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Dissertations / Theses on the topic '1970s Art'
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Derro, Brad, and Brad Derro. "Get Close: Interpersonal Art in the 1970s." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621835.
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This thesis centers on an analysis of Allan Kaprow's Activities (1970-1979)-works that gauged how people interact when following a script that often involved ostensibly banal, everyday routines; for example, brushing one's teeth, or walking through a doorway. These pieces, as suggested in the artist's writings, were influenced by a range of philosophical and sociological theories. While Kaprow associated his Activities with the sociological and philosophical inquiries of John Dewey, Erving Goffman, and Ray Birdwhistell, I will also suggest that concepts related to interpersonal psychology and social transaction theory were just as significant. In particular I will discuss the parallel development of Transactional Analysis, a concept defined by the psychologist Eric Berne. Kaprow's works aligned interpersonal events and an early form of "relational aesthetics," a term coined later by contemporary art critic Nicolas Bourriaud. The resulting works were art that bordered on sociological and psychological experimentation.
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Feldman, Paula. "Made to order : American minimal art in the Netherlands, late 1960s to early 1970s." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414492.
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Shaffer, Michael J. "Dan Graham's Video-Installations of the 1970s." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/56.
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This dissertation examines the video-installations created by American artist Dan Graham in the 1970s. It investigates the artist's relationship to Minimalism by analyzing themes Graham highlights in his own writings and in interviews. In particular, I explore how the artist's understanding of Herbert Marcuse, Walter Benjamin, and R.D. Laing informed his post-Minimalist work and how concepts gleaned from these sources are manifest in his video-installations. Also undertaken are discussions of the artist's interest in aestheticized play, the just-past present, the debate between Behaviourism and phenomenology, surveillance, and Modern architecture. In addition, I investigate Graham's position in Conceptual art, use of site-specificity, and the practice of institutional critique. At the outset, I provide an in-depth analysis of two of Graham's magazine pieces, Schema (March 1966) and Homes For America, that ties together the artist's reading of Marcuse and his rejection of Minimalist phenomenology. Next, I give an account of the artist's connection to early video art and his use of time-delay in works such as Present Continuous Past(s) and Two Viewing Rooms as a means to highlight the just-past present. Finally, I examine Graham's architectural video-installations Yesterday/Today, Video Piece for Showcase Windows in a Shopping Arcade, and Video Piece for Two Glass Office Buildings as instances of site-specific art and as part of the artist's practice of institutional critique. I also explore his references to the notions of art-as-window and art-as-mirror as an expansion of his engagement with Minimalism. Throughout, my discussion includes comparisons between Graham's work and that of other artists like Vito Acconci, Bruce Nauman, and Hans Haacke. In sum, this study offers an expanded understanding of how Graham employed video and installation in his art as a means to move beyond Minimalism and to interrogate contemporary American society.
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McCredie, Athol. "Going public New Zealand art museums in the 1970s /." [Palmerston North, N.Z.] : Massey University Library, 2006. http://hdl.handle.net/10179/250.
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Burgon, Ruth Amy. "Pace, rhythm, repetition : walking in art since the 1960s." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25512.
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In recent years, there has been a noticeable rise in the use of walking in artistic practice. Artists explore, map, narrate, draw, follow and procrastinate through the use of pedestrianism. This rise in an artistic output that uses the walking body has coincided with a burgeoning literature in this field; a literature that, I argue, has yet to find its feet, frequently repeating, and so depoliticising, the dominant narrative that casts walking as a strategy of resistance to the high-speed technological demands of late capitalism. Beyond its role as emancipatory gesture, I show, walking is enmeshed in histories of gender, labour, punishment, power and protest; something that a focus on the art of the 1960s and ‘70s can help to uncover. Accordingly, this thesis seeks to place the recent rise of ‘walking art’ in a specific historical context, positing that the uses of walking by artists today find the key to their legitimation in moving image and performance work of the 1960s and ‘70s. Through chapters on the work of the Judson Dance Theater (1962-7) and Trisha Brown (early 1970s), Bruce Nauman’s studio films and videos (1967-9) and Agnes Martin’s only film Gabriel (1976), I argue that these artists used walking not only to deconstruct the mediums out of which they worked (dance, sculpture, painting), but also to negotiate the wider socio-political issues of the era, from protest marching and the moon landings to much more clandestine concerns such as surveillance and controlled viewership. These chapters reveal a walking body as supported by technology, subject to self-discipline, and negotiating a new relationship with the natural world. A final chapter on Janet Cardiff’s audio walks, which she first developed in the late 1990s, makes explicit a feminist problematic, as I ask where the female body resides in a long history of male walkers, and explore the broader question of how we write the history of ‘walking art’. Via Cardiff, I reflect on the place of the 1960s and ‘70s in our historical imagination today, arguing for a more uneasy reading of the art of these decades than we have previously been used to.
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Christofides, Sheila School of Art History & Theory UNSW. "The intransigent critic: reconsidering the reasons for Clement Greenberg???s formalist stance from the early 1930s to the early 1970s." Awarded by:University of New South Wales. School of Art History and Theory, 2004. http://handle.unsw.edu.au/1959.4/20562.
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This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.
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Wark, Jayne Marie. "The radical gesture, feminism and performance art in the 1970s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0001/NQ27749.pdf.
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Dauterive, Jessica A. "Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing an Identity of South Louisiana, 1960s-1970s." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2138.
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In South Louisiana in the late 1950s, Ville Platte native Floyd Soileau joined a network of independent recording companies across the United States that provided an opportunity for local entrepreneurs and artists to profit from the global music industry. This paper analyzes the album covers of Floyd Soileau’s Cajun recording label, Swallow Records, during the 1960s-1970s. This period overlaps with a movement to subvert a negative regional identity among Louisiana Cajuns that is often referred to as the Cajun revival. Through a consideration of album covers as objects of business strategy and creative expression, as well as oral histories with individuals who worked with Swallow Records, this paper argues that Floyd Soileau shaped the perception of Cajun music and people through the channels of the global music industry. On the album covers of Swallow Records, Floyd Soileau marketed a Cajun identity that was rural, white, masculine, and French-speaking, and became an accidental facilitator of the social and political goals of leaders in the Cajun revival.
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Mincher, Sally. "The Chicano art movement in American art history : post-1970s evolutions in the Los Angeles context." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573017.
