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Dissertations / Theses on the topic 'Art, Abstract'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Kappers, Michael. "VIRTUALLY ABSTRACT." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4011.

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My most recent body of work frees me from traditional animation and graphic design principles that had become second nature in my creative practice over years of commercial work in industry. I now find myself unconsciously creating shape and form without a preconceived vision of the final outcome. This allows for a free-flowing approach to my canvas. The canvas in which my forms are created is virtual space and can be described as an infinite cube. The first step I take in each of my pieces is creating a cube with the center residing at Cartesian coordinates 0,0,0. From there, I make the decision either to subdivide the cube into sections or extrude faces from the cube. In either case, I begin to see the possibilities in which the form can take. Some forms are organic and rhythmic while others become machined and rigid. At this stage, color and light are not a part of the equation.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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2

Mosina, E. O. "Abstract vision in fashion." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/11355.

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3

Jakeman, Jane. "Abstract art and communication in 'Mamluk' architecture." Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:83f44ba8-2ba6-4ff1-8732-9e78d65ad5c5.

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Fourteenth-century Cairo saw a movement towards abstract, geometric art. This movement reflected contemporary intellectual interests and represents the culmination of the ascendancy of Islamic philosophy over the humanist vocabulary of art. The thesis seeks explanations for the positive, i.e. for the forms which art actually took, rather than concentrating on prohibitive mechanisms. In architecture, the disappearance of stucco vegetal decoration may have been partly due to the effects of an outbreak of plague, but the main influences on contemporary art and architecture came from the esoteric habits of thought induced by sufism, alchemy and hermeticism, and from the dualist concerns of Islamic philosophy. The thesis discusses the continuity between sufism and Shī'ism, the history of sufism in Cairo as it affected art and architecture, concepts of the microcosm and the macrocosm, and theories of colour, substance and gilding. The thesis examines talismans and other esoteric material. It discusses architectural incorporata, presents a catalogue of Pharaonic material re-used in Islamic architecture, and argues that blocks bearing Pharaonic hieroglyphs represented Hermetic lore and, at entrances to buildings, paralleled the use of Pharaonic references at the beginning of esoteric manuscripts. The detailed discussion of architecture takes the form of an examination of a religious building, scrutinising the underlying principles of decoration and then moving on to specific elements such as the entrance and the mihrab. The thesis discusses, and dissents from, iconographic interpretations of architectural imagery. It attempts to evolve a terminology for discussion and concludes that 'mamluk' is inappropriate as a cultural term, since the influence of the individual patron on art and architecture was less innovative than the intellectual background of the period, and the dissociation of the patron from contemporary society has been over-estimated. It comes to the conclusion that 'an art of the bāṭin' would more effectively express the major influence on the art and architecture of fourteenthcentury Cairo.
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4

Pearce, Mary. "Colour and communication in twentieth century abstract art." Thesis, Kingston University, 2001. http://eprints.kingston.ac.uk/20686/.

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The core of this research has been to undertake both an analytical study of the role of colour in early twentieth century abstract art and to produce a CD-Rom as an interdisciplinary design tool, to convey the material in a manner through which complex ideas can be easily assimilated. Multimedia has the advantage of possibilities for interactivity, a graphic interface, sound, animation and of organising information in a matrix of cross-references. This adds new dimensions to the study of visual arts and facilitates an analytical approach to the subject. There are also innovative possibilities for the didactic function of the presentation as an educational tool, especially as the information has been organised in levels to appeal to different kinds of audiences, where original theories, essays, notes and internet links to related material, are accessible if the user wishes to investigate more deeply. With regard to the art historical content, although colour contains some inherent qualities which affect human perception; it still relies heavily on its cultural context in order to acquire meaning within works of art, the proposal in this research is therefore, to discuss the perception of colour within one specific tradition, that of Western modernism. It begins with the influence of nineteenth century colour theory on the early twentieth century European painters and focuses on how the change in the role of colour progressed in parallel with the development of abstract art. Using selected painters as examples, I have introduced French and German development of the role of colour, and then show how this technical and expressive understanding of colour also permeated the United States and influenced the American Abstract Expressionist painters. Thus demonstrating that the way that colour is used in their work relies on the same understanding of colour that was developed in the early twentieth century in Europe. Unlike previous research in colour, the analogies with music, calligraphy and poetry are explored as being strongly associated with the role of colour in Western abstract painting, especially their roots in `simultaneity', as evident in the work of Robert Delaunay, which involved issues of time and space in painting. Individual compositions are therefore analysed from various angles within their cultural context, which is made possible through the multifaceted qualities of new multimedia, mentioned above.
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5

Shah, Diti. "An abstract expression of September 11, 2001." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4448.

