Dissertations / Theses: 'Art-cloche (Group of artists)'

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Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.

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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.

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Duran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.

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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.

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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.

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Smith, Helen. "Artist as navigator : understanding how the social qualities of art influence organizational change : a methodology for art as a social practice." Thesis, Robert Gordon University, 2015. http://hdl.handle.net/10059/1377.

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• What insights can art reveal in the context of organizational change? • How do artistic practices influence the way communities address change? • In what ways can an individual artistic practice concerned with the role of art in society add new insights to theories and practices of contemporary art? These questions are approached through three interrelated methods. In the first the artist as researcher consciously addresses organizational change through her artistic practice, over a three year period, within the different communities of Woodend Barn, a volunteer-led arts centre in the North East of Scotland. The second method is a literature review focusing on the selected artistic practices of Allan Kaprow, Suzanne Lacy and Artist Placement Group. Each practice is discussed in relation to the underpinning philosophical principals of Pragmatism, in particular John Dewey’s ideas on the generative qualities of aesthetic experience. These insights inform the research as it unfolds within the organizational context of Woodend Barn, itself at a point of significant change. The third method draws on anthropologist Michel de Certeau’s theory of the act of speaking to define the details of social interaction. This leads to a conversational method of analysis that draws out the synergies and differences of the chairperson of Woodend Barn and the artist. The analysis aims to understand the qualities and conditions for social interaction in arts practice and how they affect change in organizational contexts. It has become apparent that a key condition of the artwork is an artist who is committed to a refined and informed understanding of the social dynamics of art (as evidenced in the two principal projects Fold (2012) and Lavender (2012-2014)). It is important to recognize that not all artists have these skills or are interested in adopting a social focus in their practice. The research sets out to address and influence new generations of artists and more broadly, to rethink the value of social interaction in artists practices in relation to economic values. Understanding how social interactions become generative sense-making experiences is an important quality of the practice and research findings. This resonates with Dewey’s theory that it is through the unconstrained characteristics of art that aesthetic experience can shift deeply- rooted ways of thinking. The research concludes with a social manifesto for art that outlines the conditions for individuals from different communities to act in ways that are self-directed and lead to community resilience.

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Mészáros, Flóra. "Hungarian Artists in Abstraction-Creation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.

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Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus large This dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background

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Oshima, Hiroko. "Artists' groups in Japan and the UK and their impact on the creative individual." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3340/.

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The aim of this thesis is to give an alternative insight to the existing concept of individuality in visual art through an examination of the meaning of being individual for visual art practitioners, particularly for those who operate in an artists’ group setting. This research project is a critique of the seemingly unchallenged emphasis on the individuality and its strong association with creativity in the current British art schools. Cultivating individuality is one of the most important aims in both British and Japanese institutions where I have trained as an artist. Nevertheless, my group-oriented cultural background and my membership of an artists’ group studying in an individually-oriented environment raise questions challenging the meaning of being an individual itself. This thesis has no methodology set up at the beginning, which would usually be the case in a conventional academic thesis. Instead, the thesis develops thought experiments to examine what ‘individual’ means in order to arrive at methodology towards the end. Moreover, this piece of practiceled research is not about the contents of my practice but about the group feeling underlying my practice as an individual fine art practitioner. The investigation into the relational idea of the self of Zen, followed by Charles Sanders Peirce’s semiotics of the Universe of Three Categories, provide the research with a useful visual thinking tool: the triadic diagram. The investigation into the meaning of the individual develops further through an exploration of the concept of ‘groupness’. Definitions of the term are carefully unfolded until the terminology allows us to contemplate different senses of the individual: singularity- and groupness- oriented individual. As a result of the thought experiments examining different ideas of one’s individuality, there emerge several action research practice-led methodologies for the fine art practitioner working in a group situation. One methodology brings groupness into my individual practice, and another introduces groupness situations to other practitioners. The contribution of this thesis is to provide a basis for fine art practitioners like myself to revalue their individuality in harmony with their group membership.