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The history of the Mexican American population of the United States has involved a succession of socio-political phases since the beginning of the twentieth-century. One phase termed the 'Chicano era' emerged in mid-century culminating in the 1960s period of civil-rights activism. In this unified social movement acting for change of the historical situation of oppression, the crucial role of the arts contributed to the formation of the Chicane art movement. This thesis concerns developments in Chicano art production following the civil rights era from the 1970s to the present day. Through its examination of the complexities of the strategic purpose of Chicano cultural production this thesis critiques established narratives of the genealogy of art history. It addresses how the Chicano art movement has contributed to a dismantling of late twentieth-century rigid paradigmatic art-historical structuring and has continued to generate a critique of the social system of the United States. This central premise draws on formative theoretical and ideological perspectives in the fields of Chicano Studies, Border Studies, postcolonial theory and cultural theory. Focusing on the California region and the urban centre of Los Angeles, it selectively examines the philosophical approaches and methodologies of individual artists and collaborative groups relative to transitional social processes and ongoing cultural evolutions in this growing heterogeneous community. This examination of the trajectory of the Chicano art movement into the twenty-first century indicates its significance for a future generation of artists.
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KIM, EUN KYUNG. "PATTERN ANALYSIS ON THE WORKS OF BONNIE CASHIN FROM THE 1960S TO THE 1970S." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021996954.
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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
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Dzuverovic, Lina. "Pop art tendencies in self-managed socialism : pop reactions and counter-cultural pop in Yugoslavia in 1960s and 1970s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2850/.
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This thesis explores forms of Pop Art on the territory of the former Yugoslavia in the 1960s and 1970s, seeking to identify its local variants. Yugoslavia, a single party state, built on the legacy of the anti-fascist Partisan struggle, principles of solidarity, egalitarianism, self-management and a strong sense of internationalism due to its founding role in the Non-Aligned Movement, was, at the same time, a country immersed in what has been termed 'utopian consumerism'. The thesis examines how Yugoslav artists during this period dealt with the burgeoning consumer society and media boom, kitsch and the Westernization of Yugoslav culture, phenomena which were ideologically at odds with the country’s own socialist principles. Starting from an analysis of the role of the artist in post-war Yugoslav system of self-management, the thesis proposes that Pop in Yugoslavia can be read as a critical site of articulation and negotiation of that role. Yugoslavia’s founding principles, formed as a legacy of the People’s Liberation Struggle (1941 – 1945), were based upon self-management and the introduction of social property, with art being a democratizing force with a central emancipatory role in the building of the new socialist state. But socialist modernism gradually relegated culture to a more illustrative role, as a form of ‘soft power’ for the Socialist Federal Republic of Yugoslavia. The thesis proposes a reading of artists’ diverse engagements with popular culture and materials as varied expressions of resistance to the severing of links with Yugoslavia’s founding principles. My original contribution to knowledge lies in the identification of two strands of Pop in the country–‘Yugoslav Pop Reactions’ and ‘Yugoslav Countercultural Pop’ which each turned to popular culture and cheap everyday materials as an alternative channel through which to respond to socialist modernism. My claim is that the two positions represent two diametrically opposed responses to the disenchantment with socialist modernism and artists’ roles in society – both using the language of Pop Art but representing two different conceptual positions. The thesis is structured around three core questions. Firstly it asks whether it is possible to retrospectively apply the category of Pop Art to artworks which never originally claimed this term. Secondly it examines ways in which Pop tendencies altered the position of Yugoslav female artists, who, marginalised in a heavily male-dominated environment, looked to Pop as an enabling force, allowing new working methods and‘giving licence’ to new types of practices. The third question is concerned with the relationship between power, politics and Pop Art in Yugoslavia, asking to what extent Yugoslav Pop was a form ofpolitical practice, and to what extent is it was a local adaptation of international currents and themes. This thesis is associated with Tate’s multiannual research into ‘global pop’, which culminated in the exhibition ‘The World Goes Pop’ (September 2015 – January 2016, Tate Modern) through a Collaborative Doctoral Award (AHRC). This involved an advisory role in the exhibition research on the territory of the former Yugoslavia, identifying artists and artworks for potential inclusion in the exhibition. The methodology of the thesis was in part shaped by this context, beginning with close studies of artworks, their critical reception, and the study of their context–the sites of production and exhibition in the country at the time. Whilst both local and international literature on Yugoslav art history, global Pop Art as well as Yugoslav material culture and political context has been important, the core research involved oral histories, and visits to artists’ studios, museum collections, depots and archives in search of original artworks. The thesis draws on approximately twenty interviews with artists, curators, art historians and other art workers who were active in 1960s and 1970s, combined with the above-mentioned scholarship.
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Dye, David. "Backwards into the future : an exploration into revisiting , representing and rewriting art of the late 1960s and early 1970s." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3217/.
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Payne, Helena. "Jagets bevingade hovslag : En biografisk och analytisk undersökning av hästfigurer iRenata Wredes fantasifulla och antropomorfa bildvärld." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403072.
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This Bachelor’s Thesis introduces a previously unexplored visual artist to the field of Art history: Renata Wrede. Born in 1923 and active until her death in 1998, Renata Wrede produced a varied and colorful corpusof paintings, lithographies, drawings, sculptures, textile designs and pottery, most–but not all -of which is in the possession of her family. Herrigorous artistic training, deep engagement with her other passion –horses –and personal struggles for independence combined to create a varied style with anthropomorphizing images of -among many motifs-horses. Four of these images, taken from different periods of her life as an artist -are analyzed in this thesis paper. The focus on the analysis of the four works is the role of the horses in the picture: What do they do? How do they contribute to the composition? Why are they there? With the help of Renata Wrede’s autobiographical three books, Mitt romerska lejon (My Roman Lion), Juvelskrinet (The Jewelry Box) and Ior och hästarna (Ior and the Horses), the pictures are analyzed from the information provided by the writer and artist herself. The appendix includes a collection of Renata Wrede’s works (incomplete, but extensive) put together by the author of this thesis.
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Jarzebska, Aneta. "Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.
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This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.
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Statzer, Mary Kathryn. ""Photography into Sculpture": Peter Bunnell, Robert Heinecken and Experimental Forms of Photography Circa 1970." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556851.
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Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated "straight" photography’s reliance on the image and optical description as its primary source of meaning, characteristics presumed to be fundamental and fixed by many at the time. Bunnell argued that the physicality of the works in Photography into Sculpture made the medium visible and available for critique. This dissertation establishes the archival record and an oral history for the exhibition. It also finds that Bunnell prepared this unorthodox exhibition with John Szarkowski’s endorsement, therefore contradicting enduring views that Szarkowski’s photography program at the Modern promoted a monolithic ideology that did not include experimental modes. Peter Bunnell and Robert Heinecken are the principal figures in Photography into Sculpture. Bunnell, as curator and historian, and Heinecken, as artist and professor of photography at University of California, Los Angeles, were both committed to the idea that the photograph was not only an image but also an object. In public statements they argued that the attention placed on straight photography by many critics and educators discouraged experimentation and excluded an emerging generation of photographers eager to challenge lingering modernist traditions that emphasized the integrity of the image and conventions of display. Both men and their contemporary Nathan Lyons worked from within photography’s established institutions and organizations–including the Museum of Modern Art, George Eastman House, and The Society for Photographic Education–to advocate for alternatives. This dissertation demonstrates that the revolutionary ideas of Bunnell and Heinecken were part of a long rebellion against photographic modernism.
