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DE, SANTIS FEDERICA. "APPROPRIATION ART E DIRITTO D'AUTORE." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/253310.
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Appropriation Art is generally defined as a form of contemporary art which borrows images from popular culture, advertising, the mass media, other artists and elsewhere, and incorporates them into new works of art. By taking these items out of their contexts and presenting them in new forms, combinations, or contexts, artists transform their meaning and force the viewer to reconsider his or her former understandings about a certain image. Appropriation art traces its origins back to Conceptual Art and, before, to the “readymades” of Marcel Duchamp, works (objet tout fait) consisting entirely of everyday objects presented largely unchanged as “art.” The originality and artistic value of these kinds of works lies in the new meaning associated with the work and in the artistic gesture, and not in its external aspect or form.
Under a legal perpective, the main question arising out of Appropriation Art is whether the second work is a copy (thus, a counterfeit), a derivative work (requiring the copyright owner’s consent to exploit the work of art) or, instead, a totally new and original work. To answer this question, this dissertation examines whether the appropriation artwork can be considered original under a copyright law standpoint, and analyzes the relationship between the appropriated work and the second work. Sometimes the works of Appropriation Art can be considered lawful as parody, insofar as they transform the meaning of a previous work for comic effect, creating a new artwork.
This dissertation also analyzes the transformativeness relevant under the fair use analysis within US copyright system as well as the key fair use Appropriation Art cases handed down by US courts. In particular, the analysis focuses on the Jeff Koons and on the Mattel cases, and addresses the Cariou v. Prince case, relating to the alleged copy by renowned appropriation artist Richard Prince of Cariou’s portraits of Jamaican Rastafarians for use in a series of paintings by Prince titled “Canal Zone”. In this case, the court held that the message behind the use of Cariou’s photos in “Canal Zone” was so different from Cariou’s message in the original portraits that Prince had transformed their meaning and therefore created new art. Italian courts addressed Appropriation Art only in one case, concerning the use by appropriation artist John Baldessari of certain works made by Alberto Giacometti.
Finally, it is necessary to analyze Appropriation Art also under a trademark law standpoint, to assess whether appropriation of a mark can be considered trademark infringement.
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Krueger, Pamela. "Counterfeit cultures, cultural appropriation, art by Native artists and Canadian art galleries." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ31446.pdf.
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Heger, Katrina. "Hope for Appropriation." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/497.
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This thesis presents the shortcomings of the Fair Use exemption within the Copyright Act through an in depth analysis of the recent Shepard Fairey v. Associated Press surrounding the well-regarded Hope Poster. The thesis critiques the unpredictability of the law, the copyright holder’s growing sense of monopolized ownership over her or his work, the complex facets of art that are overlooked in the court’s legal analysis, and finally, the social justice implications of the Copyright Act. The thesis argues that Fair Use should make room for appropriation art, otherwise successful and progressive artists, such as Shepard Fairey, will be discouraged from creating.
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Coulter-Smith, Graham. "Appropriation en abyme : the postmodern art of Imants Tillers." Thesis, De Montfort University, 2002. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247657.
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Noonan-Ganley, Joseph. "The contagion of desire : two case studies of appropriation art." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:d86430f7-41dd-4b85-b094-2e256b899d9c.
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My doctoral thesis is comprised of two bodies of research: two artworks taking the form of installations (videos, audio recordings, textiles, texts), which will be exhibited for viva. Femme Fabrications, 2016, is made from research into the American artist Joseph Cornell's (1903-1972) source materials held in the Smithsonian American Art Museum alongside research on Jean Wilkinson's 1977 book Flower Fabrications. A series of textile works encased in silk lined boxes trace my step-by-step construction of a rose from organdie. The floral emblem of the white rose (dried), 'death is preferable to a loss of innocence' , becomes an editing device, which I use to consider a number of possible recipients for the rose, such as Cornell himself. Spoken word audio recordings, which ruminate on how his sexuality pertain to the criteria of the rose are edited together with home-camcorder video footage of the house that Cornell lived in for most of his life - the house he made the entirety of his artworks within. Central to The Cesspool of Rapture, 2017, are moving-image studies of zippers, stains, rips, abrasions, openings, and closings in a series of dresses made by the American couturier Charles James (1906-1978). These videos register and move through the material research, the garments, at alternating speeds. The changing speed is registered in sound by clicks synced to each individual frame. It is at times violent and at other times tentative and gentle as the uncovering of the damage to the dresses unfolds. Audio recordings of James explicating his interests in eroticism and sexuality persistently interject the footage. This work includes the installation of a series of reconstructions of James's 1932 Taxi dress. Its black linen body is reconfigured and abstracted as the splayed design makes unfinished seams and unzipped zippers visible. In each artwork I configure viewing and consuming as a mode of authorship. I show how these diverse processes of identification become authored acts. When drawn into intimate relation with the leftover material of these historical authors, my contamination proves deviant: I gain possession of the capacity to speak for them, to expose, idolise, misrepresent, and fictionalise them. My thesis is composed of this group of methodologies, which were found and developed within the production of the artworks.
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Schaar, Elisa Frederica. "Deja-vu : the 'forerunners' of appropriation art c. 1964-1974." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567919.
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This historiographical thesis charts an aspect of the complex transition from pop to later appropriation art associated with the 1980s by examining forerunners of appropriation in the period from the emergence of pop's logic of serial repetition to the beginnings of 'pictures' in the mid- to late 1970s and their places in the relevant art-historical narratives. In view ofthe fact that the principal genealogies of appropriation have been conceptualist ones, this thesis reappraises the role of pop by considering readyrnade imagery, image.multiplication and the participatory aspects of Andy Warhol's Factory production in particular as enabling conditions for early appropriators Elaine Sturtevant and Richard Pettibone, who applied pop's serial logic to pop imagery itself and who marked out its divergent implications in the process. While I interpret Pettibone's pursuit of pop's simulacral aspects as a form of nostalgic prolonging related to photorealism and liken his small-scale, carefully crafted copies to souvenirs, I conceive of Sturtevant's performative practice of repetition as a way of abbreviating processes of production and of her works as conceptualist catalysts. If carrying forward pop's logic of serial repetition in neither case amounted to a systematic critique of modernist originality, the fictitious artist Hank: Herron, who was the subject of a hoax review in an anthology of conceptual art and who could appear modelled on Sturtevant specifically, entered the stage readily theorized in a way that anticipated the poststructuralist discourse of the copy and thus signalled a point of transition in the narratives. I propose that Sturtevant's practice of repetition still had a critical edge and show how its recent rediscovery was ironically channelled through a European reception context in which the initial closeness of her practice to pop did not compromise its perceived critical import. If the notion of 'appropriation' is commonly associated with the 'pictures generation' and if the deconstructive capacity of 'pictures' has been secured in the literature by way of reference to a conceptualist lineage conceived predominantly in terms of institutional critique, this thesis broadens the narratives by inserting precedents starting from pop.
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Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.
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La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentationThe present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
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Pettersson, Johanna. "Ett rollspel : självporträttet som iscensättning och appropriation." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-508.
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Mitt examensarbete behandlar frågeställningen: Hur gestaltar iscensatta och approprierade självporträtt identitet och kön/genus och vad får det för konsekvenser för hur vi betraktar oss själva och andra människor? Jag vill med min undersökning försöka problematisera och vidga sätten att använda självporträtt på som uppgift i skolan. Att visa upp hur samtida konstnärer jobbar med självporträtt, tror jag kan skapa en mer dynamisk bild av vad ett självporträtt är och kan vara för eleverna. Att göra ett självporträtt betyder inte att man måste visa sitt ”riktiga jag”. Det kan handla om att leka och försätta sig själv i olika roller, vilket kan upplevas som väldigt befriande och lustfyllt. I viss mån kan man säga att vi människor alltid spelar en roll, men i konsten kan man dra dessa roller till det extrema. I uppsatsen analyseras tre stycken självporträtt som alla är skapade efter 1980. De har alltså kommit till i vad man inom konsten kallar för postmodernismen. Det är Andy Warhols Self-portrait (in Drag), 1981, Cindy Shermans Untitled #224, 1990 och Charlotte Gyllenhammars Nachsagen – Ich und Meinhof (B 3), 2004. Urvalet är grundat på att konstnärerna i de här verken på ett tydligt sätt arbetar med självporträttet som iscensättning och appropriation vilket är det jag vill titta närmare på och undersöka. De huvudsakliga teoretiska perspektiven som används är semiotiken och psykoanalysen. I analyserna går jag först in på vad man inom semiotiken kallar för den manifesta nivån. Med andra ord en beskrivning av hur bilden är uppbyggd och vad som konkret finns där att se. Efter det går jag över på den latenta nivån, alltså vad dessa synliga tecken kan ha för underliggande betydelser. Resonemangen som uppstår ur detta kopplas sedan till teorier som framför allt kan knytas till psykoanalysen, som bland annat den manliga blicken, kvinnlig maskerad, kön och genus. I min gestaltning har jag arbetat med att göra egna iscensatta och approprierade självporträtt. I en serie fotografier och broderier har jag undersökt identitet och kön/genus på ett visuellt gestaltande plan. Parallellt med mitt skrivande har jag använt min egen kropp för att visa att vi människor är så mycket mer komplexa än de begrepp som vi tillskrivs. Det har varit fascinerande att få upptäcka hur bilden kan fungera som en plattform för ett rollspel som kan fortsätta i all oändlighet. De iscensatta och approprierade självporträtt jag analyserar visar att det inte är lika intressant att framställa sig själv så som vi är vana att traditionella självporträtt ser ut längre. Istället fokuserar konstnärerna på att försöka få oss att förstå att det sätt som vi ser oss själva och våra medmänniskor på är konstruerat av det samhälle vi lever i. En värld som upprättat två olika kön vilka tillskrivits olika egenskaper och attribut. Där kvinnan är objektet och mannen utgör normen för hela samhällskonstruktionen. Han har makten och det är hans begär som styr blicken. Andy Warhol, Cindy Sherman och Charlotte Gyllenhammar bilder bidrar alla till att ifrågasätta denna makt och blick. De är en del i arbetet att skapa medvetna betraktare som förstår att kvinnan inte är ett objekt och att maskuliniteten inte tillhör mannen och feminiteten inte tillhör kvinnan. För att kunna få en universell jämställd blick måste den manliga blicken analyseras och nedmonteras. Blicken kan förändras, men det förutsätter att vi ständigt ifrågasätter den. Att i bildundervisningen arbeta med frågor som rör identitet och kön/genus genom självporträtt tror jag kan bidra till att förändra synen på vad som är ”normalt”. Skolan är en plats där ungdomar dagligen försöker anpassa sig till rådande normer för att passa in och känna att de tillhör en grupp. Vi behöver öppna upp gränserna vi sätter upp för oss själva och andra. Den ”normala människan” existerar inte någon annanstans än i fantasin.BI/Konst
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Seck, Momar. "Appropriation d'objets et de matériaux de récupération dans l'art sénégalais contemporain." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00748257.