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Historical events captured in an abstract manner have the ability to produce a profound effect on the emotions. The purpose of this research is to create a time-based computer media work, using dialogue from playwright Anne Nelson's The Guys, based on the September 11, 2001 attacks on the World Trade Center in New York City, with emphasis on visual imagery, particularly the use of line and color, to enhance the dramatic and emotional content of the piece. The stylistic direction of the thesis work is greatly influenced by selected works of abstract expressionists Robert Motherwell and Franz Kline, whose artwork was shaped by the social backdrop of World War II.
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6

Budrytė, Kristina. "Lithuanian Abstract painting in Soviet period." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090312_110650-92526.

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The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s). In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art (also American art) presenting the most recent tendencies that developed out of them and juxtaposing it with the Central European culture (as the area of Soviet influence). Western European culture and its artistic movements were a complete opposition to the artificially built Eastern Block during the Soviet period. The forced separation of this period defined its unique qualities that found one expression in Central Europe and a different one in countries occupied by the Soviets (eg. in Lithuania); it also formed the position of freedom of an alternative art. Whereas in the West abstraction, in its own time, was the great boom of modernism because it freed painting from the traditional language of ‘representation’ and illustration, in Lithuania, in its local context, it had more functions: it was considered to be the great achievement of late modernism that helped to discover newer than... [to full text]
Disertacijos santraukoje nurodomi analizuoti Lietuvos abstrakčiosios tapybos kūriniai sovietmečiu, išskiriant ir lyginant kelių dešimtmečių (nuo šeštojo pabaigos iki devintojo) dailės ir dailės kritikos įvairovę Lietuvoje. Abstrakčioji tapyba, peržvelgus jos teorinius ir istorinius akcentus, vertinama kaip radikali meninė reakcija Lietuvoje, o bendras meninis kontekstas sovietmečiu analizuojamas iš sociopolitikos problematikos perspektyvos. Tai Vakarų Europos (bei iš JAV atkeliavusių) žymiausių pavyzdžių analizė, pateikianti išsivysčiusias iš jų naująsias tendencijas ir Vidurio Europos (kaip sovietmečio įtakos lauko) kultūrų sugretinimas. Visiška priešingybe sovietmečio dirbtinai suręstam Rytų blokui buvo Vakarų Europos kultūra ir jų meninės srovės. Priverstinis to laikotarpio atskyrimas nulėmė savitumus, vienaip pasireiškusius Vidurio Europoje, kitaip – sovietų okupuotose šalyse (pvz., Lietuvoje), ir iššaukusius kitokio meno laisvės poziciją. Vakaruose abstrakcija buvo modernizmo suklestėjimas, tai reiškė išsivadavimą iš tradicinės dailės kalbos, susijusios su vaizdo atvaizdavimu. Lietuvoje abstrakcijos apraiškos turėjo ir kitokių funkcijų: plastinės meninės kalbos įvairove buvo bandoma paneigti priverstinai primestą socrealizmo ideologiją. Disertacijos santraukoje atskleidžiamos Lietuvos abstrakčiosios tapybos formavimosi prielaidos ir galimybės. Abstrakčiosios tapybos užuomazgos –– S. Kisarauskienės, V. Kisarausko darbų pavyzdžiai, J. Švažo, L. Katino ir kt. tapyba XX... [toliau žr. visą tekstą]
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7

Virginianne. "Art lessons that develop a positive attitude toward abstract art, an interview study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39494.pdf.

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8

Godfrey, Mark Benjamin. "The memory of Modernism abstract art and the Holocaust /." Online version, 2002. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.395783.

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9

Godfrey, Mark. "The memory of Modernism : abstract art and the Holocaust." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395783.

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10

Mumba, Patrick. "Abstract art and the contested ground of African modernisms." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/d1021165.