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ROGERS, ASHLEY D. "THE INFLUENCE OF GUY DEBORD AND THE SITUATIONIST INTERNATIONAL ON PUNK ROCK ART OF THE 1970s." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163784738.
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Mulholland, Neil Charles. "Why is there only one Monopolies Commission? : British art and its critics in the late 1970s." Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/2532/.
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This thesis examines the British art world in the period 1976-1981. The first section explores the crises in the artworld triggered by the International Monetary Fund Crisis of February 1976. Central to this analysis is the Labour and Conservative Party's ideological shift from culturalist paternalism to monetarist liberalism, the history and function of the Arts Council of Great Britain, the press scandals surrounding the Tate Gallery's purchase of Carl Andre's Equivalent VIII and the ICA's exhibition of COUM Transmission's Prostitution. The opportunist populist polemics of the 'crisis critics' (Richard Cork, Andrew Brighton, Peter Fuller and John Tagg) are then introduced alongside a discussion of the colossal changes in the British art press. This is followed by an analysis of Cork's defence of Conrad Atkison's work and of the Royal Oak murals. The second section looks at the postmodernism rejected by Cork and the populist crisis critics, namely, the scripto-visual work of John Hilliard, Victor Burgin, and John Stezaker. The influence of photoconceptualism on community artists and feminist artists is then examined. This is followed by an analysis of Art & Language's critique of 'Semio-Art'. This section concludes with an analysis of the 'new art history' in relation to the practices of Jo Spence and Terry Atkinson. The following section looks at 'conservative'/populist postmodernism as outlined in exhibitions such as The Human Clay (1976), Towards Another Picture (1978), Lives (1979) and Narrative Painting (1979). This includes extensive discussion of the work of David Shepherd, Peter Blake, Ron Kitaj, David Hockney, Steven Campbell, Women's Painting (Images of Men), and The School of London (The Hard Won Image). The final section opens with a lengthy examination of the agitational performances of COUM Transmissions, investigating their decision to abandon the publicly subsidised artworld in order to become the industrial band Throbbing Gristle. This is followed by an examination of British pro-Situationism, punk and new wave subcultures in the 1970s, relating them to the growth of the entrepreneurial art market of the early 1980s.
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Gustafsson, Sofia. "Uppror och solidaritet : 1960- och 1970-talets politiska uttryck i den svenska affischkonsten." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-103847.
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Under det svenska 1960- och 1970-talet engagerade sig det svenska folket i en rad olika ideologiorienterade organisationer, internationella frågor eller folkrörelser, något som även tog sitt uttryck i kulturen. Mitt syfte med denna uppsats är att undersöka ett urval politiska affischer, utifrån Michael Baxandalls teori "The period eye", hur 1960- och 1970-talets konst påverkades av samtidens samhällstrukturer och politiska engagemang. Min tyngdpunkt kommer att ligga i de politiska affischer som på något sätt hade en anknytning till en alternativ rörelse, såsom Miljörörelsen, Kvinnorörelsen och Vietnamrörelsen. Men även den den svenska konstscenen i stort kommer att tillföras till undersökningen som en komplettering till förståelsen av affischernas uttryck och funktion, som ofta fabricerades utanför institutionella sammanhang. Dessa frågeställningar vill jag besvara med hjälp av den historiska bakgrunden och min analys: Vilka orsaker ligger bakom användandet av konstnärliga affischer vid spridningen av politisk propaganda? Det vill säga: Vilka faktorer gjorde att affischen användes flitigt som medium av de alternativa rörelserna istället för annan bildkonst? Hur kan den politiska andan från decennierna urskiljas konkret i affischerna? Hur skiljer sig affischkonsten från den mer institutionella konsten under dessa två decennier? Utifrån mina frågeställningar kommer jag att analysera tre politiska affischer genom att sätta in dem i ett historiskt perspektiv, vilket är deras samtid, 1960- och 1970-tal. Viktigt i det historiska perspektivet kommer att vara; de ekonomiska förutsättningarna, politikens uttryck i de olika sociala rörelserna, de internationella frågorna som präglade den svenska inrikespolitiken, synen på kulturarbetarnas politiska ansvar och konstnärens roll som politisk aktör.
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McCredie, Athol. "Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University." Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.
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This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.
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MARI, CHIARA. "ARTISTI E RAI 1968 - 1975. LA TELEVISIONE PUBBLICA ITALIANA COME SPAZIO D'INTERVENTO ARTISTICO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6145.
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La tesi analizza le collaborazioni di alcuni protagonisti della ricerca artistica contemporanea con la Rai tra gli anni Sessanta e Settanta. Dopo un capitolo introduttivo che ripercorre nelle sue linee principali le origini del dibattito critico italiano intorno al tema dei rapporti fra artisti e televisione, lo studio si concentra sul periodo 1968-1975, quando da un lato la Rai si apre maggiormente all’attualità artistica, dall’altro gli sviluppi dell’arte in direzione ambientale e performativa e le prime sperimentazioni video creano le premesse per interventi negli spazi della televisione pubblica. Il dialogo aperto da queste collaborazioni è particolarmente significativo perché rovescia la prospettiva con cui la Rai ha prevalentemente guardato l’arte contemporanea. La ricerca artistica si insinua nella programmazione ordinaria, oltre i confini del programma specialistico sull’arte, innescando riflessioni che vanno sempre al di là di un contributo “decorativo”, scenografico, educativo o divulgativo. Gli interventi artistici pensati per gli schermi Rai sono specchio di un contesto culturale assai più ampio e la loro analisi permette uno sguardo trasversale sul panorama artistico a cavallo dei due decenni, aprendo direzioni di riflessione nelle storie dell’arte più note di quegli anni e nella storia della televisione culturale italiana.<br>This thesis investigates the collaboration between leading figures of contemporary art and Italian public broadcaster Rai in the 1960s and 1970s. The opening chapter provides an overview of the early debates in Italian art criticism on the relationship between artists and television. The study then focuses on the period 1968-1975. On the one hand, Rai was increasingly opening up to contemporary art during this time; on the other, the emergence of environment and performance art and the early experimentations with video were creating the conditions for artists to work in the space of public television. The exchanges arising from these collaborations are particularly significant because they reverse Rai’s prevalent approach to contemporary art. By going beyond specialist cultural programming and creeping into ordinary programmes, art makes a contribution which always transcends a merely ‘decorative’, scenographic or educational purpose. Artists’ work for Rai reflects a much wider cultural context, and its analysis offers a broad view of the art scene at the turn of the decades, providing new directions for exploration of the more well-known art histories of those years and of the history of cultural television programming in Italy.