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Redonner une vie à un objet et à un matériau destinés à la destruction et à la disparition est devenu une préoccupation pour maints créateurs. Ce phénomène de détournement de l'usage de l'objet passe par le truchement et l'ingéniosité des mains de l'artiste pour devenir un objet d'art ou être prétexte à faire œuvre de création artistique. Ce détournement en acte de l'objet illustre parfaitement la porosité entre la sensibilité de l'artiste et son milieu de vie ou d'extraction. À cet égard la perméabilité de l'artiste à son milieu de vie analyse le renouvellement des visions, des pensées et des sensibilités que permet ce nouvel agencement des matériaux. Preuve en est ainsi faite que ni la pauvreté, ni l'abondance ne peuvent être des obstacles à la création, encore moins des freins à celle-ci. Et si l'objet perd ainsi sa fonctionnalité pratique et sociale pour laquelle il a été pensé, conçu et confectionné, il n'en est pas moins un dispositif de renouvellement du regard. De la fonction utilitaire première, il acquiert d'autres fonctions formelles dont celle de support de création esthétique aux enjeux divers. L'étude a pris en compte les années succédant aux indépendances des pays africains en général et du Sénégal en particulier. Ces indépendances projetaient de bâtir des nations, de créer et de développer des systèmes éducatif et judiciaire, et de préserver l'intégrité territoriale de ces nouveaux pays.C'est dans ce contexte politique et à la lumière de la politique culturelle, ainsi qu'à l'évolution de la première génération d'artistes que nous avons tenté de montrer la manière dont l'art de la récupération s'est introduit dans le langage ou l'expression plastique des artistes sénégalais contemporains.
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Robards, Andrew. "Repetition, revision, appropriation and the Western." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12843.
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The aim of this research paper is to demonstrate the innate dialogue that exists between the Western genre and Contemporary Art practice. Initially, the fundamental qualities of a ‘Classic’ Western are defined, before moving on to a broader examination of the genre’s key developments and evolutions post World War II. Using George Steven’s Shane as a case study, the paper traces the prominent position of appropriation inside the meta-cinematic form, whilst also tying various filmic examples to the practice’s of visual artists who employ congruous strategies when developing their own work. The paper concludes with a detailed exploration of my own creative practice, highlighting how my theoretical research has informed a body of work that employs prominent connections and appropriations from both cinematic and artistic forms of expression. The exhibited component of my studio research is a three part installation and accompanying online database of film stills. Each piece in the body of work explores the position of the Western genre in the cinematic and contemporary art contexts, representing a refined culmination of my various work and its development through a sustained process of visual and theoretical investigation. All four parts of the project employ the well established revisionist imperatives that characterise the Western and Contemporary Art spheres. Through the combination of these shared practices my work seeks to hybridise the two traditionally separate, but increasingly homogeneous creative mediums.
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Kouneni, Garyfallia. "Antiquity through medieval eyes : the appropriation of antique art in the Trecento." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/727.
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Tjernström, Sune. "Finrummets reklam : Appropriation av konstverk i annonser." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-14830.
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The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top; one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez’s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right – if that was the intention. A critical observer would tend to see the ads as ways of borrowing cultural capital from the world of art.One observation made as a result of the study was the need for insights into possible interpretations of the original work of art not to have the commercial message misunderstood.
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Acres, Harley Blue. "Gender bending and comic books as art issues of appropriation, gender, and sexuality in Japanese art /." Birmingham, Ala. : University of Alabama at Birmingham, 2007. http://www.mhsl.uab.edu/dt/2007m/acres.pdf.
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Détré, Natacha. "Les "relecteurs d'images" : une pratique artistique contemporaine de collecte, d'association et de rediffusion d'images photographiques." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20050/document.
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Cette thèse propose de définir une génération d’artistes dont la spécificité consiste à collecter, associer et rediffuser des images existantes, sans en transformer le contenu iconique. Pour tenter de cerner les caractéristiques de cette pratique, des entretiens ont été menés avec des artistes français contemporains : Eric Baudelaire, Ludovic Burel, Hervé Coqueret, documentation céline duval, Pierre Leguillon, Mathieu Pernot, Régis Perray et Eric Watier. L’analyse des dispositifs plastiques qu’ils mettent en œuvre fait apparaître deux aspects susceptibles d’identifier la spécificité de leur travail : leur manière d’associer les images entre elles suscite de nouvelles interprétations entraînant leur relecture ; et leur pratique s’inscrit dans une phase transitoire entre l’ère de la reproductibilité technique des images et celle des technologies du numérique. A travers une recherche scientifique pluridisciplinaire, il sera donc question d’étudier leurs processus de création depuis le choix des images jusqu’à la diffusion de leurs projets (I), d’analyser la polysémie des images et les possibilités d’en relire les signes (II) et enfin de comprendre comment s’agence leur position artistique entre deux époques techniquement marquées concernant les images (III). Afin de les démarquer des autres générations réemployant des images, la thèse propose une nouvelle dénomination : les Relecteurs d’imagesThis thesis proposes to define a generation of artists who are collecting, associating and redistributing pictures without changing or transforming the iconic contents. In order to elaborate their characteristics, several french contemporary artists were interviewed: Eric Baudelaire, Ludovic Burel, Hervé Coqueret, documentation céline duval, Pierre Leguillon, Mathieu Pernot, Régis Perray and Eric Watier. The analysis of the devices implemented by the artists shows two aspects that could identify the specificity of their work: their way of associating the pictures with each other offers new possibilities of interpretation and leads to a second reading of the pictures; and their practice is taking place during the transition between the eras of image reproduction techniques and numerical techniques. Within the scope of a multi-field scientific research, it will be necessary to study the creation processes from the choice of the representation till the distribution of the projects (I), to analyse the polysemy of the images and the possibility of rereading their signs (II), and, finally, to understand how the artistic position is located between two, with respect to pictures, technically distinguished epoches (III). To differentiate this generation of artists from others reusing images, the thesis suggests a new name: the “Rereaders of pictures”
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Sabatini, Gerald Andrew. "Graffiti Architecture: Alternative Methodologies for the Appropriation of Space." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1216901954.
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Adams, Christa. "Bringing "Culture" to Cleveland: East Asian Art, Sympathetic Appropriation, and the Cleveland Museum of Art, 1914-1930." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1447097382.
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Sieffert, Françoise. "Appropriation de territoires désappris : le contresens artistique en art contemporain. L'oeuvre lieu." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010617.
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Faire émerger les similitudes, les connivences entre matière et esprit, établir une passerelle entre les civilisations est le dessein de cette thèse. Notre culture contemporaine est construite sur des ruines, celles des différentes civilisations qui nous ont précédé et aussi celles du chaos provoqué par la guerre mondiale du milieu du vingtième siècle. Ceci a fait naître un culte de la mémoire et un art délibérément tourné vers le souvenir, que l'on retrouve chez les principaux sculpteurs intervenants d l'art contemporain. Dans une première partie, ayant fait ce constat, j'explore les limites de ces territoires dont nous avons hérité, et qui sont le ferment de mon approche conceptrice. Je refais donc le chemin qui m'a amené à développer des projets personnels en tant que sculpteur, celui des carrières. L'attraction de la matière marbre et du blanc devient le pivot de ma démarche, l'espace, son ancrage. Dans une deuxième partie, j'ai abordé les moyens mis en œuvre par les artistes plasticiens comme par moi-même pour se réapproprier les territoires oubliés ou les friches de notre quotidien, le nomadisme de l'œuvre qui se lie à différents supports, réels ou virtuels. Enfin est apparue dans cette recherche une donnée nouvelle, celle de l'écriture. J'ai pris conscience du rôle important de la littérature dans ma relation à l'œuvre, mais aussi comment l'écriture s'impose aujourd'hui dans l'art contemporain et dans mes propres réalisationsTo bring to the foreground the similarities, the complicities between material and spirit, to establish a footbridge between civilizations is the intention of this thesis. Our contemporary culture is built on ruins, those of the various civilizations who preceded us and also those of the chaos caused by the world war of the middle of the twentieth century. This created a cult of the memory and the art deliberately turned to the souvenir that we find in the work of the principal sculptors in contemporary art. In the first part, having made this report, I investigate the limits of these territories from which we inherited, and which are the ferment of my approach as a designer. I thus retry the way which brought me to develop personal projects as a sculptor, that of quarries. The attraction of the marble material and of the white becomes the pivot of my approach, the space, its anchoring. In the second part, I approach the means implemented by the visual artists, whom like me, re-appropriate the forgotten territories or the fallow lands of our everyday life, the nomadism of the work which is bound in various supports, real or virtual. Finally I discover in this research a new idea, that of the writing. I become aware of the important role of the literature in relation to my work but also how the writing is imperative in the contemporary art and in my own realizations today
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Schlechter, Willem Philippus George. "Cowboys and cocks : the heterosexual construction and homosexual appropriation of masculinity." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21758.
