Absence is the thesis exhibition resulting from the culmination of my three years in the graduate program. In this documentation, I outline historical and contextual influences that shape my ceramic practice. I specify that my work is centered on my life and describe how my work has evolved since I first started in the program. In the process I have gathered source material and have explored key points in the theory and history of Minimalism. As I developed the work, I was able to discuss how my work applied to these sources, and where it differed. I ended with introspective installation work that paralleled the themes I was working with at the start of my graduate experience that shows my evolution from being a child continually bounced around from one family member to another, to being the confidant of my mother and holding her darkest secrets, to feeling alone and unloved, to finally beginning to heal and accept who I am. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Museums have a task to present history in a way that's meaningful for the visitors. Museums also have a responsibility to represent everyone in the society, not exclude groups and at the same time make other groups more highlighted. This paper is about how the exhibition ”Historien i Sörmland” represents gender differences and how women and men are portrayed in different ways. Women are often under-represented in exhibitions around the world, leaving the men as a benchmark. The results show that women are under-represented in the exhibition ”Historien i Sörmland” and that the men and women who are portrayed contribute to the stereotype images of masculinity and femininity.

Em finais da década de 1930, mais especificamente entre 1937 e 1940, o estado brasileiro se fez representar internacionalmente com a construção oficial de pavilhões nacionais em quatro grandes exposições universais: a Exposition Internationale des Arts e Techniques dans la Vie Moderne (Paris, 1937); a New York Worlds Fair (1939-1940), a Golden Gate International Exposition (São Francisco, 1939-1940) e a Exposição do Mundo Português (Lisboa, 1940). Procedentes de uma tradição de quase um século de grandes exposições universais, chama atenção as particularidades do cenário político internacional em que esses eventos tiveram lugar: a década de 1930 se caracterizou por crises econômicas em escala global, pela força dos discursos nacionalistas, pela ascensão em suas vertentes tanto mais brandas quanto mais terríveis da chamada política de massas e, já em seus últimos anos, pelo início da Segunda Guerra Mundial. Tampouco o cenário nacional brasileiro da década de 1930 seria tranquilo, marcado por instabilidades, a subida ao poder de Getúlio Vargas e finalmente o golpe que daria início à política ditatorial do Estado Novo. A presente tese aborda a idealização, concepção arquitetônica e concretização espacial dessas exposições bem como a participação brasileira nesses processos problematizando suas inserções no contexto arquitetônico e político do período em que foram realizadas. Busca-se entender as articulações e circuitos diversos de negociação, referência e disputa pelos quais as decisões no campo da arquitetura relacionaram-se com as múltiplas escalas de poder e projetos políticos na conformação desses espaços de representação. / In the late 1930, more specifically between 1937 and 1940, the Brazilian State represented itself internationally with the construction of official national pavilions on four great Worlds Fairs: the Exposition Internationale des Arts and Techniques dans la Vie Moderne (Paris, 1937); the New York World\'s Fair (1939-1940), the Golden Gate International Exposition (San Francisco , 1939-1940,) and the Exposição do Mundo Português (Lisbon, 1940). Coming from a tradition of nearly a century of World\'s Fair, there were some particularities in the international political scenario in which these events took place: the decade of 1930 was characterized by economic crises on a global scale, by the strength of nationalist speeches, by the rise in its more tender and most terrible aspects of the so-called policy of masses and, in its later years, by the beginning of World War II. Either the Brazilian national scenario of the decade of 1930 would be peaceful, marked by instability, the rise to power of Getúlio Vargas and finally the coup that would begin the dictatorial period of the Estado Novo. This thesis discusses the idealization, architectural conception and implementation of these Worlds Fairs as well as the Brazilian participation in these processes drawing attention to the architectural and political context of the period. The aim is to understand the connections and circuits of negotiation, reference and dispute in which the decisions in architectural specific field related with the multiple scales of power and political projects in the conformation of these spaces of representation.