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Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture. Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX. Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation. Doctorat en Histoire, art et archéologie info:eu-repo/semantics/nonPublished

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Guerra, Aredal Maria Elena. "Art and Transformation under State Repression : The CADA group; art activism as social movement for political resistance during the Pinochet years." Thesis, Stockholms universitet, Romanska och klassiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-143298.

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Artist communities are often the first in revolting within a repressive society in the outer marginal borders of state control. This silent revolt takes place in the time period before larger oppositional movements gain momentum. However, the research has been scarce, especially when looking at the specific circumstance of the 17 years long Chilean dictatorship and the social influence that the artists had during this period. This Bachelor thesis will treat the subject and time period from a specific cultural angle, namely the effect the artistic production made by a specific art group, Colectivo de Acciones de Arte (henceforth named CADA) had on the social, and in effect, political discourse in society. CADA, a group of four Chilean artists, sociologists and writers, started collaborating in 1979, applying their artistic endeavors within a social practice that intended to interrupt and challenge the normalized routines of daily life during the Pinochet dictatorship – by utilizing semiotics and signs to reorganize and transform urban behaviors and social discourse. To illustrate the conversation CADAs production held, I will analyze two art works from their total oeuvre, as I am interested in researching the forbidden discourse that the artist movement conducted in Chile at this particular time. During the dictatorship, the official politics regressed to favor cultural symbols and expressions with a patriotic, nationalist and conservative message. This thesis wants to investigate the clash between the rules imposed by the ruling military regime and the actual art scene in Chile.

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Zhang, Naiyong. "Les femmes artistes d'origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA042.

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Cette thèse est consacrée à l’évolution de la place des femmes artistes d’origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010. Son axe central consiste à montrer comment les mutations sociales ont modifié la place des femmes, et, plus précisément, comment leur place a été redéfinie dans un discours identitaire. Si dans les années 1950-1980, les œuvres portant sur l’idéologie collectiviste et la représentation de « la femme d’acier » occupaient une place primordiale, dans les années 1981-2000, les femmes artistes décrivent la situation réelle des femmes et mettent l’accent sur la question de l’identité des femmes modernes et sur des relations entre les femmes et les hommes. Elles cherchent à maîtriser des formes d’expression artistique ethnique plus variées et plus légitimes. Depuis 2001, afin de préserver les cultures ethniques face à la mondialisation, les femmes artistes essaient d’interpréter la profondeur de la culture ethnique dans leurs œuvres. C’est vers les traditions, telles que la mémoire historique, les mythologies, les chansons et les danses, que se tournent les artistes femmes issues des ethnies minoritaires à la recherche de racines culturelles. Cette recherche s’appuie à la fois sur l’analyse de la situation socio-culturelle des femmes artistes issues des ethnies minoritaires, l’analyse de la construction de l’identité féminine et l’analyse des particularités de l’expression des femmes artistes eu égard à leur appartenance ethnique This thesis is devoted to studying the evolution of the place of female artists with Miao, Mongolian and Uygur origins in the Chinese artistic field 1950-2010. The central theme is to demonstrate how social changes have changed the place of women, and more specifically, how the place of women has been redefined in an identity discourse. If in the years 1960-1980, the art works dealing with the collectivist ideology and the representation of the ‘iron woman’ occupied a primordial place, in the years 1981-2000, the female artists describe the real situation of the women and put the focus on the question of the identity of modern women and the relations between women and men. They seek to master the different forms of ethnic artistic expression. Since 2001, in order to preserve ethnic cultures facing the globalization, the female artists are trying to interpret the depth of ethnic culture in their art works. It is towards traditions, such as historical memory, mythologies, songs and dances, that the female artists with ethnic minority origins are looking for their cultural roots. This research is based at the same time on the analysis of the socio-cultural situation of female artists with minority origins, the analysis of the construction of the feminine identity and the analysis of the particularities of the expression of female artists because of their ethnicity

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Roberts, Teresa L. "Collaboration in Contemporary Artmaking: Practice and Pedagogy." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248880538.