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Thesis (MPhil)--Stellenbosch University, 2008.ENGLISH ABSTRACT: This study explores the performative construction and appropriations of heteronormative masculinities by heterosexual and homosexual men respectively. My interest in masculinity as a culturally constructed fantasy is extended to imply a desire for the masculine. The idea of masculine desire is further developed by indicating a possible (homo)sexual desire for the heteronormative representation of masculinity. In highlighting the artificial and material qualities of the assumed stable phallus, the impassable structure of hegemonic masculinities, such as manifested in the cowboy and bodybuilder, is turned into the penetrable penis as object of the male gaze. I will concentrate on the fetishization of heterosexual masculine signifiers in physique photography in order to demonstrate this shift in the male gaze. Masculinity as a (de)attachable component allows the de-subjectification and thus, depowering of heteronormative masculinity by the possible appropriation thereof by gay men.
AFRIKAANSE OPSOMMING: Hierdie navorsing ondersoek die performatiewe konstruksie en apropriasie van heteronormatiewe manlikhede deur onderskydelik heteroseksuele en homoseksuele mans. My belangstelling in manlikheid as ‘n kultureel gestruktureerde fantasie word uitgebrei om ‘n begeerte vir manlikheid te impliseer. Die idee van manlike begeerte word verder ontwikkel deur ‘n moontlike (homo)seksuele begeerte vir die heteronormatiewe uitbeelding van manlikheid aan te dui. Deur die artifisiële en materiële kwaliteite van die veronderstelde stabiele fallus te beklemtoon, word die ondeurdringbare hegemonie van manlike strukture, soos dit voorkom in die cowboy en liggamsbouer, verander in die penetreerbare penis as objek van die manlike (male) ‘gaze’. Ek konsentreer op die fetisering van heteroseksuele manlike tekens in ‘physique’ fotografie ten einde hierdie skuiwing in die manlike ‘gaze’ te demonstreer. Manlikheid as ‘n (ont)hegbare komponent veronderstel die de-subjektivisering, en dus ontmagtiging van heteronormatiewe manlikheid deur die moontlike appropriasie daarvan deur gay mans.
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Dunn, Ridgely. "Challenging Appropriation: Modern Moko and Western Subculture." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1301937973.
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Aubart, François. "Pratiquer sans permis : La Pictures Generation et le contrôle des représentations (1977-1986)." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080052.
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Cette thèse étudie les rapports que les artistes de la Pictures Generation entretiennent avec le contrôle des représentations, et par les représentations. L’expression Pictures Generation désigne un groupe d’artistes américains, nés entre 1945 et 1955, qui à partir de la fin des années 1970 réalisent des œuvres en copiant ou en imitant des images du cinéma, de la publicité, d’émissions de télévision, de magazines et d’autres sources de la culture populaire diffusant des représentations idéalisées. Certains de ces artistes reproduisent des images préexistantes, et les font apparaître dans des contextes et sur des supports neufs. Le réglage des conditions de reproduction leur sert à modifier le matériau original. D’autres produisent des images, notamment photographiques ou filmiques. Les images reproduites ou élaborées par les artistes de la Pictures Generation résultent de mises en scène. Elles représentent des environnements et des situations idéalisées. Elles sont élaborées pour affecter leurs spectateurs, les impressionner ou convaincre. Contrôler la circulation et la production des images permet à ces artistes d’en amplifier l’influence et de rendre manifestes les normes sociales qu’elles véhiculent. Cela les conduit à intervenir dans des dispositifs de diffusion, à exercer des fonctions, à utiliser des techniques et des matériaux sans la légitimité requise pour ces activités. L’ambiguïté de leur pratique réside dans le fait que c’est en utilisant ces outils et ces représentations qu’ils en font la critiqueThis thesis studies the relations the Pictures Generation entertains with the control of, and by, representations. The term Pictures Generation refers to American artists born between 1945 and 1955, who, since the end of the 1970’s, made works reproducing or imitating images taken from movies, advertisements, television shows, magazines and other popular culture sources of idealized representations. Some of these artists reproduce pre-existing images in new contexts and on new supports. Setting the conditions of reproduction and circulation allows them to modify the original picture. Others create images, mostly photographic and cinematographic. The images the Pictures Generation artists reproduce or create are staged. They are set up to affect the spectators, to impress or convince them. Controlling the circulation and the production of images allows these artists to amplify the influence and the social norms conveyed by these representations. This drives them to take part in diffusion apparatus, to practice function, to use technics and materials without having the legitimacy required for such activities. The ambiguity of their practice lies in the fact that they use such tools and representations to criticize them
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Morrison, Ann Katherine 1929. "Canadian art and cultural appropriation : Emily Carr and the 1927 exhibition of Canadian West Coast Art - Native and Modern." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31244.
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In December 1927, Emily Carr's paintings were shown for the first time in central Canada in an exhibition called Canadian West Coast Art - Native and Modern. This event was held at the National Gallery of Canada in Ottawa, and marked a major turning point in Carr's career, for it brought her acceptance by the intellectual and artistic elite with their powerful networks of influence, as well as national acclaim in the public press. To this point, art historical writings have tended to focus on the artist and her own experiences, and in the process, the importance of this experimental exhibition in which her work was included has been overlooked and marginalized.
This thesis attempts to redress this imbalance by examining the exhibition in detail: first, to analyze the complexities of its ideological premises and the cultural implications of juxtaposing, for the first time in Canada, aboriginal and non-native artistic production within an art gallery setting; second, to consider the roles played by the two curators, Eric Brown, Director of the National Gallery, and C. Marius Barbeau, chief ethnologist at the National Museum; and third, to indicate the ways in which Emily Carr's works and those of the other non-native artists functioned within the exhibition.
During the 1920s, both the National Gallery and the National Museum were caught up in the competitive dynamic of asserting their leadership positions in the cause of Canadian nationalism and the development of a national cultural identity. In this 1927 exhibition, these issues of nationalism, self-definition and the development of a distinctly "Canadian" art permeated its organization and presentation. The appropriated aboriginal cultural material in the museum collections that had languished within storage cases was to be given a contemporary function. It was to be redeemed as "art," specifically as a "primitive" stage in the teleological development of the constructed field of "Canadian" art history. In this elision process, the curators relegated the native culture to a prehistoric and early historic past, suppressing its own parallel historical and cultural development.
The exhibition also presented the native objects as an available source of decorative design motifs to be exploited by non-native artists, designers and industrial firms in their production of Canadian products, underlining the assumption of the right to control and manipulate the culture of the colonized "Other."
Emily Carr"s twenty-six paintings, four hooked rugs and decorated pottery represented the largest contribution from any single artist. In their interpretations of the native culture, Carr and the other non-native artists were also engaged in a "self-other" definition, and had filtered their perceptions through the practices and conventions of western art traditions, especially in the use of modernist techniques. In the context of the exhibition, the artistic production by the fourteen non-native artists, including Carr, was caught up in a reaffirmation of the ideological and cultural positions of the two curators and the institutions they represented. The alternate discourses that could have been provided by the native people remained unheard.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Bimber, Jayson. "Good is dead /." Online version of thesis, 2007. http://hdl.handle.net/1850/5278.
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Santa, Cruz Bustamante César-Octavio. "La citation dans la peinture latino-américaine contemporaine : de la peinture coloniale au Pop Art péruvien." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00940874.