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Sanmanee, Sirichai. "Use of GIS to Identify and Delineate Areas of Fluoride, Sulfate, Chloride, and Nitrate Levels in the Woodbine Aquifer, North Central Texas, in the 1950s, 1960s, 1970s, 1980s, and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2869/.
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ArcView and ArcInfo were used to identify and delineate areas contaminated by fluoride, sulfate, chloride, and nitrate in the Woodbine Aquifer. Water analysis data were obtained from the TWDB from the 1950s to 1990s covering 9 counties. 1990s land use data were obtained to determine the relationship with each contaminant. Spearman's rank correlation coefficients and Kruskal-Wallis tests were used to calculate relationships between variables. Land uses had little effect on distributions of contaminants. Sulfate and fluoride levels were most problematic in the aquifer. Depth and lithology controlled the distributions of each contaminant. Nitrate patterns were controlled mainly by land use rather than geology, but were below the maximum contaminant level. In general, contaminant concentrations have decreased since the 1950s.
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Pismel, Ana Paula Cattai. "Schenberg e as Bienais." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29112018-122706/.
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Este estudo objetivou evidenciar a atuação de Mario Schenberg na organização das Bienais Internacionais de São Paulo enquanto crítico de arte, nas décadas de 1960 e 1970. Foi analisado o envolvimento do crítico na Sala Especial do pintor Alfredo Volpi na VI Bienal (1961), bem como sua participação no júri de seleção da representação brasileira na VIII, IX e X Bienais (1965, 1967 e 1969). Foi examinada, ainda, a participação de Schenberg nas Mesas Redondas promovidas pela Associação Internacional de Críticos de Arte junto às edições de 1969 e 1971 (X e XI Bienais). A investigação tomou por fontes primárias as críticas originais do Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP escritas no período delimitado, bem como os demais livros, artigos e entrevistas do crítico; acrescente-se a esse material as entrevistas realizadas com artistas, curadores e cientistas que conviveram com Mario Schenberg nessas duas décadas. Além disso, foi realizado um levantamento documental no Arquivo Histórico Wanda Svevo, da Fundação Bienal. A presença do crítico no certame se deu, em primeiro lugar, por conta de sua proximidade com os artistas e seu interesse pela arte e, em segundo lugar, por sua capacidade de trazer um novo olhar para com as obras de arte, que poderia agregar a singularidade da figura de Mario Schenberg aos quadros da Bienal. Ao entender que era função do certame promover visibilidade para os novos artistas que começavam a desenvolver seu trabalho e a definir novos caminhos para a arte, o crítico assumiu o papel de facilitador da aceitação de novos artistas e tendências na representação brasileira das Bienais.<br>This study had the objective of highlighting Mario Schenberg\'s action in the Sao Paulo\'s International Biennial organization while art critic, in the decades of 1960 and 1970. It was analysed the critic\'s involvement in the painter Alfredo Volpi\'s Special Room in the VI Biennial (1961), as well as his participation on the selection jury of the brazilian representation on the VIII, IX and X Biennials (1965, 1967, 1969). It was examined, still, Schenberg\'s participation on the round tables promoted by the International Association of Art Critics on the 1969 and 1971 (X e XI Biennials) editions. The investigation considered by primary sources the original critics of the Mario Schenberg\'s Center of Documentation Research in Art - ECA/USP written in the defined period, as well as the other books, articles and interviews from the critic; add to this material the interviews with artists, curators and scientists who lived with Mario Schenberg in these two decades. In addition to that, a documental survey was carried out in the Wanda Svevo\'s Historical Archive from the Biennials Foundation. The critic\'s presence in the field was due, in first place, by his proximity to the artists and his interest for the art and, in second place, for his capacility of bringing a new view to works of art, which could add the singularity of Mario Schenberg\'s figure to the Biennial\'s work of art. In understanding that it was the fields function to promote visibility to the new artists who were starting to develop their work and define new ways for the art, the critic took upon him the role of facilitator on the acceptance of new artists and tendencies on the brazilian representation of the Biennials.
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Cornish, Patricia Branco. "Artistas mulheres na ditadura brasileira: os casos de Wanda Pimentel e Teresinha Soares." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-12122018-120942/.
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Este estudo investiga as produções artísticas de Wanda Pimentel e Teresinha Soares em meados da década de 1960 e início da década de 1970, com o objetivo de analisar a questão de gênero e a construção da subjetividade feminina. A pesquisa buscou analisar as relações estéticas das obras de Pimentel e Soares à luz das influências das teorias feministas que migravam dos Estados Unidos para o Brasil ao final dos anos de 1960. A partir disso, destacou as relações teóricas entre as questões de gênero e as práticas artísticas das vanguardas brasileiras. Ademais, esta pesquisa tratou da circulação das obras de Pimentel e Soares, visto que as artistas estiveram inseridas no circuito de arte brasileiro em exposições coletivas, salões e bienais no período estudado. Esse contexto de circulação permitiu uma visão crítica frente à retomada das obras dessas artistas em exposições internacionais nos últimos três anos, em virtude de uma política revisionista dos museus acerca das questões de gênero e da produção artística de países à margem dos centros culturais canônicos. O estudo amplia o conhecimento acadêmico sobre as produções artísticas realizadas por mulheres nas décadas de 1960 e 1970, que adotaram a crítica feminista sem se ater a movimentos sociais, contribuindo para o debate sobre a suposta marginalidade da mulher no circuito de arte brasileiro durante a ditadura militar.<br>This study investigates the artistic productions of Wanda Pimentel and Teresinha Soares in the mid - 1960s and early 1970s, with the objective of analysing the issue of gender and the construction of female subjectivity. The research seeks to analyse the aesthetic relations of the works of Pimentel and Soares in light of the influences of feminist theories that migrated from the United States to Brazil in the late 1960s. This highlights the theoretical relations between gender issues and the artistic practices of the Brazilian vanguard. In addition, this research looks at the circulation of the works of Pimentel and Soares given that both were part of the Brazilian art circuit in collective exhibitions and biennials in this period. This context of the circulation of art allows a critical view of the return of the work of these artists to international exhibitions in the last three years; a return driven by the revisionist policies of museums on issues of gender and artistic production in countries outside the canonical cultural centres. The study expands the academic knowledge about artistic productions made by women in the 1960s and 1970s, who adopted a feminist critique without reference to social movements, contributing to the debate about the supposed marginalisation of women in the Brazilian art circuit during the dictatorship military.