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Foucher, Charlotte. "Un symbolisme enfoui : les femmes artistes dans les milieux symbolistes en France au passage du siècle (XIXe-XXe)." Paris 1, 2012. http://www.theses.fr/2012PA010707.

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Au passage du XIXe au XXe siècle, la dichotomie masculin/féminin où l'homme serait dévolu à la création et la femme cantonnée à la procréation bat son plein mais commence progressivement à s'effriter et à se troubler. La femme artiste constitue l'une de ces figures intermédiaires susceptible de remettre en cause l'ordre établi des genres. Dans un climat extrêmement hostile à une émancipation du féminin, visant clairement à exclure la femme du champ créatif, nous analyserons la pluralité des stratégies envisagées et déployées par ces artistes, qu'elles assimilent le discours normatif ambiant ou qu'elles contournent de manière plus subversive le réseau artistique androcentrique mis en place. L'articulation entre genres artistiques et genres sexuels, admise de la plupart des historiens de l'art, est au cœur de ce travail balayant des domaines aussi divers que les arts décoratifs, graphiques et médiumniques - champs relativement favorables au féminin - jusqu'à ceux plus difficiles à infiltrer comme la peinture et la sculpture. À l'appui des méthodes culturelles et du genre, ce sujet esquive les nombreuses études consacrées à la représentation du féminin au passage du siècle pour se placer de l'autre côté du miroir, du côté de la femme qui crée, peint ou sculpte, et démontre, par l'exhumation d'un corpus méconnu, jusqu'alors oublié, que l'esthétique symboliste, nabie et Art nouveau fut loin d'être un apanage masculin.

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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau. Doctorat en Langues et lettres info:eu-repo/semantics/nonPublished

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Ounaina, Hamdi. "La double histoire des artistes de l'Ecole de Tunis. Ressources et stratégies de réussite des élites tunisiennes entre colonisation et Etat-nation." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030107.

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L’objectif de cette recherche est de comprendre comment, tout au long d’un siècle de pratique artistique moderne en Tunisie, seule l’histoire des artistes du groupe de l’École de Tunis est visible ? Pourtant, en faisant appel à de multiples documents, pour certains inédits, et en mettant en lien plusieurs faits demeurant jusque là négligés, une histoire parallèle émerge. Dès lors, le monde de l’art n’est plus réductible à ce que l’on en connaît. Comment expliquer la réussite de ce groupe de peintres et la sape d’une dynamique artistique post-coloniale ne demandant qu’à émerger ? Comment a-t-on pu atteindre un consensus général et une efficacité sociale irréprochable basée sur la persuasion ? L’emploi de l’approche organisationnelle, de la sociologie des groupes restreints et de la socio-histoire permet de rendre intelligible, l’action sociale de ce groupe. Cette action est le produit d’un ensemble de stratégies de coalition et d’exclusion, avec pour conséquence la monopolisation du monde de l’art depuis sa création jusqu’à la fin des années quatre-vingt. Si l’histoire conventionnelle est erronée quant à la réalité des faits, elle jouit d’une efficacité sociale irréprochable puisque l’ensemble des acteurs, mêmes les opposants, y ont adhéré en y croyant. Ils ont, par conséquent, contribué au renforcement de la croyance à des idées reçues The objective of this research is to understand how during a century long of practice of modern art in Tunisia only the history of artists from the “Ecole de Tunis” are known. However when looking through several first hand documents, even those that were neglected, and by linking several events a parallel history arises. Thus the world of art is surely not one knows. How can one explain the success of this group of painters and the repression of post-colonial dynamic artistic that was on the rise? How could such a comprise be obtained and the prefect social efficiency be baised on persuasion. The theory of management, the sociology of small groups and the sociohistory allowed me to understand the social action of this group. This action is the results of coalition and exclusion strategies that allowed this group form “Ecole de Tunis” to monopolise the world of art until the eighty’s. If the conventional history contradicts what re! ally happened, nevertheless it had a perfect social efficiency because together all the actors, even those in opposition, adhere to it by believing in it. Consequently even they have contributed to the belief of the ideas received

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Gečienė, Raimonda. "SOCIOKULTŪRINĖS MENINĖS RAIŠKOS TOBULINIMAS UGDANT BŪSIMUS MOKYTOJUS." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080929_095417-43429.