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Depuis toujours, les œuvres d'art ont joué un rôle fondamental dans la formation des artistes, servant de modèles iconiques pour l'apprentissage et la création de nouvelles œuvres. Au cours du XXème siècle, la diffusion considérable d'œuvres d'art en rapport au progrès dans l'imprimerie et à l'essor des médias a fortement contribué au développement des pratiques liées à la citation en peinture. Chez Picasso, la citation consiste dans l'appropriation et la réinterprétation de chefs-d'œuvre qu'il retranscrit dans son style. Ainsi, en 1957, il peint quarante-quatre variations à partir des Ménines (1656) de Velazquez. Au début des années soixante, les artistes pop ont recours à la sérigraphie pour imprimer sur toile les reproductions photographiques de chefs d'œuvres. Leurs productions relèvent d'une esthétique particulière comme résultat de l'utilisation de ce procédé qu'ils chercheront à développer par la suite. Ainsi, dans les versions de la Cathédrale de Rouen (1892-1894) de Monet peintes par Lichtenstein en 1969, l'image est reconstituée par une trame de points, équivalent graphique des points d'encrage de la photographie de presse. Dans les années soixante-dix, le collectif espagnol Equipo Crónica s'empare des grands classiques de la peinture espagnole et européenne et les retranscrit par une juxtaposition d'aplats de couleurs. Influencés par ces démarches, certains artistes latino-américains ont forgé leur propre style. L'œuvre du péruvien Herman Braun-Vega, par exemple, jette des ponts entre la peinture des grands maîtres tels que Velazquez, Goya ou Picasso, et l'imaginaire visuel péruvien. A l'instar de Picasso, Fernando Botero s'approprie des œuvres des maîtres en les soumettant à son style. Dès la fin des années soixante, les arts plastiques péruviens reprennent les caractéristiques plastiques du Pop'Art international pour mettre en scène divers aspect de la culture péruvienne. Ainsi Marcel Velaochaga met en relation l'esthétique Pop avec une réflexion critique sur l'histoire du Pérou et ses propres icônes visuelles.
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Baldridge, Seth Robert. "Gold powder and gunpowder| The appropriation of western firearms into Japan through high culture." Thesis, The University of Utah, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10006268.
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When an object is introduced to a new culture for the first time, how does it transition from the status of a foreign import to a fully integrated object of that culture? Does it ever truly reach this status, or are its foreign origins a part of its identity that are impossible to overlook? What role could the arts of that culture play in adapting a foreign object into part of the culture? I propose to address these questions in specific regard to early modern Japan (1550–1850) through a black lacquered ōtsuzumi drum decorated with a gold powder motif of intersecting arquebuses and powder horns. While it may seem unlikely that a single piece of lacquerware can comment on the larger issues of cultural accommodation and appropriation, careful analysis reveals the way in which adopted firearms, introduced by Portuguese sailors in 1543, shed light on this issue.
While the arquebus’s militaristic and economic influence on Japan has been firmly established, this thesis investigates how the Kobe Museum’s ōtsuzumi is a manifestation of the change that firearms underwent from European imports of pure military value to Japanese items of not just military, but also artistic worth. It resulted from an intermingling of Japanese-Portuguese trade, aesthetics of the noble military class, and cultural accommodation between Europeans and Japanese that complicates our understandings of influence and appropriation. To analyze this process of appropriation and accommodation, the first section begins with a historical overview of lacquer in Japan, focusing on the Momoyama period, and the introduction of firearms. The second section will go into the aesthetics of lacquerware, including the importance of narrative symbolism and use in the performing arts with a particular emphasis on the aural and visual aesthetics of the drum. Finally, I will discuss this drum in the global contexts of the early modern era, which takes into account the tension between the decline in popularity of firearms as well as the survival of the drum. Pieced together, these various aspects will help to construct a better understanding of this unique piece’s place in the Japanese Christian material culture of early modern Japan.
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PARK, YUMI. "THE ENGRAVED HEAD MOTIFS ON CUPISNIQUE STYLE VESSELS: INNOVATION AND APPROPRIATION IN EARLY ANDEAN ART." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/151.
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This dissertation is a formal and iconographic study of a distinctive engraved motif found on Cupisnique style vessels that were excavated in what is now northern Peru. The Cupisnique style was developed approximately between 1200 – 200 B.C.E., and was mainly centered in the Jequetepeque and the Chicama Valleys in the northern coastal region of Peru. This study includes an analysis of two ceramic vessels in the collection of the Virginia Museum of Fine Arts (henceforth VMFA). The purpose of this dissertation is to document and analyze the Cupisnique engraved head motifs and to argue that these motifs reflect the influence of early Formative Ecuador ceramics on the later coastal Cupisnique as well as on the highland Chavín style. In addition to the two VMFA vessels, this study documents and analyzes an additional one hundred seventy seven (177) Cupisnique ceramics vessels that were also engraved with head motifs. These belong to various museums and private collections in South and North America. This study also presents a catalog of all documented head motifs, including those captured on photographs and in original drawings. The Cupisnique head motifs are classified by individual elements, and iconographies of Cupisnique head motifs are presented based on the origin and influence of the motifs.
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Bando, Cécile. "Publics à l'oeuvre : appropriation et enjeux des dispositifs artistiques participatifs." Grenoble 3, 2003. http://www.theses.fr/2003GRE39028.
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Ce travail de doctorat a pour objet l'appropriation par le public de propositions participatives de type artistique. Dans la 1ère partie à partir des spécificités des pratiques artistiques contemporaines et des discours sur le participatif, il est proposé un cadre méthodologique pour l'étude de la participation fondé sur la relation, le contexte et l'action. Dans la 2ème partie, après une présentation des trois dispositifs participatifs qui constituent les terrains d'étude de cette recherche, trois axes de travail sont déployés pour étudier leur appropriation : les cadres de l'action, les relations générées par ces dispositifs, et enfin les rôles, interaction et champs d'action des participants qui permettent d'aborder les questions de l'engagement dans l'action, de la coordination des acteurs, et des dissensions entre artistes et participants. La dernière partie opère le passage de l'action participative à sa représentation auprès d'un public élargi aux non-participants directs. Elle permet d'étudier la construction de récits post-participatifs dans lesquels s'organise une économie symbolique de la participation et une reconstruction de l'action. La délicate reconnaissance sociale de l'engagement des participants initiaux fait apparaître les dispositifs participatifs comme des dispositifs communicationnels relationnels, permattant à des artistes contemporains et des institutions culturelles contestés de fournir les signes d'une réconciliation symbolique avec un public en souffrance, sur lequel on prend appui pour générer des effets d'entraînement et exprimer une légitimité sociale, économique et politique.
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Zorzal, Bruno. "Esthétique de l'exploitation photographique de photos déjà existantes." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080105/document.
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Au moment où les artistes revendiquent la totalité des objets composant la réalité comme source matérielle pour l’art, on se voit dans la nécessité de réfléchir sur les usages et appropriations créatives spécifiques d’images photographiques. En avançant ainsi d’un cadre général vers le particulier, on vise à instaurer une réflexion centrée sur l’utilisation de photos déjà existantes dans les pratiques artistiques visant la fabrication d’une œuvre photographique. Cependant, le fait de créer à partir d’un objet déjà créé qui ici est une photo, n’étant pas sans problèmes, qu’en est-il d’une forme photographique, de même que d’une expression subjective qui garderait un rapport de dépendance avec la nécessité de l’existence préalable d’une image technique ? Que se passe-t-il quand voit le jour, dans ce contexte, une image d’image ? En ce sens, quand le faire photographique devient un refaire à partir d’une photographie déjà existante, nous rapportons-nous de la même manière aux photos, aux processus et procédés photographiques en art et finalement aux œuvres photographiques, voire à la photographie et à l’art lui-même ? Les problèmes élaborés, dans ce contexte particulier, face aux œuvres et à l’aide de théories et notions nous permettent de repérer des éléments en vue d’une esthétique de l’exploitation en photographie de photos déjà existantes, et nous exposent à des aspects politiques, légaux, éthiques, etc. de ces actions, qui placent les photos au centre des processus et procédés en photographieIn a time when artists claim the totality of objects composing reality as a material source for art, we find it necessary to reflect on the uses of and creative appropriations specific to photographic images. In moving thusly from a general framework to a specific one, we intend to introduce a reflection centered on the use of pre-existing photos in artistic practices that themselves are directed towards the creation of a photographic oeuvre. However, and given the problematics associated with creating from an already-created object, in this case a photo, what is in it of a photographic form that as a subjective expression keeps a link of dependence with the necessity of existence that is precondition of a technical image? What happens when an image of an image enters the world in this context? In this sense, when doing photography becomes redoing from a pre-existing photograph, do we approach photos, photographic processes and procedures in art and finally photographic oeuvres, or even photography and art itself in the same manner? The questions that are developed in this specific context, in response to artworks and with the aid of theories and notions, permit us to identify elements towards an aesthetics of the photographic use of pre-existing photos, and expose us to political, legal, ethical, and other aspects of these actions, placing photos at the center of processes and procedures in photography
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Carmignac, Ariane-Esther. "Passer le temps. Vies d'une archive photographique contemporaine : l'archivio Graziano Arici." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES044/document.
