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Grant, Colin B. "Literary communication from consensus to rupture : practice and theory in Honecker's GDR /." Amsterdam ; Atlanta (Ga.) : Rodopi, 1995. http://catalogue.bnf.fr/ark:/12148/cb36703124d.
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Svedbäck, Kerstin. "Konst eller Kitsch? : Konst producerad i DDR speglad genom utställningar efter 1990." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97643.
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This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all “kitsch”. Comparatively few artists in the GDR however, painted in the style prescribed by political leaders. An open issue in this study was, against background: Has GDR art gained in interest and respectability? This study focuses on two exhibitions The Divided Heaven in Neue Nationalgalerie, Berlin and an exhibition in Kalmar konstmuseum, Sweden, named Maintaining the Order of Things – the Aesthetic of Modernism in Commercialism, Nationalism, Elitism and Socialism, 2011. The exhibitions have been analyzed along several dimensions: The number of works from the GDR, strategies for hanging them, the presentation of the exhibitions in information brochures and the homepage of the museums. Descriptions of the works give information on typical motives in the GDR over time and some information as regards the artists. The way the building has supported visitors in experiencing an exhibition has been considered and its importance as an institution. The study of the two exhibitions illustrates two different strategies for showing art from the GDR, in contrast or integrated. The Swedish exhibition which primarily exposed paintings from the 60 s focused on comparing GDR paintings and the Swedish sketches on commissioned etchings on vases from Orrefors glassworks. The German exhibition exposed GDR art together with art from other countries, along thematic lines. The study indicates an increasing interest in the art from the GDR, which is confirmed by the great number of exhibitions 2012. Also projects researching the art from this period in German history and the construction of a new museum for it supports the idea that interest in and respect for art produced in the former GDR is gradually established. This increased interest has not yet included the officially promoted style – Socialist Realism.<br><p>Vid den elektroniska publiceringen har två bilder tagits bort från den ursprungliga versionen av upphovsrättsliga skäl, bild 21 och 26.</p>
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Bland, Richard Julian. "East German cabaret from the end of the GDR to the present." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322981.
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Owen, Ruth J. "The poet's role : lyric responses to German unification, by poets from the GDR." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324345.
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Smith, Briana Jennifer. "Creative alternatives: experimental art and cultural politics in Berlin, 1971-1999." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5854.
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Creative Alternatives examines the intersections between cultural politics, experimental art, and the public sphere in late twentieth century Berlin. The work identifies how artists used interactive visual displays to engage with West Berlin publics, develop democratic subjectivities under state socialism in East Berlin, and reject the city’s neoliberal turn after German unification. The work also traces the role of the arts as an economic motor in late twentieth century Berlin, as city leaders responded to the pressures of globalization and interurban competition. This study of divided and unified Berlin transcends the political ruptures and geographical divisions that structure our understanding of modern Germany and hinder integrated histories of the two German states, even as it addresses issues common to major cities worldwide.
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Walker, Linda Jean Huffman. "Art From Nature." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1432.
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Seeing beauty in the simplest aspects of nature inspires me to create art as a testament to our world. Being raised on a farm in rural Virginia gave me an appreciation of a reverence for all life. The inherent forms along with color and value establish nature as the master of aesthetics. An early introduction to Japanese art showed me that all nature was worthy and significant as subjects for art. Using materials derived from nature, cotton, linen, wool, silk, adds a tactile quality that I believe elevates the enjoyment of art.
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Meli, Sarah. "Art from within : an encounter with holocaust art from the Terezin ghetto." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44321.