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Darbe atlikta teorinė sociokultūrinės meninės raiškos tobulinimo galimybės ugdant būsimus mokytojus analizė. Skatinant moksleivių raišką ir sociokultūrinės raiškos plėtrą, svarbu juos išmokyti kurti supančios aplinkos kultūrą, o ne tik ja remtis, būti jos vartotojais. Tai labai svarbi asmenybės nuostata. To siekiama remiantis moksleivių socialine kultūrine raiška. Ši aplinkybė verčia išskirti sociokultūrinę raišką kaip aktualią moksleivių ugdymo ir mokytojo rengimo problemą. Anketinės apklausos metu buvo atliktas tyrimas, kurio tikslas atskleisti sociokultūrinės meninės raiškos tobulinimo galimybes ugdant būsimus mokytojus. Tyrimo objektas: būsimų mokytojų sociokultūrinė meninė raiška. Tyrime dalyvavo 183 Šiaulių universiteto studentų ir 60 Šiaulių miesto meno mokytojų, parinkti atsitiktinės atrankos būdu. Empirinėje dalyje nagrinėjami sociokultūrinės meninės raiškos vaidmuo būsimų mokytojų ir meno mokytojų profesiniam tobulėjimui. Svarbiausios empirinio tyrimo išvados: 1. Studentai, lankę mokykloje būrelius, jiems taip pat yra poreikis lankyti meno kolektyvą ir universitete. Tie studentai, kurie lanko meno kolektyvus, turi reikšmės ir jų aktyvumui visuomeniniuose renginiuose, spektaklių ar koncertų lankymui. 2. Tiek apklaustieji studentai, tiek ir meno mokytojai lanko meno kolektyvus, norėdami patenkinti pomėgius, poreikius, o lankyti pasirinktą kolektyvą nusprendžia dažniausiai patys, tai rodo, jog ši meninės saviraiškos rūšis yra labai svarbi ir aktuali asmeniškai. 3... [toliau žr. visą tekstą] In this work theoretical analysis of possibilities to improve skills of artistic expression qualifying teachers is presented. Working with students of different age groups showing possible ways of expressing themselves and improving skills of artistic expression is very important. To improve skills of artistic expression is the main goals set for the qualification course. It enables young people to create positive atmosphere and cultural environment in reality, and prevents them from being only consumers. Improvement of artistic skills is assumed to be the major goal when developing any personality. This aim could be achieved by appealing to students' skills of sociocultural expression. Therefore development of sociocultural skills is relevant while preparing teachers for their future job. The questionnaire has been prepared and the research has been done to educe possibilities for improving skills of artistic expression during the teachers' qualification course. Different ways of artistic expression has been observed. 183 students of Siauliai university and 60 teachers currently working in Siauliai schools have answered the questions given and participated in the research. The empirical part of the paper determines how skills of artistic expression effect professional development of a teacher. The most important implications of the research done are: 1. Students, who participated in different extra curriculum activities and clubs at school, tend to join clubs and art groups... [to full text]

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Ysasi, Alonso Alejandro. "La obra gráfica de Pedro Quetglas “Xam” (1915-2001): la riqueza de un patrimonio." Doctoral thesis, Universitat de les Illes Balears, 2014. http://hdl.handle.net/10803/284394.