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This submission for a Masters of Fine Art consists of a thesis titled Abstract Art and the Contested Ground of African Modernisms developed as a document to support the exhibition Time in Between. The exhibition addresses the fact that nothing is permanent in life, and uses abstract paintings that reveal in-between time through an engagement with the processes of ageing and decaying. Life is always a temporary situation, an idea which I develop as Time in Between, the beginning and the ending, the young and the aged, the new and the old. In my painting practice I break down these dichotomies, questioning how abstractions engage with the relative notion of time and how this links to the processes of ageing and decaying in life. I relate this ageing process to the aesthetic process of moving from representational art to semi-abstract art, and to complete abstraction, when the object or material reaches a wholly unrecognisable stage. My practice is concerned not only with the aesthetics of these paintings but also, more importantly, with translating each specific theme into the formal qualities of abstraction. In my thesis I analyse abstraction in relation to ‘African Modernisms’ and critique the notion that African abstraction is not ‘African’ but a mere copy of Western Modernism. In response to this notion, I have used a study of abstraction to interrogate notions of so-called ‘African-ness’ or ‘Zambian-ness’, whilst simultaneously challenging the Western stereotypical view of African modern art. I have also related the theoretical and practical analysis of abstraction to scholarly debates on abstraction and ‘African Modernism’, arguing for multiple African Modernisms.
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11

Brady, Tara. "Trait and State Determinants of Preference for Abstract Art." W&M ScholarWorks, 2000. https://scholarworks.wm.edu/etd/1539626275.

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12

Millward, William. "Abstract painting the development and analysis of innovative processes." Saarbrücken VDM Verlag Dr. Müller, 2003. http://d-nb.info/990055116/04.

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13

McDonald, Adrian. "Painting Geometry: an abstract language in concrete form." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9913.

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My thesis is that geometry is an abstract and universal language that can reflect the inner being of the world in concrete form. I propose that the ideal forms of geometry, like those of harmony in music, have an aesthetic and metaphysical dimension that is capable of touching the most essential part of our being in the world. In this context, I suggest that painting geometry may be understood as an art practice that is closely aligned with the ideals of philosophical reflection, and how, as a consequence of this understanding, my approach to painting geometry is directed towards the realisation of the ideals of beauty, truth and freedom in particular; an approach that I claim shares much in common with the origins of both abstract and concrete art in post-Kantian German Idealist thought and Romantic art. On this basis, I argue that my painting practice is engaged with the possibility of the realisation of an ideal form of expression. This goal may be summarised as the achievement in painted form of a visual or spatial equivalent to the formal language of harmony of music. The paintings that I have submitted for examination may be understood as a direct consequence of my research findings, in view of which my intention is to make a contribution to the current and evolving language of abstract and concrete art. To this end, my thesis serves as an exegesis for the paintings submitted for examination in fulfilment of the requirements of my doctoral candidature.
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14

Johnson, Grant. "Otherworldly goods." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2361.

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Thesis (M.F.A.)--West Virginia University, 2002.
Title from document title page. Document formatted into pages; contains vi, 32 p. : ill. (some col.). Includes sound file in the mp3 audio format. Vita. Includes abstract. Includes bibliographical references (p. 29).
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15

Sensi, Maria Assunta. "Alberto Burri et sa contribution au renouvellement du langage artistique de l’après-guerre." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040133.

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Ce travail examine l’œuvre de l’artiste abstrait italien Alberto Burri (Città di Castello, 1915 - Nice, 1995) et ses nouvelles contributions à partir de 1945, notamment dans l’utilisation de la matière en peinture : Goudrons, Sacs, Bois, Fers, Plastiques, jusqu’aux Cretti et Cellotex. La métamorphose de sa recherche est contemplée en faisant état des différentes phases de sa création. C’est dans le Texas, durant sa captivité au cours de la Seconde Guerre mondiale qu’elle vit le jour et continua sans cesse de prendre forme, dans chaque lieu qu’il habita : Rome, où il entra en contact et influença nombre d’artistes, et aussi Los Angeles, Beaulieu-sur-Mer. Prenant également en compte la réception critique de ses créations en Italie et ailleurs, on étudie ses spéculations par rapport à celles des Avant-gardes et à d’autres artistes travaillant avec de la matière, en France, en Italie, dans d’autres pays européens, aux États-Unis et au Japon (entre autres, Gutaï, Néo-Dada, Nouveau Réalisme, Arte Povera…) Tableaux, sculptures, grands «Cycles», œuvre gravé, livres d’artiste, décors pour le théâtre, Sculptures-Théâtre : un voyage monumental, où Burri - entre révolution et classicisme - concevant des œuvres puissantes et raffinées, à l’ «équilibre déséquilibré», renouvela complètement le langage artistique de l’après-guerre
This survey examines the work of the Italian abstract artist Alberto Burri (Città di Castello, 1915 - Nice, 1995) and his original contributions using a variety of materials in artistic creation since 1945: Tar, Burlap, Wood, Iron, Plastic, and finally Cretti and Cellotex. The metamorphosis of his research is evidenced through all the different phases of his activity, starting in Texas at the time of his internment during WWII and constantly continued in every place he lived: Rome, where he met and influenced many artists, Los Angeles, Beaulieu-sur-Mer. Also examining the critical reception of his work in Italy and elsewhere, his speculations have been studied in relation to those of the Avant-garde and other artists working with materials, in France, Italy, other European countries, United States and Japan (among others, Gutaï, New-Dada, Nouveau Réalisme, Arte Povera…) Paintings, sculptures, big "Cycles", graphic work, artists’ books, stage sets, Theatre-Sculptures: a monumental journey, during which Burri - between revolution and classicism - created powerful and refined works of "unbalanced balance", completely renewing the post-war artistic language
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Smith, Jeffrey Statler. "Multi-camera: interactive rendering of abstract digital images." Thesis, Texas A&M University, 2003. http://hdl.handle.net/1969.1/341.