A arte brasileira durante a década de 1970 se destacou pelo alto grau de experimentalismo e de contestação aos cânones tanto artísticos como museológicos. As exposições anuais Panorama da Arte Atua Brasileira e Jovem Arte Contemporânea, organizadas respectivamente pelo Museu de Arte Moderna de São Paulo e pelo Museu de Arte Contemporânea da Universidade de São Paulo, se dedicaram a expor e legitimar determinadas tendências da arte dita jovem e atual durante esse período. A análise comparativa proposta por essa pesquisa revela e discute os mecanismos de seleção, organização, premiação e apresentação de obras em ambas as exposições. O foco da pesquisa dá-se no ano de 1972, momento em que a edição da Jovem Arte Contemporânea apresenta grandes inovações, ano de intenso crescimento do mercado de artes paulistano, auge da repressão militar e em que o Panorama discute as categorias escultura e objeto. Buscou-se analisar as exposições dentro desse contexto maior, apontando como referências os encontros internacionais de diretores de museus e outras exposições paradigmáticas para o período realizadas na Europa e na América Latina. / Brazilian art from the 1970s is known for its high degree of experimentation and for challenging both artistic and museological canons. The annual exhibitions Panorama da Arte atual Brasileira and Jovem Arte Contemporânea, organized respectively by the Museum of Modern Art of São Paulo and the Museum of Contemporary Art of the University of São Paulo, are dedicated to exposing and legitimizing certain art trends during this period. The comparative analysis proposed by this research reveals and discusses the mechanisms of selection, organization, and presentation works in both exhibitions. The focus of the research takes place in 1972, when the show Jovem Arte Contemporânea presents major innovations and the Panorama discusses sculpture and object categories, the year is also marked by intense growth of the a São Paulo art market, the increase of military repression. We sought to examine the exhibitions within this larger context, taking as references the discussions that occurred in the international encounters of museums directors, and also other paradigmatic exhibitions for the period held in Europe and Latin America.

The culmination of my graduate research and investigations is my thesis exhibition Solace; Intimately Remembered Places. This body of paintings is a visual representation of land, water and flora that focuses on my abstraction of nature to extract essential elements that expresses my deep connection to a specific time and place, layered with associated memories. By revisiting a landscape over a sustained period of time, I developed a personal visual vocabulary to communicate the essential abstract forms of nature and record the subtle nuances of color, light, shape, texture, positive and negative space to evoke a particular time and place. I expanded my painting techniques through the addition of a laser cutter. Rooted in a background of graphic design, my thesis also incorporated and included a book form using similar strategies. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Gaze to discover is the approach a viewer should take as s/he encounters the work within this exhibition. The main idea is that the work should be interactive. Developing this interaction is the objective of each piece. To engage viewers to interact with a piece of art coincides with the ability to acquire their undivided attention. The realization that it is difficult for a viewer to have a tangible interaction with artwork in a gallery setting leads to asking the viewer to interact visually, "to look fixedly" - to gaze (Webster's Dictionary). Gazing at the work will direct the viewer to discover; "to gain knowledge through observation, study, or search" (Webster's Dictionary). The desired outcome is a personal relationship with each piece observed. Games, play, and visual interaction are what this installation addresses. The familiar vessel forms chosen draw the attention, but the alliteration imagery keeps the viewer intrigued. With the help of a game card, a viewer is left with a puzzle to solve only obtainable through the gaze to discover. / by Tabitha Pennecamp. / Thesis (M.F.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