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És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn. Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realitza la seva última litografia. El treball s'insereix en un àmbit sense tradició immediata sobre l'obra gràfica a Mallorca, pràcticament desapareguda després de la important impremta Guasp. S'han pogut documentar més de 400 matrius. Alhora, s'han treballat les estampacions d'aquestes, que ascendeixen a 600 estampes calcogràfiques, xilogràfiques, serigràfiques i litogràfiques. Es una investigación, análisis, y aproximación a la obra gráfica del artista mallorquín, del siglo XX, Pedro Quetglas, conocido por el seudónimo de “Xam”. Su actividad se ha sistematizado en base a la biografía, técnicas trabajadas y a su entorno. Xam, se ejercitó en la caricatura, el dibujo, el cartel, el grabado xilográfico, la pintura, los monotipos, la serigrafía y en el grabado calcográfico. Del conjunto de toda su producción se centra en la obra gráfica producida a partir de 1944, cuando puede datarse su primera xilografía, y su fallecimiento, en 2001, en el cual realiza su última litografía. La tarea se inserta en un ámbito sin tradición inmediata sobre la obra gráfica en Mallorca, prácticamente desaparecida tras la importante imprenta Guasp. Se han podido documentar más de 400 matrices. A su vez, se han trabajado las estampaciones de estas, que ascienden a 600 estampas calcográficas, xilográficas, serigráficas y litográficas. The thesis is research, analysis and approach to the graphic work of the Majorcan artist of the 20th century, Pedro Quetglas, known by his pseudonym "Xam". Xam worked in several art fields, such as caricature, drawing, designing and painting posters, woodcut, painting, monotype, serigraphy and calcography engraving. From the sum of his work the thesis is centred in the graphic work produced between 1944, when we can date the first xylography, and his death, 2001, when he finished his last lithography. The task was inserted in a field without immediate tradition on the graphic work in Mallorca, which practically went missing after the important Guasp printing house closed down. It has been possible to document more than 400 blocks and, at the same time, the prints of those which add up to 600 prints on chalcography, xylography, serigraphy and lithography.

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De, Vries Jetteke. "An investigation of cultural dislocation in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1434.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015. This dissertation sets out to investigate cultural dislocation in the work of Leora Farber (1964), Viviane Sassen (1972), George Alamidis (1954) and my art practice. The paper begins by highlighting the importance of this study and defines terminology for the purpose of this research. In addition an explanation of the research methodology used is provided. The study is contextualised through a discussion of writings by Stuart Hall (1997), Edward Said (1987), Heidi Armbruster (2010), Chloe Sells (2011), Katheryn Woodward (1997), Michel Foucault (1967), Leora Farber (2012) and Lorin Friesen (2013). An analysis of the selected artists’ work reveals an investigation of cultural dislocation within diverse cultural contexts. Farber investigates her position as a second generation Jewish woman in post- colonial, post-Apartheid South Africa through the use of three protagonists. She does this in an attempt to create a lasting Jewish / South African hybrid identity. She explores not only her Jewish heritage and its connotations, but also the changing notions of white identity in post 1994 South Africa. Sassen, in her photographic depiction of obscured African subjects, challenges the viewer’s perceptions of Africa and positions herself as being ‘in-between’ Africa and the Netherlands, where she “will always be the stranger … and will never be part of the culture” (Sassen in Jaeger 2010). Alamidis’ work explores cultural dislocation in the context of migration, eloquently expressed through the use of the identity cards of 1950s Greek immigrants as visual metaphors for the loss of identity. I explore cultural dislocation through the history of three female protagonists (my grandmother, mother and myself) and their migration between the Netherlands and Southern Africa. The protagonists’ cultural narratives provide an historical context for a discussion of my art practice in the form of an exhibition titled Discovering Home. The conclusion outlines the research findings and identifies possible areas of future research. The main research finding reveals that the formation of a new subject identity, post migration, is dependent on a specific (historical) time and (geographical and psychological) space. An area of possible future research, in the context of cultural dislocation, is the use of Foucault’s (1967) theory of heterotopias to explore the idea of the ‘third space’ functioning as a personal heterotopia. M

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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/928250.