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L’Archivio Graziano Arici est une archive photographique d’un genre résolument singulier ; elle réunit des enjeux et ou assemble des finalités qui ne se rejoignent que partiellement. Archive courante des photographies de Graziano Arici (photographe né en 1949 à Venise, résidant actuellement à Arles, et toujours en activité), fonctionnant comme une base d’images permettant au photographe d’accumuler et de vendre ses productions, elle est aussi, dès le départ, conçue comme une forme-conservatoire destinée, dans son ensemble, par son auteur même, à représenter une époque, à rester comme un témoignage porté par un regard sur une époque. Par l’acquisition de fractions d’archives photographiques, la mise en place d’une politique de préservation des images, et par ses créations, son travail plastique, le photographe se fait tout à la fois héritier d’un domaine précaire, mais aussi son passeur. Dans ce cas particulier, en effet, le rassemblement qu’est l’archive photographique se trouve être, non seulement, un lieu d’origine, premier, mais également l’endroit et le moment d’une recomposition, d’un remontage de productions antérieures, donnant ainsi naissance à un art consommé de l’assemblage, dans un lieu devenu paradoxalThe Archive Graziano Arici is a definitely unique photograph Archive of its kind. It concentrates issues, or combine objectives which only partially meet. The standard Archive of Graziano Arici’s photograph (Arici is a photographer born in Venice, now living in Arles and still working) first acting as a picture-base which enables the photographer to gather together and sell his productions, is also, from the outset, designed as a conservation device, and by its author himself intended in its entirety to represent particular times and bear testimony to individual perceptions of those times ; by acquiring fractions of photograph archives, and setting up a picture-conservation policy, but through his own creation and plastic work as well, the photographer becomes heir to a fleeting world, and his go-between, too, giving birth to an art of assembling, and his archive becoming a paradoxical place
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Shipe, Rebekah C. "Authenticity, Originality and the Copy: Questions of Truth and Authorship in the Work of Mark Landis, Elizabeth Durack, and Richard Prince." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265281.
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Berkowitz, Ellie Patricia. "Innovation through appropriation as an alternative to separatism : the use of commercial imagery by Chicano artists, 1960-1990 /." Thesis, Connect to online resource, 2006. http://www.lib.utexas.edu/etd/d/2006/berkowitze41540/berkowitze41540.pdf#page=3.
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Nelson, Margaret. "Karo-kari and chadors appropriation of oppressors' tools in Salman Rushdie's Shame and Shirin Neshat's visual art /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Römer, Stefan. "Der Begriff des Fake." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 1998. http://dx.doi.org/10.18452/14506.
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Der Begriff des »Fake« meint eine mimetische Nachahmung eines anderen Kunstwerks, die im Gegensatz zur Fälschung selbst auf ihren gefälschten Charakter hinweist. Eine Künstlerin reproduzierte Fotografien von Walker Evans; diese eigenen Fotografien präsentierte sie auf ähnliche Weise wie das Vorbild; der Titel, »Sherrie Levine After Walker Evans«, weist die Arbeit als Aneignung aus, die die gewandelten kontextuellen und konzeptuellen Bedingungen des identischen Bilds reflektiert. Das Fake zielt demnach mittels einer genauen Bilduntersuchung auf einen kunsthistorischen Erkenntnisprozeß: Die Reproduktion wird nicht mehr moralisch als Fälschung verurteilt, sondern das Fake wird als Kritik der Institution der Kunst und ihrer Ideologie des Originals betrachtet. Das erste Kapitel widmet sich den neuen künstlerischen Strategien zu Anfang der 1970er Jahre und diskursanalytisch der historischen Fälschungsliteratur, dem Verhältnis von Original und Fälschung, um in Abgrenzung davon den Begriff »Fake« einzuführen. Im zweiten Kapitel werden sieben ausgewählte Beispiele von Fakes auf ihre konzeptuelle Formation hin untersucht. Im letzten Kapitel werden die weitreichenden Konsequenzen dargelegt, die das Fake für die Bild- und Kunsttheorie im Verhältnis zu gesellschaftlichen Entwicklungen bedeutet.The concept of Fake describes a mimetic imitation of another work of art which, in contrast to forgery, hints at its faked nature. A female artist reproduced photographs by Walker Evans and presented these photographs like the original; the title, "Sherrie Levine After Walker Evans" identifies the work as an appropriation which reflects the contextually and conceptually changed conditions of the identical image. Accordingly, the fake aims at an art historical cognitive process by means of an exact examination of the respective artwork: The reproduction is no longer morally condemned as forgery, but the fake is regarded as criticism of the institution of art and its ideology of the orginal. The first chapter deals with the new artistic strategies at the beginning of the 1970s and, in a discursive analysis, the historical literature of Fake as well as with the relation of orginal and forgery in distinction to the concept of "Fake". In the second chapter seven examples of Fake are examined for their conceptual formation. The third and last chapter is a description of the far reaching consequences of Fake for image and art theory in relation to social developments.
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Richard, Annette. "Itinéraires pour une appropriation des oeuvres picturales : finalités et conditions d'une initiation à l'art chez des élèves de lycée : propositions de méthode." Paris 8, 1994. http://www.theses.fr/1994PA08A009.
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Bauer, Eva-Maria [Verfasser]. "Die Aneignung von Bildern : Eine urheberrechtliche Betrachtung von der Appropriation Art bis hin zu Memes / Eva-Maria Bauer." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://d-nb.info/1220160393/34.
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Karlsson, Ida. "Fotografiets betydelse för människan." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-562.
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I uppsats och gestaltning vill jag lyfta fram och undersöka människors förhållande till det privata fotografiet. Både ur aspekten varför människor väljer att fotografera men också hur och vad som representeras i fotografier. Ämnet är allmängiltigt och lättillgängligt och ett viktigt område att synliggöra och reflektera på för människor i alla åldrar. Min förhoppning är att människor som inte problematiserat ämnet tidigare ska börja intressera sig och därigenom få ett vidgat synsätt. Arbetet har tagit stöd i teorier om fotografi skrivna av främst Roland Barthes, Susan Sontag och Vilém Flusser. I uppsatsen har fotografen Sally Manns arbeten undersökts som en levande text samt en visuell etnografisk undersökning ägt rum om människors fotografering. Exempel på begrepp som tas upp i texten är: appropriation, objektifiering, noem, motminnen och sanningen på snedden. Till uppsatsen bifogas två bilagor varav den ena innehåller bilder från den etnografiska undersökningen. I gestaltningen har både andra människors fotografering undersökts samt mitt eget förhållande till fotografering och representation. Den första delen behandlar de visuella representationer som blev till när informanter fotograferade under en etnografisk undersökning. Del två har utgått från ett fotografi taget av en fotograf på sin döda mor i förhållande till ett fotografi som både representerar mig och är berättat av mig. Del tre tar ett steg längre i de tankar som de första två delarna behandlar. Den lyfter fram hur lika berättelser kan representera samma person. Uppsats och gestaltning interagerar med varandra främst genom den visuella etnografiska undersökningen. Men självklart har alla olika delar befruktat varandra eftersom de behandlats och problematiserats under samma tidsperiod. Min metod att undersöka hur människor använder sig av fotografering kom att bli ett handfast pedagogiskt verktyg. Det material som finns i gestaltningen kan jag med fördel använda som igångsättare när jag i olika pedagogiska rum ska behandla ämnet fotografi.BI/Media
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Ball, Karen. "Trois pieces en forme de poire the narrated self : creating identity as autobiographical narrative through appropriation and reference to the other /." Connect to full text, 2007. http://hdl.handle.net/2123/2249.
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Thesis (M.V.A.)--University of Sydney, 2008."Printmedia"--T.p. Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references. Also available in print form.
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Borges, Camila Bettim. "Por entre os dedos : arte e crianças contemporâneas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/83299.
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O presente estudo buscou compreender as relações que as crianças estabelecem com a arte contemporânea quando a mesma é apresentada, discutida e explorada no contexto escolar. Refletindo sobre a desarticulação e lacuna existente entre a arte contemporânea e a concepção de arte escolar, pensada somente como um produto e aquém de um processo, esta pesquisa se propôs a investigar junto às crianças como elas se articulam com a arte contemporânea, a partir de ações propositivas que ampliam suas formas de perceber os materiais e objetos do cotidiano. Neste sentido, a arte contemporânea serviu para pensar a metodologia de pesquisa e as crianças. Sendo utilizadas referências artísticas como: Marcel Duchamp, Joseph Kosuth, Nelson Leirner, Lia Menna Barreto e Sandro Ka, investigação ancorou-se teoricamente nos estudos sobre Pesquisas com Crianças (Pereira, Rabello de Castro, Tomás, Sarmento), nos estudos da Arte Contemporânea (Archer, Cauquelin, Chiarelli e Canton), e nos estudiosos que discutem acerca das Crianças Contemporâneas (Dornelles e Heywood). Tratou-se, portanto, de uma investigação realizada dentro de uma escola pública na cidade de Porto Alegre/RS, com um grupo de nove crianças de um primeiro ano. Para este estudo foram realizadas duas semanas de observação, dezessete encontros, além de uma visita ao MARGS – Museu de Arte do Rio Grande do Sul – ocorridos entre os meses de julho a dezembro de 2012. Como recursos metodológicos, foram utilizados os encontros propositivos – denominados metodologicamente como “Encontros Crianceiros” – os registros audiovisuais, diário de campo da pesquisadora e os materiais explorados e produzidos pelas crianças. As perguntas centrais deste estudo: como as crianças se relacionam com as modalidades que a arte contemporânea suscita? E como as crianças exploram a arte quando ela adentra a escola? Foram respondidas por meio das análises feitas, que se desdobraram ao longo do período da pesquisa com as crianças. As concepções sobre arte, as maneiras como seus processos de criação ocorreram e suas relações com a materialidade, e ainda, a experimentação dos objetos por meio dos afetos estabelecidos foram os eixos principais de análises. O estudo destaca a potência existente no encontro entre as crianças e a arte contemporânea, principalmente no que se refere à proximidade e receptividade dos pequenos com as modalidades da mesma. Além disto, a pesquisa demonstra através dos processos de criação das crianças como estes são encharcados de significados e relações externas ao contexto escolar, que emergem em suas experimentações, assim como os afetos e enfrentamentos que se estabelecem na exploração, ressignificação e apropriação dos materiais e materialidades. Ao aproximar os pequenos da arte contemporânea, este estudo dá suporte para que se pense e discuta as articulações existentes entre arte e crianças nos contextos escolares, e o quanto estas relações podem ser pautadas pelos processos de experimentação e ressignificação, além de serem possibilidades de ampliação de repertórios, tanto para crianças, quanto para os educadores.This study sought to understand the relationships that children have with contemporary art when it is presented, discussed and explored in the school context. Reflecting on the disarticulation and gap between contemporary art and design art school designed only as a product and a process falling short, this research proposes to investigate with the children how it relates to contemporary art, from purposeful actions that expand their ways of perceiving the materials and everyday objects. In this sense, contemporary art served to think about the research methodology and the children. Being used as artistic references: Marcel Duchamp, Joseph Kosuth, Leirner, Lia Menna Barreto and Sandro Ka. The research anchored itself theoretically in studies on Research with Children (Pereira, Rabello de Castro, Tomás, Sarmento), Studies of Contemporary Art (Archer, Cauquelin, Chiarelli and Canton), and researchers who discuss about the Contemporary Children (Dornelles and Heywood). It was, therefore, an investigation into a public school in the city of Porto Alegre / RS, with a group of nine children of a first year. For this study were made twice weeks of observation, seventeen meetings, plus a visit to MARGS - Art Museum of Rio Grande do Sul - occurred between the months from July to December 2012- As methodological resources were used in propositional meetings - as methodologically called "Encounters Crianceiros" - audiovisual records, the researcher's field journal and materials exploited and produced by children. The central questions of this study: how children relate to the modalities that contemporary art raises. And how children explore art when it enters the school? Were answered through of the analyzes performed, which unfolded over the period of research with children. Conceptions of art, the ways their creative processes occurred and its relationship with materiality, and also experimentation of objects using of affections were established the main axes of analysis. The study highlights the potency existing in the meeting between children and contemporary art, especially in relation to the proximity and responsiveness of children with the same modalities. Apart from this, research demonstrates through the processes of creation of children as they are drenched in meanings and relationships outside the school context, that emerge in their experimentations, as well as affections and confrontations that are established in the exploration, redefinition and appropriation of materials and materiality Approaching the children of contemporary art, this study supports that think and discuss the joints between art and children in school contexts, and also how these relationships can be guided by the processes of experimentation and reframing as well as being possibilities expansion of repertoire, both for children and for educators.