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Adams, Beverly. "Locating the international : art of Brazil and Argentina in the 1950s and 1960s /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004205.
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Nachabe, Yasmine. "Marie al-Khazen's photographs of the 1920s and 1930s." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107742.
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Marie al-Khazen was a Lebanese photographer who lived between 1899 and 1983. Her photographs were mostly taken between the 1920s and 1930s in the North of Lebanon. They were compiled by Mohsen Yammine, a Lebanese collector who later donated the photographs to the Arab Image Foundation. Her work includes a collection of intriguing photographs portraying her family and friends living their everyday life in Zgharta. Al-Khazen seized every opportunity to use her camera to capture stories of her surroundings. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her device by staging scenes, manipulating shadows and superimposing negatives to produce different effects in her prints. Within the borders of her photographs, bedouins and European friends, peasants and landlords, men and women, comfortably share the same space. Most of Marie al-Khazen's photographs, which are circulated online through the Arab Image Foundation's website, suggest a narrative of independent and determined Lebanese women. These photographs are charged with symbols that can be understood, today, as representative of women's emancipation through their presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking a cigarette, driving a car, riding horses and accompanying men on their hunting trips counter the usual way in which women were portrayed in 1920s Lebanon. The photographs can be read as a space for al-Khazen to articulate her vision of the New Woman or the Modern Girl as described by Tani Barlow in The Modern Girl Around the World. In this anthology, authors like Barlow point to the ways in which the modern girl "disregards the roles of dutiful daughter, wife and mother," in seeking sexual, economic and political emancipation. Al-Khazen's photographs lead me to pose a series of questions pertaining to the representation of femininity and masculinity through the poses, reasoning, and activities adopted by women and men in the photographs. The questions which frame this study have to do with the ways in which notions of gender, class and race are inscribed within Marie al-Khazen's photographs.<br>Marie al-Khazen est une photographe libanaise qui vécut entre 1899 et 1983. La plupart de ses photos furent prises dans les années vingt et trente dans la région de Zgharta au Nord du Liban. Ces photos font partie de la collection de Mohsen Yammine, un collectionneur libanais. Elles sont actuellement conservées dans les archives de la Fondation de l'image Arabe à Beyrouth et sont disponibles en ligne sur le site internet de la Fondation. Le corpus d'al-Khazen est constitué d'un ensemble de photographies captivantes qui représentent le quotidien de sa famille et de ses amis à Zgharta. Al-Khazen saisissait son milieu social grâce à son appareil photo. Néanmoins, elle ne se contentait pas de documenter ses excursions touristiques au Liban; elle explorait également les capacités techniques de son appareil photo en inventant des scènes photographiques et en manipulant les ombres dans l'espace photographique. Au travers de ses photos on retrouve les effets surréalistes qu'elle créait – peut-être intentionnellement – en faisant des tirages de deux négatifs superposés. Dans le cadre de ces images, on retrouve des bédouins et des Européens, des paysans et des bourgeois, des femmes et des hommes se partageant le même espace. La plupart des photos de Marie al-Khazen évoquent les destins de femmes indépendantes et engagées. Ces photos sont chargées de symboles qui suggèrent une représentation de la femme émancipée. A travers le corpus d'al-Khazen, des femmes apparaissent en train de fumer des cigarettes et de conduire des automobiles. On retrouve également des femmes qui accompagnaient les hommes dans leurs excursions de chasse. Ces photos semblent incompatibles avec la façon dont les femmes étaient représentées dans la presse des années vingt au Moyen Orient où les femmes, en général, évitaient de se montrer dans des endroits publiques. Je propose une lecture qui articule la façon dont al-Khazen a utilisé l'espace photographique pour manifester sa vision de la nouvelle femme: la femme moderne comme celle décrite par Tani Barlow et ses collègues dans The Modern Girl Around the World. Cette anthologie représente la "modern girl" qui, selon Barlow et ses collègues, "disregards the roles of dutiful daughter, wife and mother," en recherchant une émancipation sexuelle, économique et politique.Les photos d'al-Khazen m'incitent à interroger de façons multiples la représentation de la femininité et la masculinité à travers le comportement, le raisonnement, et les activités des femmes et des hommes dans ces photographies. Ces questions s'adressent à la sociologie de l'identité sexuelle et se proposent d'analyser la façon dont cette identité est évoquée dans les photos de Marie al-Khazen.
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Malmaceda, Luise Boeno. "O eixo sul experimental: conceitualismos e contracultura nos cenários artísticos de Curitiba e Porto Alegre, anos 1970." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-23072018-143827/.
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Esta dissertação busca mapear as redes de artistas, intelectuais e eventos responsáveis, na década de 1970, por introduzir discussões e linguagens da arte contemporânea no eixo Sul do Brasil. Para tanto, debruça-se sobre os maiores centros urbanos da região, cujos campos artísticos estão mais bem estruturados e são mais longevos, as capitais Curitiba (PR) e Porto Alegre (RS). Por meio especialmente de pesquisa de arquivo e entrevistas, são analisadas as especificidades socioculturais e políticas que conformaram as condições para a emergência de um campo de liberdade artística e ruptura de cânones dos chamados anos de chumbo do regime ditatorial ao início do período da redemocratização. Privilegiam-se, nos estudos de caso, ações coletivas e experimentais ligadas aos conceitualismos nas artes visuais que procuraram romper com as tradições e discursos regionalistas, expandindo as fronteiras estatais , concebidas por agentes envolvidos com o pensamento contracultural em voga a partir do final dos anos 1960.<br>This dissertation seeks to map the networks of artists, intellectuals and events responsible, in the 1970s, for introducing discussions and languages of contemporary art in the Southern axis of Brazil. As such, it focuses on the regions largest urban centers, the capitals Curitiba (PR) and Porto Alegre (RS), whose artistic fields are better structured and longer-lived. Especially through archival research and interviews, the sociocultural and political specificities that shaped the conditions for the emergence of a field of artistic freedom, of rupture from canons, are analyzed from the so-called anos de chumbo of the dictatorial regime to the beginning of redemocratization. In the case studies, greater attention is given to collective and experimental actions linked to conceptualisms in visual arts which sought to break from regionalist traditions and discourses, expanding the state boundaries conceived by artists involved with the countercultural thinking, in vogue since the early 1960.
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Huang, Qing. "Fashioning Modernity and Qipao in Republican Shanghai (1910s-1930s)." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429701221.
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Hinchcliffe, Daniel. "Collaboration and partnership in Public Art in Birmingham from the 1980s to the 1990s." Thesis, University of Wolverhampton, 1998. http://hdl.handle.net/2436/88295.