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Research Doctorate - Doctor of Philosophy (PhD) Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action, is used as a framework to examine the success of the Low Show group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. Newcastle’s background as a convict settlement and an industrial centre had developed a working class culture with a strong masculine influence. While some individual women artists were able to develop a career in fine arts, there was a long battle to establish a city art gallery and in 1961 there were no commercial galleries. The formation of the Low Show Group is shown to be as much about the society in which they lived as their artistic ambitions. The development of the Newcastle Technical Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show artists first as students of this school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and a promising future of the fine arts in Newcastle.

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Maurel, Nicolé. "An investigation into the interrogation of Afrikaner culture and identity in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1439.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015. The purpose of this research was to investigate the interrogation of Afrikaner culture and identity in the work of Andries Botha (1952) and Marlene de Beer (1957) in the context of Afrikaner nationalism. Anthony Smith’s theory of ethno symbolism (2010) and writings on nationalism by Montserrat Gibernau (1996, 2004a, 2000b) are used as a theoretical framework for an analysis of Afrikaner culture and identity, in the form of Afrikaner nationalism. A qualitative research methodology was used, within an art historical, theoretical and practice led investigation into the interrogation of Afrikaner culture and identity. A reflective approach clarified and made meaningful concepts which relate to both my theoretical and practical work, which are interlinked. De Beer makes use of cultural symbols, in interrogating the position of the female in Afrikaner identity and culture, in the context of South African history. Botha interrogates masculinity and patriarchy in Afrikaner culture and identity through a reference to his father and events and imagery from South African history. A personal exploration of Afrikaner culture and identity, in the context of my family history and life experiences, reveals a persistent questioning of Afrikaner culture and identity, resulting in the formation of an individual identity. Arising from this research, it is evident that there is a need for further research into the possible formation of a multicultural identity post 1994 in South Africa. M

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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/1048161.

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Research Doctorate - Doctor of Philosophy (PhD) Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. The development of the Newcastle Technical College Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show Group artists first as students of this new art school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and promising future of the fine arts in Newcastle.

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Chamberlain, James Colby. "George Maciunas and the Art of Paperwork." Thesis, 2016. https://doi.org/10.7916/D8R49QR6.

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This dissertation focuses on the role of George Maciunas as “chairman” of the neo-avant-garde movement Fluxus. Its introductory chapter provides an overview and assessment of Fluxus scholarship, and advances the argument that Maciunas established an intersection between post-Cage aesthetics and postwar administration. The succeeding chapters situate Maciunas’s work in relation to apparatuses regulating education, circulation, production, and health care. Taking as its primary objects Maciunas’s “paperwork”—his visually striking charts, newsletters, card files, architectural plans, and other documents—this study shows how Maciunas employed administrative techniques to build the infrastructure for Fluxus’s collective practice and, concurrently, drew on Fluxus’s aesthetic tactics to disrupt or evade state regulation. Chapter two, “Card Files & Charts,” reconstructs how Maciunas’s training in the professions of architecture and art history was applied to organizing Fluxus’s publications and concerts; Chapter three, “Newsletters & Postcards,” traces Maciunas’s maintenance of an international Fluxus network via the postal service; Chapter four, “Registrations & Catalogs,” reveals how Maciunas codified Fluxus’s negotiation of individual and collective authorship within the legal framework of US copyright law; and, finally, Chapter five, “Prescriptions,” locates in Maciunas’s performances a body marked by medical administration.

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Koh, Jinyoung. "Cross-Cultural Experiences, and Perceptions: A Selected Group of South Korean and Chinese Artists Who Received an MFA Degree in the United States." Thesis, 2019. https://doi.org/10.7916/d8-tzxc-hm51.