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The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspective and collage techniques used by many cubist and futurist artists of the early twentieth century.
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Engström, Alexander. "Inger Ekdahl : Swedish Abstract Expressionism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182385.

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Inger Ekdahl was a female painter at the center of Swedish Abstract Expressionism in the fifties. This essay investigates how her art was received in Stockholm and Paris. We conclude that although her type of art dominated the avant-garde in Paris during the late fifties, she was too early for the Swedish avant-garde and did not amass enough support to transform it. The analysis used Actor-Network Theory following Latour.
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Margerison, Paul. "An algorithmic and interactive approach to computer art." Thesis, Open University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240001.

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Fullerton, Jeanay. "VISUAL STAMP." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4017.

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I create images in a painterly manner illustrating a visual dialog, which suggests simultaneous moments, yet are actually a separated collision of moments and time. I have stretched these ideas from a slowed manipulation of time, to a calculated capture of segmented moments. My work undermines the importance of the decisive moment theory. This theory was the catalyst for my new series, VISUAL STAMP. "The decisive moment, it is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression." - Henri Cartier-Bresson I am conveying space and time on a single plane in a similar way to how we perceive, process, and retain information visually. The discarded moments in our perception are what I am interested in capturing. We do not view life in a frozen millisecond. Contemporary modes of perception involve the sensorial experience of viewing thousands of movements in small bursts of time that are often left behind, and forgotten. By layering images I am illustrating gaps from one moment to the next. My interest in using the insignificant event to create an aesthetic has become a personal visual stamp. This series embraces the discarded aspects of our visual interpretation of the objects and places we see in everyday life.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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20

Silveirinha, Patrícia. "Processos de abstracção nas linguagens visuais-pintura, cinema, arte vídeo e videoclips." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1998. http://dited.bn.pt:80/29934.

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21

Matheson, Clare. "Abstract reality the alienating gaze : this exegesis is submitted to Auckland University of Technology for the degree of Masters in Art and Design, December 2005." Full Exegesis. Abstract, 2005.

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22

Agustí, Eugènia. "La geometria del color. Lectures des de l'abstracció." Doctoral thesis, Universitat de Barcelona, 2006. http://hdl.handle.net/10803/672083.

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El nucli de la tesi és l'ús del color des d'una determinada poètica artística, l'abstracció. S'empra com a paradigma un conjunt de sis artistes que tenen com afinitat el seu treball de color en l'àmbit de l'«abstracció geomètrica». Es sostè la hipòtesi que l'obra dels autors s’interpreta, es llegeix, com una carta de color especial en cada cas. El artistes escollits són Sol Lewitt, Bridget Riley, Aurélie Nemours, Max Bill, Véra Molnar i Pablo Palazuelo. Tant el tema escollit com el seu estudi es justifiquen des de la meva inquietud artística entorn a l’abstracció geomètrica i el color. La genealogia d'autors inclosa en la tesi respon a una complicitat intuïda que neix després de veure i seguir llur obra al llarg del temps, que m'ha aportat una amplitud de perspectives per entendre els processos que jo mateixa he estat desenvolupant en el meu treball. La tesi es disposa en dues parts: un primer volum amb l'estudi pròpiament, i un segon volum que acompanya la investigació amb una selecció del meu treball gràfic ja que tant el tema escollit com l'estudi es justifiquen des de la meva inquietud artística entorn a aquesta temàtica.
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Sartori, Andreza. "Affective Analysis of Abstract Paintings Using Statistical Analysis and Art Theory." Doctoral thesis, Università degli studi di Trento, 2015. https://hdl.handle.net/11572/367628.