Este trabalho analisa como museus de ciências no Brasil exploram as relações e as interferências mútuas entre ciência, tecnologia e sociedade, utilizando como principais referenciais a educação com enfoque ciência, tecnologia e sociedade (CTS), e a comunicação pública da ciência. A escolha da educação com enfoque CTS está relacionada à discussão sobre a importância da formação de cidadãos críticos diante das questões de ciência e tecnologia (C&T), incluindo a abordagem ciência, tecnologia, sociedade e meio ambiente (CTSA). Já a escolha da comunicação pública da ciência se dá pelo seu debate sobre a mudança na forma de participação do público nas tomadas de decisão sobre C&T. Esses dois referenciais desafiam as instituições que atuam na interface ciência e público a repensar seus objetivos e propósitos. Um questionamento ainda mais relevante, se levados em consideração o crescimento e o fortalecimento dos museus de ciências no Brasil nos últimos anos. Para este projeto, foram selecionadas e analisadas três exposições de diferentes museus de ciências nacionais: Educação Ambiental, do Museu de Ciências e Tecnologia/PUC-RS; Reprodução e genética, do Espaço Biodescoberta do Museu da Vida/Fiocruz, e Os Ciclos Biogeoquímicos e o Meio Ambiente, do Planeta Terra e a preservação ambiental da Estação Ciência/USP. Para a análise destas exposições foram construídos atributos que pudessem caracterizar uma exposição como CTS ou CTSA. Esses atributos foram divididos em três conjuntos: o primeiro refere-se aos atributos que exploram debates sociais externos à ciência; o segundo refere-se aos que exploram debates sociais internos à ciência; e o terceiro, aos que trazem debates históricos e filosóficos. Dessa forma, a análise foi conduzida identificando esses atributos nos elementos expositivos (objetos, aparatos interativos, painéis de textos, entre outros elementos cenográficos) em cada uma das exposições. Tal análise levou à reflexão de que há diferentes formas de caracterização de uma exposição como CTS ou CTSA. Uma gradação entre exposições que exploram apenas um dos atributos de maneira pontual até as que exploram todos eles; entre esses extremos, estariam aquelas que trazem apenas um atributo, mas em quase todos os elementos expositivos; exposições que trazem mais de um atributo, mas de apenas um dos conjuntos; ou ainda aquelas que abordam um número representativo deles, mas não em sua totalidade. Devido ao desafio de encontrar exposições de cunho CTS no cenário nacional, inclui-se, nesta análise, uma discussão, dirigida principalmente pelas entrevistas realizadas com os elaboradores das exposições, que fizesse emergir explicações para a baixa representatividade dessa categoria de exposições. / The present dissertation analyzes how science museums in Brazil explore the relations and mutual interferences between science, technology, and society, using education focused on science, technology, and society (STS), and public communication of science as its main references. The election of STS-focused education is related to the discussion about the importance of training critical citizens to face science and technology (S&T) issues, including the science, technology, society, and environment (STSE) approach. The election of the public communication of science is related to the debate about the change in ways of public participation in S&T decisions. Those two references challenge the institutions that work on the public-science interface to reconsider their objectives and purposes. Those questions get even more relevant if the growth and strengthening of science museums in Brazil in recent years are taken into account. For this project three exhibitions from different national science museums were selected and analyzed: Educação Ambiental [Environmental education], at the Museu de Ciências e Tecnologia/PUC-RS; Reprodução e genética [Reproduction and genetics], at the Biodiscovery Space at the Museu da Vida/Fiocruz; and Os Ciclos Biogeoquímicos e o Meio Ambiente [The biogeochemical cycles and the environment], at the Planet Earth and Environment Preservation at Estação Ciência/USP. In order to analyze these exhibitions, attributes that could qualify an exhibition as STS or STSE were composed. Those attributes were divided into three sets: the first applies to the attributes related to external social science issues; the second applies to the attributes related to internal social science issues; and the third applies to the attributes related to historical and philosophical debates. In this manner, the analysis was directed by identifying those attributes in the exhibit elements (objects, interactive displays, text panels, and other scenographic elements) in each of the exhibitions. The analysis leads to the idea of different ways to classify an exhibition as STS or STSE. A range from exhibitions that explore only one attribute in a particular manner to the ones in which all attributes are explored; between those two extremes there would be those exhibitions that bring only one attribute but in almost all exhibit elements; the ones which bring some attributes but only in one set; or, still further, those which explore many attributes but not all of them. Due to the difficulty of finding STS-themed exhibitions in the national scene, a discussion driven mainly by interviews with the exhibition elaborators, aimed at finding reasons and explanations for that low representativeness, was included in the analysis.

O projeto expositivo Meu bairro, minha cidade: você também faz parte desta história foi desenvolvido entre 2003 e 2004 e resultou nas exposições inaugurais dos Centros Educacionais Unificados, cujo objetivo era apresentar as conexões entre a história local e a história mais ampla da cidade, como forma de propiciar uma apropriação positiva do novo espaço escolar pela população do seu entorno. Tal experiência teve como vetor as comemorações dos 450 da cidade de São Paulo e representou o resultado de um trabalho coordenado pela Secretaria Municipal da Educação, com a colaboração da Secretaria Municipal da Cultura. Por sua vinculação a um espaço escolar, as exposições assumiam uma dimensão pedagógica que lhe era condicionante. Compreendida como uma ação museológica, tal projeto representa uma das mais importantes iniciativas culturais acionadas pela esfera pública municipal de São Paulo, tendo em vista o seu caráter inédito de registro de memória de bairros periféricos. Esta dissertação aborda o seu processo de concepção, produção e recepção, bem como os seus desdobramentos em atividades pedagógicas integradas ao currículo escolar da rede municipal de ensino. / The exhibition project My neighborhood, my city: you are also part of this History was developed between 2003 and 2004 and resulted in the inaugurations of the Unified Educational Centers (CEUs). Its goal was to present the connections between local history and the broader history of the city, as a way to provide a positive appropriation of the new school space by the population. This experience had as a vector as commemorations of the 450 years of the city of São Paulo and represented the result of a work coordinated by the Municipal Secretary of Education, with the collaboration of Municipal Secretary of Culture. Because of its connection to a school space, the exhibitions assumed a pedagogical dimension that was conditioning it. Understanding as a museological action, this project represents one of the most important cultural initiatives triggered by the municipal public domain of São Paulo, considering its unprecedented feature of registration and valorization of the memory of peripheral districts. This dissertation approaches its conception, production and reception process, as well as its developments in pedagogical activities integrated to the school curriculum of the municipal education network.

