tony Kushner's Angels in America, and Katherine Dunn?s Geek Love, as well as materials from popular culture, films such as Philadelphia, court cases, and other ephemera such as pamphlets and news coverage. In order to construct this archive, I bring together seemingly disparate materials and create readings of American culture that illustrate how the category of citizen is produced by the shaming of women, the gender non-conforming, and the diseased. Using feminist theoretical models, I critique previous discussions of citizenship, the state, and the body in queer theory, which have reified the privilege of whiteness and maleness by evacuating the bodies of women, the gender non-conforming, and the diseased of their radical potential to undermine oppressive state institutions. The texts I analyze in this project interrogate normalized processes of documentation and archiving, and through their subject matter as well as their form, these texts participate in the archival process?theorizing and exploring alternative methods of documentation, collecting, and historicizing and so illustrate how the discourses produced by mainstream history are built upon the maintenance of social hierarchies. By bringing these texts together, I am developing a theory of the archive and its processes, its bodies, and its feelings. Archiving as a practice collects and documents, and in that collection, develops a coherent narrative about a particular event or history. Critical theory is also a process of making meaning through the collection of events, documents, and texts into a cohesive set of terms in order to make particular abstract claims. This process is often obscured both in archiving and in theorizing by naturalizing the selection of the materials that matter. The alternative archives in this dissertation make that process explicit in order to foreground its erasures and elisions; they register material difference and the ways in which the archive is reproductive of social relations. The transient and unstable nature of the archives produced within the texts of this project makes them difficult to pin down and make coherent, but that is what makes them powerful and transformative. I read these materials as sites where questions about the official histories of the nation, which are constructed through race, gender, and sex, might be played out. The archive of shame I compile in this project, therefore, can be read as a collection of partial sites of struggle against oppressive power relationships.

xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms. / Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Esta dissertação focaliza o diálogo entre dança contemporânea e artes visuais a partir dos anos 1990 e as novas configurações e discussões presentes nos trabalhos de criadores que transitam entre esses dois campos. Procura pensar a dança como arte contemporânea, indagando a si mesma sobre sua condição: o que a constrói e define nesses termos. As relações entre dança contemporânea e o conceitualismo são traçadas observando obras que, abandonando o formalismo e o puro exercício da estética, propõem-se a acrescentar algo em termos de concepção da arte e questionar sua própria natureza. Repensar as convenções da própria dança, o modelo de espetáculo, os espaços e formas de visibilidade são as principais questões investigadas. Especificamente, são abordados os trabalhos de Tino Sehgal (Londres, 1976- ), Wagner Schwartz (Volta Redonda, 1972- ) e a própria produção artística da autora para pensar essas relações, reivindicando uma condição conceitual da dança contemporânea nas obras próprias e nas dos artistas estudados. As desestabiliza-ções e fissuras que essa condição provoca são as ferramentas para potencializar e ampliar a visão da dança como arte contemporânea / This study focusses on the dialogue between contemporary dance and visual arts from the 1990s on, discussing the new configurations and debates proposed in works by artists who move through these two fields. Dance is thought over as contemporary art, asking itself on its condition, on what constructs and defines it. Relationships between contemporary dance and conceptualism are sketched by observing works that, having cast aside formalism and the sheer exercise of aesthetics, propose to add something in terms of art conception and inquire on their own nature. Main issues addressed here include rethinking dances very conventions, models of show or presentations, spaces, and forms of visibility; they are discussed against the background of works by Tino Sehgal (born in Britain, 1976), Wagner Schwartz (born in Brazil, 1972) and the authors own production, pleading for a conceptual condition of their works in contemporary dance. The destabilization and fissures generated by such condition are taken as tools to strengthen and amplify the vision of dance as contemporary art