東華大學圖書館 |

Identity: Artist as Subject.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Identity: Artist as Subject./
作者:	Zucker, Avery.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	223 p.
附註:	Source: Masters Abstracts International, Volume: 82-09.
Contained By:	Masters Abstracts International82-09.
標題:	Design. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28314390
ISBN:	9798569907571

Identity: Artist as Subject.
Zucker, Avery.

Identity: Artist as Subject. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 223 p.

Source: Masters Abstracts International, Volume: 82-09.

Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2020.

This item must not be sold to any third party vendors.

This thesis document is comprised of two sections. The first section explores my theory. I look back to the revolutionary dancer and choreographer, Merce Cunningham, and how he began to break down elitism in dance. I attribute his success in the democratization of dance to two main philosophies: formalism and decentralization. I then put forth that Cunningham's framework can be applied to the modern art museum experience and prove its validity through various case studies, prototypes and interviews.The second section is the applied project. I implement the strategies explored in the thesis argument and prove their capabilities with a designed environment. The project encompasses everything from ideation and concept development, through to curation, and two-dimensional and three-dimensional graphic design, and culminates in the design development project stage where exhibit elements are detailed and drawn out.In my thesis argument, I explore how Cunningham broke down the historical elitism in dance (democratizing it) by using two methods: formalism and decentralization. He implemented decentralization by taking the dance performance outside of the traditional proscenium stage and bringing it into different spaces, ranging from theaters in the round to museum galleries. Cunningham democratized dance while still respecting its formalist or ideal qualities. He turned away from the choreography of traditional storytelling and instead used movement to convey emotion and showcase the raw beauty of a moving body. There was no longer a story to follow. Here, Cunningham explored the balance between the real and the ideal. The real looks at this idea of democratization and decentralization, while the ideal posits that the formalist notions of simplicity and beauty are also valid.Cunningham's framework of democratization and decentralization can be applied to the modern art museum experience in an effort to help increase diversity in audiences and artists, and promote accessibility and a sense of belonging. I suggest ways in which the museum world can benefit from democratization and decentralization. The modern art museum world can strive to become more accepting and welcoming (the real), and can do so without sacrificing their prestige, their aesthetic language, and their repository of treasures, scholarship, and knowledge (the ideal)-all things that make museums special. Essentially, the ideal and real can hold equal weight. The image of the modern art museum can become one of inclusivity rather than exclusivity, and diversity rather than uniformity.For my applied project, I have designed a collaboration between The Museum of Modern Art in New York City and Apple Inc. It is a satellite MoMA exhibit that travels between select SUNY Community Colleges in New York State. The exhibit focuses on the subject of identity politics. The satellite exhibit decentralizes the MoMA experience by bringing part of their collection directly into the paths of community college students, staff, and faculty. The subject of identity democratizes the experience, because having a sense of one's own personal identity, whatever it may be, is something we all have in common. This democratization is furthered by different designed access points, as well as by the range of contemporary artists I have chosen. The architecture, a nod to MoMA as a "white cube," alludes to the ideal, while the content represents the real. The audience, the community college population as well as non-museumgoers, drive each design decision and are the heart of this project.This thesis and exhibition project is grounded in historical, audience, site, and client research. I looked back to Merce Cunningham, a renowned dancer and choreographer, and was inspired by the way he reinvented and reimagined the dance world. My thesis explores how and why Cunningham's philosophy can be applied theoretically as a framework for the modern art museum, and my exhibition project proves more tangibly that it could work. The modern art museum could use the strategies that Merce Cunningham implemented in the dance world and apply them to the museum world to welcome in new audiences and be accessible to all. Modern art museums can expand both the depth of their reach and the range of their holdings to connect with diverse audiences as well as reflect those same audiences in their collections.My exhibition project explores what it would look like for MoMA to decentralize (expand beyond the physical museum into target communities) and democratize (create an inclusive environment). With the help of Apple and its commitment to community outreach, especially in educational environments, my project allows MoMA to decentralize its collection. MoMA can extend its reach to new audiences by placing a satellite exhibit into the everyday paths of the students of the SUNY community college campuses. The democratization of my exhibit project is multifold. First, I chose five artists that come from very diverse backgrounds, reflecting that of the target audiences. Next, the subject of the exhibit, "identity," is something that everyone can relate to on some level because we all have a sense of what our own identity is. I curated pieces from these artists that specifically explored identity through self portraiture to humanize the artists so audiences can better relate to them on a personal level, rather than just through their art. I categorized the art into five categories, all aspects of personal identity (pop culture, drugs, sexuality, humor, and nature). These five categories are relevant and relatable to the target audience and provide an access point. Instead of walking up to a painting with no baseline of understanding, the audience can now approach a work of art with some knowledge of the artist's intention. A new viewer can have confidence in their initial interaction with the art, and feel emboldened to explore in more depth. The concept of democratization is also implemented into my project with the different QR codes. Here, the visitor has a chance to engage further with both the material and other participants, and can browse through related content of personal interest. When reviewing my work, industry professionals noted not only the value of this concept as politically relevant in 2020, but also how my project thoroughly integrated my theory.