Made available in DSpace on 2015-03-04T22:02:04Z (GMT). No. of bitstreams: 0 Previous issue date: 14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa propõe como objeto de investigação as interações de sociabilidade entre participantes de um contexto de exposição de artes visuais do tipo Bienal, tendo como campo empírico a 6ª Bienal de Artes Visuais do Mercosul, evento ocorrido em Porto Alegre-RS, de 1º de setembro a 18 de novembro de 2007. Amparado nas premissas conceituais da teoria do interacionismo simbólico, o estudo busca discutir como se estruturam alguns aspectos relativos à sociabilidade, às práticas de apropriação, às representações e aos usos sociais da arte contemporânea num contexto expositivo de arte visuais do tipo Bienal. / This research proposes an investigation of sociability interactions among participants, who are situated in a context of a Biennial art exhibition type. The empirical field is focused in the 6th Mercosul Biennial, which happened in Porto Alegre, Rio Grande do Sul (Brazil), from September 1st to November 18th, 2007. Supported by the premises of the symbolic interaction theory, the study intends to discuss the structure of certain aspects related to sociability, to art appropriation practices, to representations and to social uses of the contemporary art in a context of the Biennial art exhibition type.

The 1967 Universal and International Exhibition, the Montreal world's fair commonly known as Expo 67, produced both continuations of and crises in the emancipatory project of modern architecture. Like many world's fairs before it, Expo 67 was designed to mediate relations between peoples and things through its architecture. The origins of this work lay in the efforts of Daniel van Ginkel and Blanche Lemco van Ginkel, architects and town planners who, in remarkable reports, drawings, and architectural ideals advanced between 1962 and 1963, outlined the basis of a fundamentally new, though never fully realised, world's fair in the late twentieth century. Party to the Congrès Internationaux d'Architecture Moderne and its influential prewar edicts on functionalist town planning as well as to groups like Team 10 and their opposition to diagrammatic generalisations by an emphasis on the personal, the particular, and the precise, the van Ginkels also drew on contemporary theories and practices of North American urban renewal when first conceiving Expo 67 as an instrument for redeveloping downtown Montreal. The resulting work, Man and the City, which officially secured the world's fair bid but remained unbuilt, carefully drew on the legacies of most great exhibitions, especially those of the nineteenth century, in order to conceive of sufficiently heroic structures making immanent novel forms of human interaction, social control, and the technical organisation of space. In 1967, this was to suggest a new world historical project - in a space existing for only six months but crowded with 50 million visitors - promoting senses of fraternal self-awareness through the unrelenting promise of progress. The resulting well-known Expo 67 theme, Man and His World, was a paean to contemporary humanism first used by the van Ginkels and their architect allies to reject the most enduring symbols of world exhibitions: the nation-state and its emblematic architecture. They imagined new kinds of architecture that could somehow engender new senses of political consciousness (inspired by, for example, UNESCO or the celebrated Family of Man photography exhibition of 1955) outside nationalist chauvinism. This was a vision of late modernity: a transitional form of political subjectivity still clinging to the shared passions of the citizen (thus for the polis) before being subsumed by mass culture - in other words, a moment during which nationalisms could still be channelled into alternative forms of political belonging free of narrow self-interest. The belief marked every aspect of the van Ginkels early plans and had half-lives in two consequential works: the theme pavilions Man the Producer and Habitat 67, which, with outward emphasis on the aesthetics and technics of innovative structures (and mass production), were seen as fulfilling the ambitions of the megastructural movement in the 1960s. As such, theses architectures of late modernity reflected a markedly modernist conviction of long duration: on the one hand, an abiding faith in technological salvation and, on the other hand, the sense of some liberative social mass giving rise to a new citizen of the world. At the very same moment, this universalism was fraught with ambiguity: on the one hand, any abiding faith in techno-scientific salvation was shaken in the aftermath of global war and the terror of nuclear holocaust; on the other hand, assumed geopolitical ideals were being upended, however temporarily, by, say, decolonisation and resulting alternative global alignments on a postwar world's fair). Expo 67, perhaps the most consequential twentieth-century world's fair in terms of utopian hopes of modern architecture, was prey to these and related desires to reinvigorate the modern project of uniting instrumental reason, mass edification, and popular spectacle in a genuinely new public realm. It would irrevocably shape the ways in which Canada, as a host nation purposely celebrating its centennial in the ambit of a world's fair, was to confront its collective sense of cultural representation and global belonging.