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This narrative-based qualitative research investigated the distinct journeys of eight cross-cultural artists (four artists from South Korea and four artists from China). Utilizing a variety of theoretical frameworks surrounding cross-cultural research, this dissertation examined current discussions on cross-cultural challenges and their implications in the field of art education. Methods of data collection focused primarily on interviews and were examined through the lens of Bandura’s (1997) self-efficacy theory. Evaluating the lived experiences of artists illuminated nuances in cross-cultural environments, specifically, how socio-cultural transitions influenced their artwork and professional lives. The findings of this research correlate with previous literature surrounding current challenges in the lives of cross-cultural students. These challenges were discussed in the context of how art educators can best confront issues that emerge in the classroom. The analysis and discussion presented in this thesis seeks to provide insights into the experiences of cross-cultural artists, while highlighting the educational implications for both artists and educators.

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Aldana, Erin Denise 1973. "Interventions into urban and art historical spaces : the work of the artist group 3Nós3 in context, 1979-1982." 2008. http://hdl.handle.net/2152/18298.

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My dissertation analyzes the work of the artist group 3Nós3 (the name is a pun in Portuguese meaning "three knots/ we three"), who performed artistic actions in public space that they referred to as "urban interventions" on the streets of São Paulo from 1979 to 1982. These ranged from placing garbage bags over the heads of monumental sculptures to taping Xs across the doorways of art galleries along with signs reading "What is inside remains the same; what is outside expands." Within the context of the military regime that had ruled Brazil since 1964, the urban interventions targeted symbols of authority ranging from public sculpture to the art world establishment. My research focuses on one of the most noteworthy traits of the group's activities: their almost complete absence from the history of Brazilian art. In spite of the recent popularity on the international artistic circuit of contemporary Brazilian art with a performative edge (the artists Hélio Oiticica and Lygia Clark being the best examples of this type of work) the work of 3Nós3 has remained obscure, even within Brazil. The explanations for this lack of attention to 3Nós3 include the transitional political nature of the abertura period during which the interventions took place, the artists' own denial of traditional artistic circuits and involvement in youth subcultures, the ephemeral nature of the interventions themselves, and a lack of understanding of the reasons why the artists chose to work in public space, particularly in regard to the interventions' relationship with their audience. The goal of my dissertation is to argue for the inclusion of the interventions into the history of art without relying on arguments related to their quality, i.e. whether or not they constitute "good art." Rather, it is only through a detailed consideration of the specific cultural and political contexts in which the works occurred that they start to make sense. I conclude by examining the present-day conditions that could make the inclusion of 3Nós3 into larger international artistic movements such as street art and "the interventionists" (including Eduardo Srur and the Grupo Contra Filé, among others) possible. text

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Tarr, Patricia R. "Two-year-old children’s artistic expression in a group setting : interaction and the construction of meaning." Thesis, 1992. http://hdl.handle.net/2429/3220.

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This field study of two-year-old children using art materials in a preschool setting was concerned with how children constructed meaning about the art-making process through their interactions with others. The study was theoretically grounded in the work of George Herbert Mead, Herbert Blumer and Lev Vygotsky, who share a common view that meaning is socially constructed through interpersonal interactions. The study focused on children’s early use of art media and their social interaction as a significant factor in their artistic expression. Monthly videotaped and written observations documented four 2-year-aids’ participation with art media during their attendance at weekly parent-2-year old program. Over two subsequent years, the data were expanded to include observations of additional 2- year-aids, and parent and teacher interviews. Observations in a 3 and 4-year-old classroom coupled with extensive teacher interviews provided insights into teachers’ assumptions and values which guided their interactions. Observations of the 2-year-olds were coded into art episodes, and analyzed in terms of behaviours, interactions, and values. Based on Vygotsky’s idea that children’s shift from biological development to higher cognitive functioning occurs through interpersonal interaction, children’s exploratory use of materials was described. Analysis of their explorations revealed that intentionality and visual interest were crucial components in their art experiences. Analysis suggested that children as young as 2 years possess aesthetic sensitivity. There did not appear to be any single factor that could account for children’s selection or placement of colors or marks on a piece of paper. Social interactions around art-making occurred within spatial-temporal frames which contributed to the way the art-making context was defined by the participants. Through interpretations derived from interactions with peers and adults, children constructed understanding about cultural values for work, production, ownership, and neatness. They learned little about art skills or the relationship of their art-making experiences to art in the adult world. The study concludes with presentation of an interactionist model of children’s artistic expression which describes the dialectical relationship between biological development and social interaction. The model eliminates the need to debate issues around innate or cultural origins of children’s visual expression, through its inclusion of biological and social components. Using the interactionist model and Vygotsky’s notion of scaffolding can help teachers address conflicts surrounding the definition of developmentally appropriate art education for young children.