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Gilbert, Susannah. "Transgressive networks : mail art, circulation and communication in and out of Latin America, 1960s-1980s." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605175.
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The circulation of ideas and images outside institutions, particularly mail art and its legacies, has been neglected in art history, while many mail art works remain un-researched and un-exhibited. The reappraisal of mail an networks provokes a critical examination of the historical moment of the 1960s to 1980s, as well as its relationship to present day art practice. This thesis tells some of the stories of mail art's complex history across and beyond Latin America, tracing a multifaceted trail of contacts and exchanges both within and outside the continent. It considers the ways in which artists used cultural and geographical distance productively to rethink key issues in art to question the status of the an object, to disavow the institutionalised art world and to propose new forms of expression and community. In so doing, the thesis probes some of the most fundamental issues facing those thinking about transnational artistic production from the 1970s until the present day. The thesis is not a straightforward history of the mail art movement in Latin America. Rather, it attempts to harness the aesthetic of chance, disarray and transgression that marks mail art, focusing on 'nodes' in the mail art network and radiating outwards. These crucibles of activity include the group of mail artists active in Recife (particularly Paulo Bruscky) and the Museum of Contemporary Art at the University of Sao Paulo (MAC-USP) in Brazil; the Beau Geste Press in the UK, run by David :Mayor, Felipe Ehrenberg and Martha Hellion; the small city of La Plata (through the work of Edgardo Antonio Vigo) and the Buenos Aires-based Centre for Art and Communication (CAYC) in Argentina; as well as Clemente Padio's activities in Montevideo, Uruguay. While the study focuses on a core group of artists hailing from Latin American countries, at times we find ourselves in the UK, East Germany or North America, echoing mail art's ability to transcend borders and geographical boundaries. The transgression of a host of ordering systems emerges as a central preoccupation of artists within this network.
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Singh, Devika. "Modern India and the Mughal past : receptions, representations and the writing of Indian art history, 1920s-1960s." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648374.
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GENTILE, FRANCESCA. "COMUNITA' ESTETICHE E COMUNITA' ETICHE IL TEATRO DI GRUPPO IN ITALIA IL CASO DEL TEATRO DEL MAGOPOVERO (1971-1989)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/264.
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La ricerca ricostruisce le vicende della scena italiana tra gli anni '70 e gli anni '80 e, più nello specifico, il fenomeno del teatro di gruppo, di quelle formazioni cioè che hanno sperimentato con più profondità la questione di un'azione comunitaria attraverso lo strumento del teatro. La ricostruzione di questo fenomeno, svolta all'interno di una premessa più generale sull'emersione di una tensione comunitaria in molte delle più importanti esperienze del teatro del Novecento, è stata effettuata attraverso l'analisi della vicenda artistica e sociale di uno dei più interessanti gruppi teatrali piemontesi: il Teatro del Magopovero di Asti, oggi Casa degli Alfieri. Si tratta di una esperienza, sorta negli anni Settanta nell'ambito del teatro di base, che più di altre ha saputo coniugare al proprio interno la tensione comunitaria, sul duplice versante del lavoro di gruppo e dell'azione sociale. La ricostruzione dell'evoluzione di questo gruppo ha permesso di rileggere le vicende della scena italiana e di mettere a fuoco come la tensione etica alla base di questi gruppi sia stata in grado negli anni di evolversi e tradursi in una dimensione estetica, mantenendo sempre alta l'attenzione al radicamento territoriale, culturale e sociale dei propri esisti artistici.<br>The research goes trough the Italian scene in - between the 70's and the 80's, in particular it focuses on the group's theatre: teams who experimented deeply a community action with a theatre instrument.
The study takes as example the “Teatro del Magopovero”, now “Casa degli Alfieri”, one of the most interesting theatre groups of Piedmont, as a significant occurrence of the artistic and social phenomena of the theatre of the last century which aims to the ensemble .
This group was founded in the 70's as a community-based theatre: it's an interesting instance of group /team working and social action.
The evolution of the team building of this group shows the changes in the Italian history and stresses out how the strong ethic goal of this groups has been able to change in a aesthetic element, keeping high attention to the cultural and social network with the community in their performances.
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Field, Andrew Thomas. "How can performance act historiographically? : enacting the New York avant-gardes of 1960s and early 1970s." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3711.
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This thesis is concerned with extending the role that live performance might play in our understanding of the work of the interrelated avant-garde performance communities that emerged in New York in the 1960s and early 1970s. This is a practice-led project that uses my own performance work as the site of its enquiry. In the last decade performance itself has begun to play a significant role in our understanding of and relationship to past performances, in the main through the increasing pervasion of re-enactment as an acknowledged historiographical trope. However, as a consequence of its association with re-enactment, the nature of the historiographical role afforded to performance is still primarily determined by its proximity to the archive and institutionalised modes of performance history. Challenging the primacy of the re-enactment as a means of embodied engagement with past performance, this research project explores how manipulation of my own performance practice might generate new forms of historical knowledge. In particular my focus is on using this practice to develop a new understanding of how the work of this earlier period altered y the experience of the urban landscape for those participating in the work, audience and performers alike. Structured around a rigorous analysis of three specific works from across this earlier period, I conceived a series of spatial ‘blueprints’ that were applied to my practice to create three new performance pieces. Using my own research and practice to renegotiate the relationship between live performance and the archive, I demonstrate the possibility for a new historiographical approach to past performance. This approach emphasises the role of the participants in the performance as generators of an alternative form of historical understanding embedded in ways of operating in the city.
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McMillon, Keri Leigh Rogers. "Comparison of College Student Leadership Programs from the 1970s to the 1990s." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279328/.
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The primary concerns of this study were to describe the most common practices of current college student leadership training programs in the United States and to compare the 1979 and 1997 findings by replicating the 1979 Simonds study. This study provides an overview of related literature on the history of leadership theory and the research on leadership training in higher education, a detailed description of the methodology, results of the survey, a comparative analysis of the 1979 and 1997 findings, and discussion of the current status of leadership training at institutions of higher education. Conclusions are drawn, and implications and recommendations for student affairs professionals are made that may improve the quality of student leadership in higher education.
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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.
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Washington, Tiffany Elena. "Selling Art in the Age of Retail Expansion and Corporate Patronage: Associated American Artists and the American Art Market of the 1930s and 1940s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1349292575.
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Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.
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This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
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Iturralde, Mantilla Diana. "Between New York and the Andes, Abstraction and Indigenismo: Camilo Egas's Paintings from the 1940s and 1950s." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/506052.
