Imperfect Inclusions: Exhibiting Non-Western Art at the Museum of Modern Art, 1935-2019
| dc.contributor.advisor | Cheng, Joyce | |
| dc.contributor.author | Shaw, Samantha | |
| dc.date.accessioned | 2021-04-27T20:45:13Z | |
| dc.date.available | 2021-04-27T20:45:13Z | |
| dc.date.issued | 2021-04-27 | |
| dc.description.abstract | During its ninety-year history, the Museum of Modern Art, New York (MoMA) has undergone four major architectural renovations, accrued a permanent collection of almost 200,000 works, mounted over 5,000 exhibitions, and constructed a vast archive of publications. Apart from these transformations, the museum’s curatorial mission over the decades attests to an effort in expanding its representation of modern art beyond the so- called Western canon. In brief, it went from exhibiting modern art’s relationship to non- European influences in the early twentieth century to orchestrating major interventions within its concentration of great Eurocentric canonical modern masterworks in the late twentieth- and early twenty-first centuries. To trace this effort historically and assess its success and failure, I will examine major MoMA curatorial endeavors since its founding in 1929, including William Rubin’s famous 1984 “‘Primitivism’ in Twentieth-Century Art: Affinity Between the Tribal and the Modern” exhibition and Glenn Lowry’s 2019 permanent museum collection reinstallation. | en_US |
| dc.identifier.uri | https://hdl.handle.net/1794/26190 | |
| dc.language.iso | en_US | |
| dc.publisher | University of Oregon | |
| dc.rights | All Rights Reserved. | |
| dc.title | Imperfect Inclusions: Exhibiting Non-Western Art at the Museum of Modern Art, 1935-2019 | |
| dc.type | Electronic Thesis or Dissertation | |
| thesis.degree.discipline | Department of the History of Art and Architecture | |
| thesis.degree.grantor | University of Oregon | |
| thesis.degree.level | masters | |
| thesis.degree.name | M.A. |
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