ISBN: 9798569907571Subjects--Topical Terms:

518875
Design.
Subjects--Index Terms:

Art

Identity: Artist as Subject.
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100 1 $a Zucker, Avery. $3 3687698
245 1 0 $a Identity: Artist as Subject.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2020
300 $a 223 p.
500 $a Source: Masters Abstracts International, Volume: 82-09.
500 $a Advisor: Cowan, Brenda.
502 $a Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2020.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be sold to any third party vendors.
520 $a This thesis document is comprised of two sections. The first section explores my theory. I look back to the revolutionary dancer and choreographer, Merce Cunningham, and how he began to break down elitism in dance. I attribute his success in the democratization of dance to two main philosophies: formalism and decentralization. I then put forth that Cunningham's framework can be applied to the modern art museum experience and prove its validity through various case studies, prototypes and interviews.The second section is the applied project. I implement the strategies explored in the thesis argument and prove their capabilities with a designed environment. The project encompasses everything from ideation and concept development, through to curation, and two-dimensional and three-dimensional graphic design, and culminates in the design development project stage where exhibit elements are detailed and drawn out.In my thesis argument, I explore how Cunningham broke down the historical elitism in dance (democratizing it) by using two methods: formalism and decentralization. He implemented decentralization by taking the dance performance outside of the traditional proscenium stage and bringing it into different spaces, ranging from theaters in the round to museum galleries. Cunningham democratized dance while still respecting its formalist or ideal qualities. He turned away from the choreography of traditional storytelling and instead used movement to convey emotion and showcase the raw beauty of a moving body. There was no longer a story to follow. Here, Cunningham explored the balance between the real and the ideal. The real looks at this idea of democratization and decentralization, while the ideal posits that the formalist notions of simplicity and beauty are also valid.Cunningham's framework of democratization and decentralization can be applied to the modern art museum experience in an effort to help increase diversity in audiences and artists, and promote accessibility and a sense of belonging. I suggest ways in which the museum world can benefit from democratization and decentralization. The modern art museum world can strive to become more accepting and welcoming (the real), and can do so without sacrificing their prestige, their aesthetic language, and their repository of treasures, scholarship, and knowledge (the ideal)-all things that make museums special. Essentially, the ideal and real can hold equal weight. The image of the modern art museum can become one of inclusivity rather than exclusivity, and diversity rather than uniformity.For my applied project, I have designed a collaboration between The Museum of Modern Art in New York City and Apple Inc. It is a satellite MoMA exhibit that travels between select SUNY Community Colleges in New York State. The exhibit focuses on the subject of identity politics. The satellite exhibit decentralizes the MoMA experience by bringing part of their collection directly into the paths of community college students, staff, and faculty. The subject of identity democratizes the experience, because having a sense of one's own personal identity, whatever it may be, is something we all have in common. This democratization is furthered by different designed access points, as well as by the range of contemporary artists I have chosen. The architecture, a nod to MoMA as a "white cube," alludes to the ideal, while the content represents the real. The audience, the community college population as well as non-museumgoers, drive each design decision and are the heart of this project.This thesis and exhibition project is grounded in historical, audience, site, and client research. I looked back to Merce Cunningham, a renowned dancer and choreographer, and was inspired by the way he reinvented and reimagined the dance world. My thesis explores how and why Cunningham's philosophy can be applied theoretically as a framework for the modern art museum, and my exhibition project proves more tangibly that it could work. The modern art museum could use the strategies that Merce Cunningham implemented in the dance world and apply them to the museum world to welcome in new audiences and be accessible to all. Modern art museums can expand both the depth of their reach and the range of their holdings to connect with diverse audiences as well as reflect those same audiences in their collections.My exhibition project explores what it would look like for MoMA to decentralize (expand beyond the physical museum into target communities) and democratize (create an inclusive environment). With the help of Apple and its commitment to community outreach, especially in educational environments, my project allows MoMA to decentralize its collection. MoMA can extend its reach to new audiences by placing a satellite exhibit into the everyday paths of the students of the SUNY community college campuses. The democratization of my exhibit project is multifold. First, I chose five artists that come from very diverse backgrounds, reflecting that of the target audiences. Next, the subject of the exhibit, "identity," is something that everyone can relate to on some level because we all have a sense of what our own identity is. I curated pieces from these artists that specifically explored identity through self portraiture to humanize the artists so audiences can better relate to them on a personal level, rather than just through their art. I categorized the art into five categories, all aspects of personal identity (pop culture, drugs, sexuality, humor, and nature). These five categories are relevant and relatable to the target audience and provide an access point. Instead of walking up to a painting with no baseline of understanding, the audience can now approach a work of art with some knowledge of the artist's intention. A new viewer can have confidence in their initial interaction with the art, and feel emboldened to explore in more depth. The concept of democratization is also implemented into my project with the different QR codes. Here, the visitor has a chance to engage further with both the material and other participants, and can browse through related content of personal interest. When reviewing my work, industry professionals noted not only the value of this concept as politically relevant in 2020, but also how my project thoroughly integrated my theory.
590 $a School code: 1829.
650 4 $a Design. $3 518875
650 4 $a Museum studies. $3 2122775
653 $a Art
653 $a Democratization
653 $a Exhibition design
653 $a Experience design
653 $a Museum exhibits
690 $a 0389
690 $a 0730
710 2 $a Fashion Institute of Technology, State University of New York. $b Exhibition and Experience Design. $3 3547259
773 0 $t Masters Abstracts International $g 82-09.
790 $a 1829
791 $a M.A.
792 $a 2020
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28314390

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