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Art History<br>M.A.<br>Recent studies of Andean Indigenismo and Andean abstraction tend to overlook the intersections between these two artistic trends, as well as schematize the production of artists who experimented with both. The scholarship on Ecuadorian artist Camilo Egas, for example, only focuses on his role as a precursor of Indigenismo without delving into the diverse artistic styles that intertwine in his transnational career. Such selective interest in his Indigenist production, which tends to focus on his early works from the 1910s to the 1930s in Ecuador, Paris, and the first decade in New York, might be related to the fact that his oeuvre from those periods can be clearly connected to documented developments of modern nationalist painting in the Andean region. Yet, this gap in art historical studies ignores the compelling visual experimentations that Egas undertook in the 1940s and 1950s while residing in New York. Particularly interesting is an exhibition of these works organized in Quito in 1956 by the Casa de la Cultura Ecuatoriana, and Egas’s peculiar avant-gardist role in the country’s artistic milieu, at a time when Indigenismo, the country’s dominant aesthetic trend, was being challenged by other alternatives. In this thesis, I examine Egas’s position in-between two different contexts, cultures, and temporalities, which informed artistic experimentations and how these two contexts did not necessarily ascribe to the same ideas of modernism and art’s role in society. This thesis is based in archival research conducted both in Quito, Ecuador, and in New York. From May 2017 to February 2018 I visited several archives in public institutions and private holdings in both countries in search of the exhibited artworks, exhibition ephemera, written reviews of the work, relevant correspondence, Egas’s personal documentation of his work, and other existing academic material, to inform my research and writing.<br>Temple University--Theses
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Yang, Wen-I. "Negotiating traditions Taiwanese art since the 1980s /." [S.l. : s.n.], 2005. http://nbn-resolving.de/urn:nbn:de:bsz:16-opus-59839.
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Bollivier, Patricia de. "Art contemporain réunionnais, art contemporain à la Réunion : construction locale de l'identité et universalisme en art en situation post-coloniale." Paris, EHESS, 2005. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/M/TH_EHESS_Bollivier_2005.pdf.
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À La Réunion, depuis la décentralisation, les politiques culturelles véhiculent de fortes revendications identitaires fondées sur les multiples appartenances territoriales de la société réunionnaise, son histoire et sa population spécifiques. Cette thèse propose, après un historique du développement culturel, une étude du champ des arts plastiques et de l'art "contemporain", que nous posons comme émergeant dans La Réunion des annnées 80-90, avec une mise en perspective des enjeux politiques, esthétiques, éthiques. La production classée comme "art contemporain réunionnais" a-t-elle un caractère spécifique ? La réponse se trouve-t-elle dans les oeuvres ou dans les discours qui les légitiment ? Quelles stratégies identitaires sont à l'oeuvre dans le processus d'homologation de l'art dans cette société créole où la France est longtemps restée seule garante des labels esthétiques et culturels ? In fine, c'est la question postcoloniale de l'émergence de nouvelles "centralités" qui apparaît<br>Since the decentralisation policy (initiated by the French government during the 1980s), cultural policies in La Réunion (French overseas department -DOM- in the Indian Ocean) have been enabling strong identity claims founded on the multiterritorial belonging and the specific history and population of La Réunion's society. Based on an initial historic approach of cultural development (in La Réunion), this thesis suggests the study of the field of visual arts and "contemporary" art emergent in La Réunion during the 1980s and 1990s, with a particular focus on the political, aesthetic and ethical issues herein involved. Does the production of what has been classified as "contemporary Reunion art" contain a specific character? Is the answer to this question to be found in the artworks themselves or within their legitimizing discourses? Which identity strategies are "at work" in the art homologation process in this Creole society in which "France" has long been the only reference for aesthetic and cultural labelling? This is the main question of this work
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Jones, Michelle. "Less than art - greater than trade : English couture and the Incorporated Society of London Fashion Designers in the 1930s and 1940s." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1676/.
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This study examines the creation and professionalisation of a recognisable English couture industry in the mid-twentieth century and in particular the role designer collaboration played within this process. The focal point is the Incorporated Society of London Fashion Designers, a design group established as a wartime measure in order to preserve and protect a number of London’s made-to-measure dress houses and to promote the creative aspirations of the wider British fashion industry. The focus on this specific design group and collaborative practice, rather than the individual couturiers, offers an exceptional case study of designers working in association and the impact this can have on design practice. A number of central themes emerge that focus on the networks and mediated representations that supported this field of design. In dealing with these themes this study recognises that the Incorporated Society’s formation and operation did not occur in a vacuum but within a specific industrial, political, economic and social infrastructure. It therefore explores the networks and narratives that were used to sustain its specific form of luxury fashion production throughout a particularly turbulent period. Today London is acknowledged, alongside Paris, New York and Milan, as one of the world’s major fashion cities and this thesis aims to achieve a better understanding of the role couturier-collaboration played in the early development of this recognition. Through the analysis of an extensive range of previously unconsidered primary material it questions whether and how, through the process of collaboration, the London couturiers established unprecedented and much needed cohesion for British design talent and the exact nature of their role within the construction and understanding of London as an internationally recognised fashion centre. The period under consideration allows not only an exploration of the creation of a London couture industry but also the cultural politics of design practice throughout a difficult period of economic depression, war and post-war reconstruction. In so doing, it explores the wider significance of the Incorporated Society’s elite made-to-measure dressmakers both for and beyond the discipline of Design History.
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Carty, Bridget Mary, and n/a. "Managing Their Own Affairs: The Australian Deaf Community During the 1920s and 1930s." Griffith University. School of Education and Professional Studies, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060123.131332.
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This thesis examines the development of and interrelationships among organisations in the Australian Deaf community during the early part of the 20th Century, particularly during the 1920s and 1930s. It focuses on those organisations which Deaf people attempted to establish themselves, or with hearing supporters, in response to their rejection of the philosophy and practices of the existing charitable organisations such as Deaf Societies and Missions. It also analyses the responses of the Societies and Missions to these moves. The thesis adopts a social history perspective, describing events as much as possible from the perspective of the Deaf people of the time. These developments within the Deaf community were influenced by wider social movements in Australian society during these decades, such as the articulation of minority groups as 'citizens', and their search for 'advancement', autonomy and equal rights. Australia's first schools and post-school organisations for Deaf people were closely modelled on 19th Century British institutions. The thesis describes the development of these early Australian institutions and argues that Deaf people had active or contributing roles in many of them. During the early 20th Century most of these organisations came under closer control of hearing people, and Deaf people's roles became marginalised. During the late 1920s many Deaf adults began to resist the control of Societies and Missions, instead aspiring to 'manage their own affairs'. In two states, working with hearing supporters, they successfully established alternative organisations or 'breakaways', and in another state they engaged in protracted but unsuccessful struggles with the Deaf Society. Australian Deaf people established a national organisation in the 1930s, and this led to the creation of an opposing national organisation by the Societies. Most of these new organisations did not survive beyond the 1930s, but they significantly affected the power structures and relationships between Deaf and hearing people in Australia for several decades afterwards. These events have been largely ignored and even strategically suppressed by later generations, possibly for reasons which parallel other episodes of amnesia and silence in Australian history.