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Boenisch, Gilles. "Démontage, détournement, dérision. La "défaite" numérique." Electronic Thesis or Diss., Université de Lorraine, 2012. http://www.theses.fr/2012LORR0401.
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« L'art numérique » semble se constituer une place notoire dans les différentes pratiques artistiques contemporaines. Sous cette expression générique francophone, le regroupement opéré reste problématique, car il suscite de nombreuses interrogations. À quoi correspond ce mouvement, l'art numérique est-il délimité, délimitable, l'art numérique existe-t-il ? Est-ce pertinent d'opérer un tel regroupement ? Quelles sont les répercussions sur la pratique qu'il désigne, à moins qu'il s'agisse de l'inverse ? À quoi correspond l'art numérique ? Est-ce un art nouveau ? Ces questions sont à l'origine de cette thèse, en adjacence à une pratique plastique questionnant « matériellement » le numérique. L'objectif est d'analyser la question de « l'art numérique », d'en identifier précisément les caractéristiques et d'éclairer ces interrogations. Cette recherche témoigne des rapports qu'entretiennent pratiques et théories. Peuvent-elles s'enrichir mutuellement ? Doivent-elles se développer dans leurs propres directions ? Se pose alors la question de la pertinence de leur segmentation, et de la dénomination « art numérique » ? Est-ce significatif ? Qu'en est-il aujourd'hui de ces nouvelles technologies qui font partie de notre quotidien, y compris dans le domaine artistique ? Comment rendre compte d'un phénomène aussi vaste sans en restreindre artificiellement la complexité ?It seems that the «Art Numérique» (Digital Art) is taking an ever-growing place in the various contemporary artistic practices. It is however still a problem to clearly define what is actually meant by this French generic expression, as what is currently associated with «Art Numérique» still generates numerous questions. How can this trend be defined? What are its boundaries? Are there any boundaries? Does «Art Numérique» actually exist? Is it relevant to categorize specific practices and techniques as «Art Numérique»? What is the influence of these categorization on the actual definition of the Art, or inversely, what should the subject «Art Numérique» include? How can «Art Numérique» be defined? Is it new? These questions are at the root of this thesis, developed in simultaneously with numerous plastic and practical experiments aiming at «physically» questioning and challenging the digital technology. My objective is to analyze the subject of «digital art», to precisely identify its characteristics, and to open new perspectives. This research highlights the relationship between practice and theory. Can they benefit from each other? Should they be studied and developed separately, each in their own direction? This raises the question of the relevance of their segmentation, and of the term «Art Numérique». Is it significant? What is the current status of all these new technologies, which are part of our daily life, including in the artistic field? Is it possible to report on such a vast phenomenon without artificially restricting its complexity?
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Juarez, Gonzalez Naun Rodrigo. "ART/CONSCIOUSNESS SCIENTIFIC EXPLANATION AND ITS CORRELATION." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-61.
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This essay is more or less a very boring analog game in paper, which is trying to find the similitude between ART and CONSCIOUSNESS, as well as the boundaries of legality of taking over or stealing someone else's work. The dynamic of this game of mine starts by choosing a lecture of any research and change some keywords to create a new research. The format of this essay suggests an interaction and will need an interaction of the reader with the essay itself in order to add more concepts and could make it more personal and transform the main subject of this essay. It does not necessarily have to be an art topic, so it is very open to any personal interest. There are no rules of this game, you can change the subject, the actors, the author or try to change it back to the original lecture. Everything is possible; at the end the reader could acquire by signing this essay or theory.[I examensarbetet ingår utställningen "YSO":] YSO explore metaphysical information in order to expand the idea of Art and consciousness, which experience and perception are both essential as a part of the information processing. Condensing this information to be able to exchange it on different states the Meta, Virtual and physical state. The formal aesthetic display of YSO is an interpretation of the different inputs objects or data that will or could construct an assumption with deliberate inputs through the senses to be able to interpret the correlation between Art and Consciousness. Material: Freezer, pick-up car, silicon form, water, wood, plastic sheet, tv, ice machine, media player and paint. Teknik: Installation/video/variable. Längd på video: 01:54:00.
The video, essay and installation is a unit and represent different states of consciousness and non-physical matter's reality (nonphysical-matter Reality) and all of these contribute to the information.
Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen.
The master work includes a written essay and a forming part. The alternative title is the name of the forming part.
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Gorman, Caitlin Marie. "Yasumasa Morimura: Appropriator of Images, Cultures, and Identities." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363520942.
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Kratovic, Belma. ""Duchampianska" praktiker inom samtidskonsten." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411826.
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This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement. The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however, is to give an account of its development both prior to and beyond that narrow temporal window, seeking to identify both the roots and the legacy of the philosophical aspects of conceptual practice. The study traces these roots to the actions of Duchamp, who shifted the focus from aesthetics to a more cognitive valuation of art, by designating an everyday object as an artwork; an action that paved the way for the notion that, rather than being skilled craftsmen, artists are the authors of meaning, and artworks are the creation and transmission of ideas. This ‘Duchampian’ approach which pushes and explores the boundaries of art within the framework of the artwork themselves has also influenced the selection of works for analysis. Like most other contemporary artworks, Michael Mandiberg's After Sherrie Levine and Banksy’s The Walled off Hotel, are considered conceptual in the sense that they work to transmit ideas to the viewer, but yet, like Duchamp’s ready-mades a hundred years earlier, they sit beyond commonly accepted understandings of the formal boundaries of the artwork, thus risking not being perceived as artworks at all. For that reason, these works potentially constitute radical practices that could be understood as questioning the limits of art making today. From a theoretical point of view the study engages in hermeneutics and constructivism in order to construct an analysis of these two artworks relating their websites as well as artists’ intentions to the philosophical notions of conceptual art. The results show that the After Sherrie Levine is a critique of Levine's aura as well as of the art institutions. It also proposes that artistic appropriation as an art form can have an instrumental value in exploring the limits of art making. It further shows that it is possible to create art that is neither exclusive nor mysterious. The analysis of The Walled off Hotel shows that while operating as a local company with an ambition to lead the creative resistance movement in the West Bank through art, the hotel also constitutes a political satire with real effects in the area. The thesis proposes that this work is deviant and ‘organic’ in the way it renegotiates both the role of the artist and the very notion of 'art' itself. Thus both After Sherrie Levine and The Walled off Hotel can be regarded as rather ‘Duchampian’ practices today.
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Nery, Maria Angelica Del. "SALA DEVIR CINEMA: seis variações poéticas de uma película cinematográfica." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-25072018-165152/.