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This research thesis aims to provide a novel approach to Emotion Recognition of Images: based on empirical studies, we employ the state-of-the-art computer vision techniques in order to understand what makes an abstract artwork emotional. We identify and quantify the emotional regions of abstract paintings. We also investigate the contributions of the main aspects present on abstract artworks (i.e., colour, shape and texture) to automatically predict emotional valence of them. By using eye-tracking recordings we investigate the link between the detected emotional content and the way people look at abstract paintings. We apply a bottom-up saliency model to compare with eye-tracking in order to predict the emotional salient regions of abstract paintings. Finally, we use the metadata associated to the paintings (e.g., title, description and/or artist statement) and correlate it with the emotional responses of the paintings. This research opens opportunity to understand why an abstract painting is perceived as emotional from global and local scales. Moreover, this work provides to art historians and art researches with a new perspective on the analysis of abstract paintings.
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Sartori, Andreza. "Affective Analysis of Abstract Paintings Using Statistical Analysis and Art Theory." Doctoral thesis, University of Trento, 2015. http://eprints-phd.biblio.unitn.it/1439/1/sartori_andreza.pdf.

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This research thesis aims to provide a novel approach to Emotion Recognition of Images: based on empirical studies, we employ the state-of-the-art computer vision techniques in order to understand what makes an abstract artwork emotional. We identify and quantify the emotional regions of abstract paintings. We also investigate the contributions of the main aspects present on abstract artworks (i.e., colour, shape and texture) to automatically predict emotional valence of them. By using eye-tracking recordings we investigate the link between the detected emotional content and the way people look at abstract paintings. We apply a bottom-up saliency model to compare with eye-tracking in order to predict the emotional salient regions of abstract paintings. Finally, we use the metadata associated to the paintings (e.g., title, description and/or artist statement) and correlate it with the emotional responses of the paintings. This research opens opportunity to understand why an abstract painting is perceived as emotional from global and local scales. Moreover, this work provides to art historians and art researches with a new perspective on the analysis of abstract paintings.
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Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.

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This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.
Department of English
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Brooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.

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"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.
Master of Arts (Visual Arts)
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Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." Thesis, University of Ballarat, 2005. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38083.

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"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.
Master of Arts (Visual Arts)
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28

Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.

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"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.
Master of Arts (Visual Arts)
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29

Volk, Mitchell James. "GRAAPHS: graphic representations of abstract and altruistic phenomenological hymns and stories." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6871.

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30

Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.

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Maghrabi, Hesham A. "Application of traditional abstract painting in new media environments." Thesis, Coventry University, 2007. http://curve.coventry.ac.uk/open/items/975cb65c-9570-d5dc-6649-f793b886d6cb/1.

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This thesis presents an investigation into the process of new forms of installation art; an exploration of the shifting of artistic activities from conventional studios and fine artist practices to installation art practices. A combined approach was taken whilst undertaking research by studying literature within the field, engaging with other practicing artists and conducting practical analysis. There is also a discussion of new technology in the field of abstract expressionist painting and a dialogue on the differences between traditional and digital abstract painting with regard to their processes. The reflective and issue finding processes undertaken by the researcher in this investigation are discussed in relation to the changes in his practice. The artist’s experimentation with materials and processes and the implications of this as regards the relationship between the artwork and the viewer are also discussed. The thesis is divided into seven chapters of text and images with an accompanying DVD including the main abstract new media installation. The first chapter includes an introduction to the research with the methodology applied. The second chapter involves using the computer to produce abstract painting. The third chapter then focuses on the differences between digital and traditional abstract painting. Moving on from this the fourth chapter covers multimedia installation and its associated processes. The fifth chapter deals with the reflections on the practice element of this investigation. The sixth chapter engages with the evaluation of and feedback from the field trip and with notes from artists with regard to practical production. The final chapter draws conclusions from this research with suggestions for further studies. This thesis will make the following contributions to knowledge: developing the process of animation from 2D abstract painting to a 3D environment with the inclusion of animation; using new technology as a creative tool to enable artists to gain new insights into creative art practices which provide audiences with new experiences of new and multimedia installation; advancing the creative process of new and multimedia artworks taking account of new techniques relating to the manipulation of viewpoints, picture planes and pigment surface as related to traditional methods of image creation and recording and their new media counterparts.
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Degroot, Simon Cornelius. "Familiar beyond Recognition: Translation in Contemporary Abstraction." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/368013.