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Robles, Elizabeth K. "Disruptive aesthetics: black British art since the 1980s." Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683384.
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This thesis encompasses an art historical reassessment of artists and art works that have, with few exceptions, been consumed by discourses of cultural theory and sociology. Building on the foundations laid by Kobena Mercer in 'Iconography After Identity', it aims to contribute to a still emerging art history that maps the dialogues and developments produced by black British artists during and after the 1980s onto the broader stories of British and twentieth century art as a whole. l At its root is an attempt to trace an alternative iconography within a wide breadth of works by artists including Sonia Boyce, Lubaina Himid, Rotimi Fani-Kayode, Joy Gregory and Faisal Abdu' Allah, among others, through an exploration and interrogation of 'disruptive aesthetics' as a methodological tool for rethinking 'black British' art By isolating and examining a number of recurring themes and images across the 1980s and 1990s (the restaging of canonical images, hair and hairstyling, the 'ethnic' mask, space and place) grouped together as case studies, it offers a sustained engagement with art objects as documents of subjectivity rather than symptoms of diaspora.
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Grace, Claire Robbin. "Group Material and the 1980s: A Materialist Postmodernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11662.
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Group Material's seventeen-year collaboration began in New York in 1979 through the artists' shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM's cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Félix González-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM threw open the class coordinates of art's public and introduced a distinct set of responses to the central problematics of 1980s art: the debates over representation, appropriation, painting, public space, and activism.<br>History of Art and Architecture
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Foster, Michael E., and n/a. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975." Griffith University. School of Arts, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040810.091417.
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The thesis investigates the field of Theatre practice variously referred to as alternative, non-mainstream, avant-garde, community or fringe theatre. I have suggested the term 'Radical Group Theatre' - a term which, I believe, best encompasses the sector formerly represented by this diverse body of theatre practice. I focus on the relationship between theoretical and practical paradigms, and debates surrounding them; theatre making processes; and directorial practice in a theatre form which has emerged as a distinctive set of characteristics, ideological frameworks and practices in the Australian context. The work is strongly informed by the perspectives and practices of a range of major contributors to the field. It notes the inadequacy of conventional analytics and established understandings of the theory/practice nexus for exploring Radical Group Theatre, and establishes an alternate set of frameworks. These enable fresh engagement with the development and current praxis of an important theatre form which has not previously been considered as a whole field yet has taken particularly exciting directions in Australia over the past three decades. Methodology and objectives: An important aspect of the study is the way in which the research methodology parallels the practice under investigation. That is, the practice of Radical Group Theatre in Australia mirrors the 'Reflective Reflexive Loop' which I propose as the pre-eminent principle of the praxis. The methodology has developed out of my Masters degree research which was an interrogation of my directorial practice in the field of Youth/Community theatre, 1976-1989. I was further interested to analyse the field of group theatre to determine whether common key principles identified as characteristics of the form in the earlier study constituted the basis for an analytical model of Radical Group Theatre praxis. The investigation for this thesis began with a project designed to synthesise the essential qualities of directorial practice: the qualities of the good director, the major influences on practice, and the expectations participants have regarding the function of the director. The preliminary findings formed the basis for a comparative study which sought answers to the key questions as they apply to a pre-professional radical theatre setting - university student theatre. This project gave birth to the focus questions of the study which established the theoretical and methodological frames for the thesis.
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Taylor, Alex J. "Forms of persuasion : art and business in the 1960s." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7dc16529-27d9-4b3c-97f8-814dffb0019e.
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In the 1960s, art and business engaged in a sweeping but now largely forgotten romance. Corporations rushed to install art in their foyers and on their urban plazas. Many bought or commissioned works of art to display inside their factories and offices. They reproduced art in their advertisements and annual reports, and profiled it in press stunts and photo ops. They developed promotional art exhibitions that toured across the country and around the world. This dissertation considers how such artworks supported – but also sometimes disrupted – the marketing, public relations, lobbying and personnel strategies of large-scale corporate enterprise. By reconstructing this diverse field, this dissertation contends that art was a key tool for the burgeoning ‘persuasion industry’ of the sixties. Both in the United States and further afield, artists and businesses worked together to make artworks function as ‘forms of persuasion’, instruments by which the consensus of the corporation’s constituents – workers, consumers and regulators – could be secured. The case studies focus on range of companies active in this field, exploring the phenomenon in three thematic chapters, covering the use of pop art by the packaged goods business, the role of abstract painting in the workplace and the value of metal sculpture for the steel industry. It is argued that the practices described through these examples represent a defining cultural phenomena of sixties art, one that challenges the conventional art historical alignment of its avant-garde with the decade’s famed radical politics, protest and counterculture.
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Dyck, Sandra. "These things are our totems : Marius Barbeau and the indigenization of Canadian art and culture in the 1920s /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26893.pdf.
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Dyck, Sandra. "These things are our totems Marius Barbeau and the indigenization of Canadian art and culture in the 1920s /." Ottawa : Library and Archives Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26893.pdf.
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Kittler, T. "Living art and the art of living : remaking home in Italy in the 1960s." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1435866/.
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This thesis focuses on the social, material, and aesthetic engagement with the image of home by artists in Italy in the 1960s to offer new perspectives on this period that have not been accounted for in the literature. It considers the way in which the shift toward environment, installation and process-based practices mapped onto the domestic at a time when Italy had become synonymous with the design of environments. Over four chapters I explore the idea of living-space as the mise-en-scène, and conceptual framework, for a range of artists working across Italy in ways that both anticipate and shift attention away from accounts that foreground the radical architectural experiments enshrined in MoMA’s landmark exhibition Italy: the New Domestic Landscape (1972). I begin by examining the way in which the group of temporary homes made by Carla Accardi between 1965 and 1972 combines the familiar utopian rhetoric of alternative living with attempts to redefine artistic practice at this moment. I then go on to look in turn at the sculptural practice of artists Marisa Merz and Piero Gilardi in relation to the everyday lived experience of home. This question is first considered in relation to the material and psychic challenges Merz poses to the gendering of homemaking with Untitled (Living Sculpture) 1966. I then go on to explore the home, as it might be understood in ecological terms, through an examination of the polyurethane microhabitats made by Gilardi. These themes are finally drawn together by looking at a radically different type of work, Carla Lonzi’s book Autoritratto (1969). By examining the images interspersed throughout Autoritratto I consider how this book plays out the lives of fourteen prominent artists to create the semblance of an everyday shared lived experience.