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Estudo, no plano das poéticas visuais (multimeios), sobre um ser em devir quando perde uma de suas potências constitutivas. A partir da apropriação de uma película cinematográfica de 35 mm, de origem desconhecida, comprada pela internet, foram realizados 6 experimentos poéticos em composição contínua. Esta experiência foi operada em diferentes meios expressivos e problematiza o estatuto da imagem na passagem de um meio a outro - imagem cinematográfica, fotograma, fotografia, vídeo, gravura, imagem instalada no espaço e jogo de mesa.This research in the area of visual poetics (multimedia) studies the becoming of a being losing one of his/its constituent potencies. Starting with the appropriation of a 35 mm strip of cinematographic film, from an unknown source, bought through the Internet, six poetic experiments were realized in a continuous composition. This experiment was carried out through different expressive mediums and questions the status of image during the passage from one medium to another: cinematographic image, frame, photography, video, print, installation art, board game.
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Hansson, Viktor. "Att skriva (på) staden : En studie om graffiti- och gatukonstutövares praktik och meningskapande i det offentliga rummet." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-28729.
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The purpose with this essay is to examine and create an understanding for what meaning graffiti and street art has for those who practice it. Furthermore, the practice of graffiti and street art is seen in relation to how urban space is produced. Five semi-structured interviews and one group interview has been made to answer the questions "What meaning does graffiti and street art has for those who practice it? Can it be seen as a way to construct identity?" "How do the artists relate to existing ideals about public space?" and "Does the artists see graffiti and street art as a resistance against the normative representation of the city, in that case, how?" The theoretical framework consists of Mitchell's ideas about public space, Tonkiss' definition of social order, Lefebvre's spatial triad, de Certeau's concept of strategy and tactics, the concept of appropriation and Castell's theory about collective identity. The results showed that the practice of graffiti and street art can be understood as a more complex practice than earlier research has shown. Four different dimensions of meaning could be distinguished. Together the four different dimensions expressed an understanding of graffiti and street art practices as a collective resistance identity. The essay also shows that street art and graffiti artists have a more including ideal about public space.
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Lewest, José. "Les processus de reconfigurations dans l'art caribéen : Guadeloupe, Haïti, Jamaïque." Thesis, Antilles, 2015. http://www.theses.fr/2015ANTI0014/document.
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La nature et la rythmique des évolutions des pratiques artistiques en Guadeloupe, Jamaïque et Haïti, pays caribéens aux mêmes bases historico-culturelles, dès le XVIIIe siècle, démontrent une singularité dynamique portée par le concept de reconfiguration. Du règne de l’académisme européen aux balbutiements de l’imitation des autochtones caribéens descendants d’esclaves et exclus de l’art érigé en privilège de castes, jusqu’à la rupture épistémologique opérée à partir des années vingt, sous l’influence des mouvements nationalistes, anticoloniaux développés dans la Caraïbe et renforcés à l’extérieur par les capitales occidentales, New York, Paris, Madrid. Les principes idéologiques progressistes incarnés et réinvesties par Price Mars, Alain Leroy Locke, Marcus Garvey, Aimé Césaire renversent les valeurs académiques et déclenchent l’irruption de la subalternité dans l’art caribéen. Ces procédures de reconfigurations s’illustrent dans les continuelles ruptures au XXe siècle jusqu’à aujourd’hui et sont à l’origine des mouvements Indigénisme, Primitivisme, Intuitivisme développés avec le concours plus ou moins marqué d’étrangers. Ses multiples visages qui se dessinent à travers une succession de métamorphoses, d’adaptations et de reconfigurations à chaque fois renouvelées dans la variance des représentations et des contextes lui confèrent une dimension épique. A chaque étape de cette épopée, les artistes caribéens actualisent leurs pratiques traversées par un balancement lancinant entre l’ancrage que procure la réacquisition des références matricielles Africaines et Caribéennes et ouverture au monde. En dépit des écarts évidents entre les trois pays, des valeurs communes d’échanges démocratiques portées par les termes, Koudmen, Coumbite et Lyannaj sont retranscrites par tous, en engageant la réalité d’une géostratégie de l’art suggérée par les notions de multilatéralisme et de multipolarité. L’envers de cette stratégie de la convergence humaniste de l’art se fonde dramatiquement sur les disfonctionnements psychiques hérités de l’histoire qui trouvent leurs expressions dans les concepts de double conscience et de conscience marassa. Ces nouvelles modalités d’appréhension du monde sont les symboles de l’écartèlement entre des aspirations contradictoires et sont révélatrices d’une face contrariée de la reconfiguration de l’art. Ces procédures de transferts d’influences culturelles interpellent sur les limites qu’elles circonscrivent et incitent à l’interrogation sur la capacité de l’art caribéen à se projeter au-delà des gestes systématiques de retraitement, de recyclage et d’importation afin de générer une approche plastique intégrale, autonome, moins dépendante de la gestion d’influences et de modes ?The nature and rhythm of the evolution of artistic practices in Guadeloupe, Jamaica and Haiti, Caribbean countries with the same historical-cultural bases, as soon as the 18th century, show a dynamic singularity which is driven by the concept of reconfiguring. From the reign of the European academicism to the infancy of imitation of the Caribbean natives-descendants of slaves and excluded from art erected in caste privilege, up to the epistemological rupture operated from the 20s under the influence of the nationalist and anti-colonial movements which were developed in the Caribbean and which were strengthened on the outside by the Western capitals, New York, Paris, Madrid. Progressive ideological principles embodied and reinvested by Price Mars, Alain Locke, Marcus Garvey, Aimé Césaire, overturn academic values and trigger the emergence of the subalternity in Caribbean art. These reconfiguration procedures are illustrated in the continual breaks in the twentieth century until today and are the source of Nativism movements, Primitivism, Intuitivism, developed with the more or less marked help of foreigners. Its multiple faces that emerge through a series of metamorphoses, adaptations and reconfigurations, each time renewed in the variance of representations and contexts give it an epic dimension. At each stage of this epic, Caribbean artists update their practices crossed by a nagging swinging between the anchoring provided by the reacquisition of the African and Caribbean references and openness to the world. Despite the obvious differences between the three countries, common values of democratic exchanges carried by the words, Koudmen, Coumbite and Lyannaj are transcribed by all, by engaging the reality of a geostrategy of art suggested by the concepts of multilateralism and multipolarity. The other side of this strategy of humanistic convergence of art is dramatically based on the psychic dysfunctions inherited from history, which find their expressions in the concepts of double consciousness and Marasa Consciousness. These new methods of apprehension of the world are the symbols of the quartering between contradictory aspirations and are indicative of an upset face of the reconfiguration of art. These cultural influences transfer procedures challenge the limits they circumscribe and encourage the questioning on the ability of Caribbean art to project beyond the systematic actions of reprocessing, recycling and import, in order to generate an autonomous integral plastic approach, less dependent on the management of influences and modes
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Boenisch, Gilles. "Démontage, détournement, dérision. La "défaite" numérique." Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0401/document.
Full textAbstract:
« L'art numérique » semble se constituer une place notoire dans les différentes pratiques artistiques contemporaines. Sous cette expression générique francophone, le regroupement opéré reste problématique, car il suscite de nombreuses interrogations. À quoi correspond ce mouvement, l'art numérique est-il délimité, délimitable, l'art numérique existe-t-il ? Est-ce pertinent d'opérer un tel regroupement ? Quelles sont les répercussions sur la pratique qu'il désigne, à moins qu'il s'agisse de l'inverse ? À quoi correspond l'art numérique ? Est-ce un art nouveau ? Ces questions sont à l'origine de cette thèse, en adjacence à une pratique plastique questionnant « matériellement » le numérique. L'objectif est d'analyser la question de « l'art numérique », d'en identifier précisément les caractéristiques et d'éclairer ces interrogations. Cette recherche témoigne des rapports qu'entretiennent pratiques et théories. Peuvent-elles s'enrichir mutuellement ? Doivent-elles se développer dans leurs propres directions ? Se pose alors la question de la pertinence de leur segmentation, et de la dénomination « art numérique » ? Est-ce significatif ? Qu'en est-il aujourd'hui de ces nouvelles technologies qui font partie de notre quotidien, y compris dans le domaine artistique ? Comment rendre compte d'un phénomène aussi vaste sans en restreindre artificiellement la complexité ?It seems that the «Art Numérique» (Digital Art) is taking an ever-growing place in the various contemporary artistic practices. It is however still a problem to clearly define what is actually meant by this French generic expression, as what is currently associated with «Art Numérique» still generates numerous questions. How can this trend be defined? What are its boundaries? Are there any boundaries? Does «Art Numérique» actually exist? Is it relevant to categorize specific practices and techniques as «Art Numérique»? What is the influence of these categorization on the actual definition of the Art, or inversely, what should the subject «Art Numérique» include? How can «Art Numérique» be defined? Is it new? These questions are at the root of this thesis, developed in simultaneously with numerous plastic and practical experiments aiming at «physically» questioning and challenging the digital technology. My objective is to analyze the subject of «digital art», to precisely identify its characteristics, and to open new perspectives. This research highlights the relationship between practice and theory. Can they benefit from each other? Should they be studied and developed separately, each in their own direction? This raises the question of the relevance of their segmentation, and of the term «Art Numérique». Is it significant? What is the current status of all these new technologies, which are part of our daily life, including in the artistic field? Is it possible to report on such a vast phenomenon without artificially restricting its complexity?
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Arruda, Lina Alves. "Estratégias desconstrutivas: a crítica feminista da representação." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-07022014-162537/.