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This research contributes to discourse on abstract art in relation to a contemporary context of image sharing and exchange. Many contemporary artists working with abstraction use visual elements from art history, popular culture, product design, the computer desktop and architecture in their work. The once unrecognisable non- figurative forms of Modernist abstraction have now become recognisable objects and forms in contemporary abstraction. Artists such as Charline von Heyl, Christine Streuli, Natalya Hughes, Peter Atkins, and Ryan Gander make visual reference to pre- existing forms in their work, shifting our understanding of abstraction as being based only in formal qualities. Translation as process and concept is a useful model to interrogate how particular abstract forms are re-employed in contemporary abstraction, how they are recognised, why they are familiar, and why this is important to understanding contemporary abstraction. I argue that both a history of Modernist abstraction and a developing visual culture brought about by commercial printing techniques have popularised abstract forms, and that both favour techniques of visual communication that are expedient, direct, easily disseminated, and easily recognised. I consider what an analysis of translation in language is able to bring to the analysis of contemporary abstract painting. Translating an original text for dissemination to a wider audience is similar to the way in which contemporary artists use existing abstract forms to make new works. I compare theories of visual representation from W. J. T. Mitchell, Hubert Damisch and Arthur C. Danto to consider how particular abstract forms are reused in contemporary environments and how they are able to continue to evoke feelings of familiarity in different contexts while remaining abstract.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Sipes, Kelly Suzanne. "Dot matrices." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5501.

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Thesis (M.F.A.)--West Virginia University, 2007.
Title from document title page. Document formatted into pages; contains iv, 49 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 30).
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Craven, Michael P. "Abstract art and controversy : a case study of Louis Bunce's airport mural and other Portland art controversies." PDXScholar, 1997. https://pdxscholar.library.pdx.edu/open_access_etds/4296.

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This thesis examines a series of controversies in Portland, Oregon during the 1950s triggered by the placement of modem art in strategic public locations. This study examines the controversy surrounding the installation of Louis Bunce's mural at the Portland International Airport and the series of modern art controversies that followed the mural incident.
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Tankel, Jesslyn Elise. "A Teaching Toy: Free Forms in an Abstract Landscape." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/45220.

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As a young student, I enjoyed a passion for the studio arts and an interest in art history. I ardently pursued these areas in college, continuing their exploration in graduate school in the field of Industrial Design. For the thesis project, my objective is to foster in children an appreciation for art and, possibly, to help them develop a critical and appreciative eye toward their environment. In my research, I find inspiration in child psychology and the toys of child's play, in 15th-century Islamic art and 20th-century Abstraction, and in naturally occurring events such as ivy twisting up a knotty tree trunk and soft ripples in a pond. The assimilation of these elements, together with the ideas that they generate, evolve into the foundation for my project. My intent is to design a toy which provides children ages six to twelve years with insight into both the world of nature and the realm of art. Further, the toy will heighten each child's visual vocabulary to acknowledge the organic, natural line that exists in nature and which is, perhaps, represented in abstract art. These goals are the guiding principles for my work.
Master of Science
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Ratcliffe, T. W. W. "Between Paris and New York : Abstract art in England from 1945-1965." Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527602.

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Fenney, Lucia T. "Shattered epochs : a design of imagined realities /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/203.pdf.

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Dietz, Matthew Shoemaker. "It did well for what I wanted it to do." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276789430.

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Ah, Kuoi Michelle. "Jekyll and Hyde approach to painting: the antagonistic strategy in contemporary abstract painting." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12009.

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This paper examines my paintings in conjunction with three painters; Albert Oehlan, Charline von Heyl and Christopher Wool. These painters utilise a combination of visual languages and adopt an antagonistic or contradictory painting strategy indebted to Willem de Kooning, the Dutch American Abstract Expressionist. The discussion involves how these artists have manoeuvred their own positions in painting and how they have created their own painting lexicon against the paradigm of the cyclical viability of Contemporary painting. The emphasis is on each artist’s avoidance of binary opposites; whether it is between abstraction and figuration, or the stylistic tools and tropes within the painting. The paradox in writing this paper has been that the language utilised to describe abstraction is fixed with the language of modernism. In other words, the visual lexicon has developed and the language to describe it has not. Similarly, any language and linguistic classification of art works against and is insufficient to the fluid nature of many of the paintings.
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Erickson, Gwen M. "The formal language of nonobjective art." PDXScholar, 1986. https://pdxscholar.library.pdx.edu/open_access_etds/3495.