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Shakarchī, ʻAlī. "Inhabiting the information space : Paradigms of collaborative design environments." Thesis, 1999. http://hdl.handle.net/2429/9808.

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The notion of information space (iSpace) is that a collective context of transmitters and receivers can serve as a medium to share, exchange, and apply data and knowledge between a group of human beings or software agents. Inhabiting this space requires a perception of its dimensions, limits, and an understanding of the way data is diffused between inhabitants. One of the important aspects of iSpace is that it expands the limits of communication between distributed designers allowing them to carry out tasks that were very difficult to accomplish with the diverse, but not well integrated current communication technologies. In architecture, design team members, often rely on each others' expertise to review and problem solve design issues as well as interact with each other for critic, and presentations. This process is called Collaborative Design. Applying this process of collaboration to the iSpace to serve as a supplementary medium of communication, rather than a replacement for it, and understanding how design team members can use it to enhance the effectiveness of the design process and increase the efficiency of communication, is the main focus of this research. The first chapter will give an overview of the research and define the objectives and the scope of it as well as giving a background on the evolving technological media in design practice. This chapter will also give a summary of some case studies for collaborative design projects as real examples to introduce the subject. The second chapter of this research will study the collaborative design activities with respect to the creative problem solving, the group behaviour, and the information flow between members. It will also examine the technical and social problems with the distributed collaboration. The third chapter will give a definition of the iSpace and analyze its components (epistemological, utilitarian, and cultural) based on research done by others. It will also study the impact of the iSpace on the design process in general and on the architectural product in particular. The fourth chapter will be describing software programs written as prototypes for this research that allow for realtime and non-realtime collaboration over the internet, tailored specifically to suit the design team use to facilitate distributed collaboration in architecture. These prototypes are : 1. pinUpBoard (realtime shared display board for pin-ups) 2. sketchBoard (realtime whiteboarding application with multisessions) 3. mediaBase (shared database management system) 4. teamCalendar (shared interactive calendar on the internet) 5. talkSpace (organized forums for discussions)

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Strnadlová, Anna. "Tichá přátelství: Vladimír Fuka, Jiří Kolář, Zdeněk Urbánek, Emanuel Frynta, Jan Hanč a Jan Rychlík." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-415303.

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The period after the February 1948 posed great changes for the cultural sphere, the groups and clubs were dissolved, artists who did not want to squeeze into the limits of socialist realism had no choice than to close themselves in the privacy of their homes and studios. After 1950, however, a group of friends around Jiří Kolář formed in Prague, who shared the same views on political and cultural development and, despite various artistic orientations, captured everyday experiences in pictures or texts. The thesis focuses on the friendship of Jiří Kolář, Vladimír Fuka, Eva Fuka, Zdeněk Urbánek, Jan Rychlík, Kamil LhoJan Hanč, Josef Schwarz-Červinka, Emanuel Frynta and others, and tries to portray this period of time, their mutual inspirations and relationships, and especially the extremely creative atmosphere, which was originated in this friendly circle. The thesis is based on diary entries, drawings, collages, poems and literary texts, which they created together and for each other in this unique, free and inspiring environment.

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Dissertations / Theses on the topic 'Art-cloche (Group of artists)'

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