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A pesquisa propõe uma revisitação da crítica feminista das políticas de representação considerando a intersecção de seus principais debates e premissas com as críticas contemporâneas às políticas de identidade, sugerindo perspectivas pós-identitárias nas estratégias representativas empregadas por Barbara Kruger, Cindy Sherman, Laurie Simmons e Martha Rosler. Problematizando a tendência da representação de perpetuar na imagética feminista um sujeito fixo e uma categoria estável \"mulher\", atenta-se para a importância da formulação de estratégias artísticas representativas antiessencialistas que evoquem criticamente \"mulheridade\" evitando a reificação da categoria, do sujeito e das estruturas heteronormativas que sustentam o termo. Assim sendo, as análises propostas na pesquisa sugerem que, ao apropriarem-se de imagens de mulheres advindas do repertório dos mass media (revistas, cinema, televisão, anúncios publicitários etc.), as artistas selecionadas proporcionam um olhar crítico à imagética cultural e desestabilizam não somente as retóricas nela historicamente arriagadas, mas também a própria noção de \"mulheridade\" como categoria identitária estável, coerente, natural e universal.This research provides an analysis based on the intersections between the feminist representational politics critique and the contemporary identity politics critique, suggesting that the strategies employed by Barbara Kruger, Cindy Sherman, Laurie Simmons and Martha Rosler manifest post-identity perspectives. By exposing the representation\'s tendency to perpetuate, in feminist imagery, \"woman\" as a fixed subject and stable category, this research stresses the necessity to elaborate antiessentialist representational artistic strategies that might be able to critically summon \"womanliness\", though avoiding the reification of the same category, subject and heterosexual structures that sustain this term. Therefore, I will argue that by appropriating images of women provided by the cultural imagery (magazines, cinema, television, adds etc.) these artists enable a critical gaze towards this particular visual repertory, destabilizing not only their historically rooted rhetorics, but also the very idea of \"womanliness\" as a stable, coherent, natural and universal identity category.
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Pedroso, Diego Castro. "A transposição da imagem para o espaço tridimensional." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-28022013-161640/.
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Esta dissertação é uma reflexão do artista sobre sua produção, os procedimentos e relações visuais das peças instaladas que materializam sua arte. Por meio da observação crítica, são estabelecidas relações entre os processos de criação das peças tridimensionais - iniciados com a apropriação e deslocamento da imagem - e seu desenvolvimento com apoio da repetição, o que abre potencialidades construtivas no espaço e dialógicas com ele. Diante da efetivação de tais possibilidades, busca-se expor e questionar a natureza do que é explorado em suas diferentes propriedades, como a cor, as formas sinuosas e geométricas, os planos, as escalas. O resultado de toda essa abordagem abre novas vertentes de pesquisa e elaboração de trabalhos, transformadas em projetos que, de certa forma, sintetizam esta dissertação.This essay is a reflection of the artist on its production procedures and visual relationships of the parts installed that embody his art. Through critical observation, relations are established between the processes of creating three-dimensional parts - beginning with the appropriation and displacement of the image - and its development with the support of repetition, which opens potential constructive and dialogue space with him. Faced with the realization of such possibilities, seeks to expose and question the nature of what is explored in its various properties such a s color, sinuous shapes and geometric plans. The result of this approach opens up new areas of research and development work, turned into projects that somehow synthesize this essay.
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Honoré, Emmanuelle. "L'appropriation de la nature par l'homme au Sahara égyptien (Gilf el-Kebir) au cours de l'optimum holocène." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010693.
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Vaste plateau de grès découpé d'innombrables vallées sèches au sein du Sahara oriental, le Gilf el-Kebir a servi de zone refuge pendant l'optimum holocène, d'environ 8000 à 4000 avant notre ère. Les données archéologiques permettent de restituer les pratiques quotidiennes et les stratégies de moyen ou long terme des groupes ayant fréquenté la région pendant cet intervalle. L'habitat et la mobilité, la gestion des ressources et approvisionnements et l'organisation des activités sont autant de témoins de la relation de l'homme à son environnement, et de la façon dont il l'exploite pour ses besoins. Au Gilf el-Kebir, l'appropriation de la nature se traduit en termes matériels et idéels. Au VIe millénaire avant notre ère, l'adoption du pastoralisme implique des changements sur le plan de l'économie domestique, de l'organisation sociale et des symboles. Sur les parois des abris du nord-ouest, l'art rupestre traduit en images la façon dont l'homme conceptualise sa place et son rôle au sein de son environnement. Les figurations atypiques de bêtes mi-homme mi-animal participent à notre compréhension des procès de socialisation de la natureWith its foothills carved by numerous dry valleys, the sandstone plateau of the Gilf el-Kebir has been used as a refuge area in the Eastern Sahara during the Holocene optimum, from around 8000 to 4000 Be. Archaeological data allow understanding the daily practices and also the medium- and long-term strategies of the groups who settled in the region. Housing and mobility, management of resources and procurement and organization of the activities are ail witnesses of the relationship of man to his environment, and how he uses it for his needs. In the Gilf el-Kebir, the appropriation of nature is reflected in the material and conceptual fields. During the VIth millennium BC, the adoption of cattle pastoralism involves changes both in domestic economies and in social and symbolic life. In the northwestern shelters, rock art translates into images the conception that the painters and the engravers had of their own place and role among their environment. The atypical representations of half-human half-animal beasts take part in our understanding of the process for socializing nature
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Poulet, Célia. "L'apprentissage d'une pratique démocratique : l'exemple de la prise de parole en franc-maçonnerie." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10159.
Full textAbstract:
Au carrefour entre sociologies de la connaissance, de l’éducation et politique, cette thèse étudie certaines pratiques sociales de travail collectif par la prise de parole, que l’ on qualifie de démocratiques, et dont la Franc-maçonnerie est un terrain pris à titre d’exemple. Historiquement élitiste dans son recrutement, celle-ci a connu lors du siècle dernier une forte démocratisation. Il en résulte aujourd’hui une population socialement très hétérogène. Abordant la maçonnerie en tant que dispositif pédagogique tacite, ce travail se propose d’étudier les processus sociologiques en œuvre dans l’appropriation sociale d’un travail basé sur l’abstraction et la tranférabilité de relations symboliques. L’analyse de matériaux (entretiens, productions écrites réalisées par les Franc-maçons, textes officiels) permet de mettre en lumière certaines caractéristiques de cet apprentissage : élection, déprofanation et amélioration, construites à travers la cumulativité du travail collectif et la possibilité de sa révision. L’enjeu de ce sujet dépasse de ce fait la question des loges maçonniques. A travers une approche de cette pédagogie tacite, on cherche à éclairer les enjeux de l’apprentissage en termes de production et reproduction des savoirs, autour de la question fondamentale du droit à l’amélioration dans les structures pédagogiques et de l’élaboration d’une normativité collectiveAt the crossroad between sociology of knowledge, sociology of education and political sociology, this thesis examines certain social practices of collective work by public speaking of members, described as democratic. In this study, Freemasonry constitutes a revealing field of research. Historically characterised by a very elitist recruitment mode, Freemasonry has gone through a process of democratisation during the last century. As a result, Freemasonry shows much more social heterogeneity then before.. Considering Freemasonry as tacit pedagogic device, this research examines the sociological processes at work in the social appropriation of a practice based on abstraction and transferability of symbolic relations. The data analysis (interviews, written productions of masons, official texts) allows highlighting some specificities of this apprenticeship: election, déprofanation and improvement, which are built through the cumulativity of collective work and the possibility of revision. As a matter of fact, the interest of this study goes far beyond the Masonic lodges themselves. Using the concept of a tacit pedagogy, what is at stake is apprenticeship as production and reproduction of knowledge, including the fundamental issues of the right to improve within pedagogic structures and the elaboration of a collective normativity
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Liu, Yu-jen. "Publishing Chinese art : issues of cultural reproduction in China, 1905-1918." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:284f18b9-a0ce-4a4a-bdb4-6a1c1ece44ce.
Full textAbstract:
This thesis is an enquiry into the conditions in which various understandings of the newly introduced but vaguely grasped Western notion of ‘art’ emerged and sustained themselves in the name of cultural reproduction in early twentieth-century China. This Western concept of art was translated into Chinese as ‘meishu’, a neologism originally coined in Japanese kanji, and regarded as the embodiment of the ‘national essence’. Through a close examination of five art-related publishing events—the publication of the nationalistic journal Guocui xuebao; the launch of the art periodical Shenzhou guoguangji; the endeavours to compile a book collection on art, Meishu congshu; the making of the text Zhonguo yishujia zhenglüe which claimed to be a history book of Chinese ‘meishu’; and an example of image appropriation from Stephen Bushell’s Chinese Art—this thesis explores the ways in which different ‘neologistic imaginations’ of the term ‘meishu’ were constructed through publishing practices attempting to preserve and reproduce the ‘national essence’, by creating from the existent tradition a category of ‘art’ equivalent to that in the European West. Unlike previous scholarship, which deems any understanding of ‘meishu’ that deviated from the ‘authentic’ European model a ‘misconception’, this thesis sees these disparate understandings of ‘meishu’ as equally valid statements competing for dominance in the discursive field of art. This thesis thus argues that there existed at least three modes of utterances regarding the notion of ‘meishu’ in early twentieth-century China, and that the success of any such given utterance depended upon the acceptance of the authentic quality argued in its strategy of cultural reproduction. This thesis hence not only offers a detailed analysis of each publishing event, but also provides an interpretative framework within which the recognition of these utterances can be analysed by their strategic approaches to claiming cultural authenticity.