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Frisk, Mattias. "Bilden av den andra bilden : - en undersökning i manligt och kvinnligt uttryck med den abstrakta expressionismen som studieobjekt." Thesis, Linköping University, Department of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-19285.

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Uppsatsen syftar till att undersöka huruvida begrepp som maskulint och feminint kan uppfattas i den nonfigurativa bilden. Med exempel ur den abstrakta expressionismen studeras detta utifrån genus och semiotisk teori. Även konstvärldens roll i producerandet av genus undersöks. En mindre enkätundersökning och bildanalys ingår i studien.


This thesis purpose is to examine whether notions as masculine and feminine can be understood in a nonfigurative picture. Thru gender theories and semiotics some examples from the Abstract Expressionist movement are studied. The art world’s participation in construction of gender is also examined. A picture analysis supported by a small survey is also included in the study.

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Caldarola, Elisa. "Pictorial Representation and Abstract Pictures." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3422042.

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This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich.
Il mio lavoro si inserisce nell’ambito del dibattito sul concetto di rappresentazione pittorica (RP) e sulla teoria dell’arte pittorica recentemente portato avanti in area analitica. I miei obiettivi principali sono un’esposizione critica dei problemi sollevati dalla tesi secondo cui è la somiglianza agli oggetti dipinti che spiega RP e un’analisi del fenomeno della pittura astratta da un punto di vista analitico. La prima parte è dedicata ad una ricognizione del dibattito analitico su RP, con particolare attenzione ai destini della “teoria della somiglianza”. Nel primo capitolo traccio i contorni delle principali teorie attualmente discusse, nel contesto di un’analisi della letteratura tradizionale sull’argomento, da Platone a Cartesio. La decisione di dare maggiore rilevanza alla teoria della somiglianza rispetto che ad altre teorie su RP è motivata dal fatto che il resto della mia ricerca è dedicato all’analisi e a una proposta di arricchimento di una delle proposte che recentemente hanno riproposto la teoria della somiglianza, benché con alcune importanti modifiche. Si tratta della teoria difesa da John Hyman, che espongo nel secondo capitolo, avendo cura di mostrarne i presupposti e di discutere alcune critiche e obiezioni che le sono state mosse. Il terzo e quarto capitolo sono dedicati all’arricchimento della teoria di Hyman in relazione al fenomeno della pittura astratta. Due sono le peculiarità della teoria di Hyman: primo, è in controtendenza rispetto a tutte le altre attuali proposte sulla RP, perché non ha bisogno di concepire RP come rappresentazione di particolari o di tipi di oggetti che possiamo facilmente identificare; secondo, è una teoria che porta l’arte al centro della discussione filosofica su RP. Hyman, infatti, illustra la sua proposta con numerosi riferimenti alla storia delle arti figurative. La seconda parte di questo lavoro è ispirata dall’idea che la teoria della somiglianza di base di Hyman si possa applicare anche ai dipinti astratti. Lo sviluppo di un’analisi della pittura astratta da un punto di vista analitico è un compito con cui finora si sono misurati pochissimi autori – per quanto ho potuto appurare. Tuttavia, è evidente che gli obiettivi che i pittori di immagini astratte si pongono sono vicini a quelli che si pongono i filosofi quando discutono sulla RP. È opinione diffusa che uno dei temi principali dell’arte contemporanea sia l’arte stessa, e che uno dei temi principali della pittura astratta sia l’arte stessa di dipingere, l’arte di produrre immagini, con i suoi limiti e le sue convenzioni. Motivata da queste considerazioni, ho cercato di dare una prima formulazione alla proposta di una teoria della somiglianza di base della RP applicata ai dipinti astratti. I miei principali riferenti critici sono filosofi come Richard Wollheim, Kendall Walton e Lambert Wiesing, e critici e storici dell’arte come Clement Greenberg ed Ernst Gombrich.
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Hannold, Allan. "Sculpture and environment." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/724982.

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The purpose of this creative project was to further the development of the artist's personal style. Also to produce an exhibition of sculpture that relate to each other through common themes and techniques. The exhibition would become a unique environment for the viewer.The artist used steel as a medium in the creation of his sculptures. Various types of steel where cut, forged, welded, and fabricated in order to produce and extend the vocabulary of the sculptures. Steel was used experimentally with line, texture, and bright color. The exhibited works were successful because they concentrated on abstract designs that resembled animal or personages with gestural and emotional content. The artist's exhibition displayed a direction of style that is distinctive. The style has a complexity within its asymmetrical design that simplifies gestural and emotional content. From this work the artist has drawn conclusions about found objects and constructivism. He will utilize this working knowledge in future projects.
Department of Art
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Garlake, Ragna Nesta Margaret. "The relationship between institutional patronage and abstract art in Britain c.1945-1956." Thesis, Courtauld Institute of Art (University of London), 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282950.

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Fisher, Melanie Teresa. "Natalia Goncharova and Franz Marc : kindred spirits of the new art." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1163008367.

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Glah, Catherine. "Coping-The Art of Depression." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1263.

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This thesis combines personal experiences of depression with experimentation of media, and consists of four projects including a set of five postcards, a graduation robe, and a tapestry collection. The final project, and central focus, is a series of 100 digital images that was created to distract the artist from harmful mental breakdowns. The series is aptly named Coping and has become a study on expressions of the mind. The exploration of the subconscious through art has roots in psychology and influences from several art movements. Psychologist Sigmund Freud recognized the power of the unconscious mind, and his psycho-analytical discoveries influenced artists in both the Surrealist Automatic and Abstract Expression movements (Turner, pgs. 373-374). Artists such as Andre Masson, Joan Miro, and Jackson Pollock experimented with subconscious thoughts, images and techniques. Additionally, contemporary artists such as Yayoi Kusama reference psychological states of being in their work by using specific denotative elements such as pattern, shape and color. Even though Coping was not initially created with conscious intention, the work proves that art can be both an insight into the subconscious and a powerful coping mechanism.
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Meyertholen, Andrea Noel. "Blurring the lines| The invention of abstract in German literature since 1800." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3620621.

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In December 1911, the public exhibition of Kandinsky's Komposition V shattered the world of Western illusionism as audiences knew and understood it - or so the traditional tale goes. Yet the relative abruptness with which abstraction supposedly shocks the art world not only presents a misleading impression; it in effect creates a great riddle. If the Western art world spent centuries organized under a unifying goal of perfecting imitation, why would it now so suddenly turn its back on its institutional underpinnings by challenging, negating, or exploding the principles it had worked so hard to develop? This project responds by rejecting the presuppositions of the riddle and arguing against the traditional narrative, claiming instead that the invention of abstract art in the 1910s was neither abrupt nor unprecedented, but was already being described, theorized, or created in the 19th century, only in literature rather than painting. Through close reading and literary analysis, I present three moments in the German literary canon in which abstract art is imagined or becomes theoretically possible: Heinrich von Kleist's Empfindungen vor Friedrichs Seelandschaft (1810), Johann Wolfgang von Goethe's poem "Howards Ehrengedächtnis" (1821), and Gottfried Keller's Der grüne Heinrich (1855, 1879). Composing these moments are three different authors who write at three different decades, speak through three different genres, and conceive three different modes of abstraction, none of which contemporaneously achieved painted form. Connecting these moments is the following argument: each constitutes an example of the invention of abstract art in a 19th-century literary text prior to the visual actualization of abstract art in the early 20th century. With such images in circulation well before 1911, this study features the crucial role of literature in foregrounding the cultural developments essential for abstract artworks to "speak for themselves" in the medium of painting by establishing certain preconditions involving need, spectatorship, and the self-awareness of the artist. Thus by conceptualizing abstract images in their writing, these three 19th-century German authors also produce necessary components of the theoretical grounding required for the 20th-century birth of abstract art.

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Murray, K. M. "The use of abstract and figurative images to evoke emotive qualities characteristic of women's sexuality /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030905.151911/index.html.

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Hanley, Mary Pat. "A breakdown in boundaries as explored through abjection and the language of abstract art /." Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1202500798/.

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White, Vanessa Liane. "Body talk: the phenomenology of mark making." Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/28930.

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In this paper titled, Body Talk: the phenomenology of mark making, I theoretically unravel the phenomena of gesture in art, through implementing the philosophy of phenomenology. Gestural painting and drawing expresses the artists embodied experience of the world, it communicates a sensual, non-language and bodily perception of it. I examine these ideas through drawing, trace, artist Jackson Pollock, Cy Twombly Robin Rhode and my own work. Discovering that gestural art is an expression of the body: that it can make bodily thoughts and feelings known through drawing, painting and performance, making it possible for bodies to talk.
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