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Terezin, located in what is now called Prague, Czechoslovakia, functioned as a Holocaust ghetto for the incarceration of Jews during the Second World War. Creating an image of a ‘model camp’ for its detained elite Europeans of economic and intellectual wealth, certain leeway was given to mask the reality of the situation. Being allowed to teach art to children, having a Drawing Office, and providing an Art Workshop, resulted in Terezin being one of the ghettos/camps in which thousands of art pieces were produced by children, youths, and adults. With a focus on the artwork made between the period of 1942 and 1944, a number of images were studied in the archives of the United States Holocaust Memorial Museum, USA, as well as artifacts accessed through the Vancouver Holocaust Education Centre, Canada. As a non-Jewish, Mediterranean art educator trained in Western institutions with no known ties to those deported to Terezin, personal responses to the experience of the encounter were recorded while asking the Deleuzian instructive question of “how does it work?” rather than “what does it mean?.” The a/r/tographical practice was informed by and through, the journey that was taken to access the archives. In selecting seven works, notions of witnessing, intrusion, victimization, clash of religious values, and the unspoken aspects of the ‘typical’ are discussed. The process of understanding what the art became to the self through the encounter with original Terezin artwork, led to the production of an art piece that translates the connections found when sifting through the moments of being with camp art. Recommendations for further research include studies on art from and about the Holocaust camps and ghettos, on the education system that was designed and practiced in Terezin, as well as a recommendation of studying the music, literary, and theatre arts that were also practiced in the spaces of the researched Holocaust ghetto. Through an exploration of the variety of art forms and silent curricula of Terezin, such studies could convey the type, appreciation, and significance of cultural presence that secretly thrived and, furthermore, support connections with the voices of Holocaust deportees.
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Boland, Howard. "Art from synthetic biology." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8yyq5/art-from-synthetic-biology.
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Schooley, Kathryne Balch. "Shaping: From art to science." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4803/.
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This study evaluated the effectiveness of a procedure for teaching a caregiver to shape vocal language in a young child with autism. A multiple baseline design was employed to assess caregiver use of shaping procedures, child vocal language progress, and the social validity of the procedures. Following baseline and introductory sessions, the coach and caregiver reviewed video from the previous session and the coach gave descriptive feedback to the caregiver about her performance. Following the review of the videotaped segment, procedures to increase skills were selected and practiced. Rates of responsive opportunity arrangement, model presentation, responsive model delivery, and responsive event delivery, as well as the child's rate of requests, vocalizations, diversity of vocalizations, and social validity were measured. Data suggested that the procedures effectively taught the skill of shaping to a caregiver, which in turn seemed to produce increases in the child's vocal responding.
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Bernardini, Elena. "Interrogating installation art from India." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664613.
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Pedrosa, Sebastiano Gomes. "The influence of English art education upon Brazilian art education from 1941." Thesis, Birmingham City University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332216.
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Andreopoulos, Andreas. "The death of art : the transformation of art from a religious perspective." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4089/.
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The hypothesis put forth in this dissertation is twofold. The first part is based on a view (supported by writers such as Hans Belting) that maintains that art lost its sacred character in the late Middle Ages, when art was emancipated from religion and the artist was recognized as an original Creator. The two first chapters examine this issue: The first chapter (A Religious View of the History of the Arts) discusses theories of religious art from the ancient Jewish drama and the Greek tragedy to the late Middle Ages. Psychological material, mostly drawn from Lacan and Jung, is used to explore the connection between art and religion in the East and the West. The second chapter {Anti-Leonardo) focuses on some important changes in the Renaissance which can be observed mostly in art, that have affected religious and social consciousness to date. The second part of the hypothesis is that contemporary philosophy and art, having witnessed the death of the author as it has been presented by writers such as Michel Foucault and Roland Barthes, are now registering the withdrawal of the work of art as an independent object, and the reversal of the Renaissance art paradigm. The withdrawal or "death" of the work of art and of art as a process are discussed in the third chapter {The Death of Art), which explores these issues in contemporary philosophy, and argues that contemporary art, popular and classical, is withdrawing as a distinct activity, giving its place to a growing religious awareness. The fourth chapter {The Religious Artist) examines the art and the views of some contemporary artists whose art expresses the return of the sacred. Particular emphasis is given to the art of the New Simplicity, an artistic trend that epitomizes the vanguard of art while expressing spiritual and religious contemporary concerns.
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Nordstrom, Catherine Simke. "Heinrich Zille's Berlin: selected themes from 1900 to 1914 : the triumph of "art from the gutter"." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc798079/.
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Heinrich Zille (1858-1929), an artist whose creative vision was concentrated on Berlin's working class , portrayed urban life with devastating accuracy and earthy humor. His direct and often crude rendering linked his drawing and prints with other artists who avoided sentimentality and idealization in their works.
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Klocke, Sonja E. "Heroines of a different kind reading illness and the fantastic in depictions of the GDR from the 1960s to the present /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290772.
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Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007.<br>Title from dissertation home page (viewed May 28, 2008). Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4721. Adviser: Claudia Breger.
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Elsner, John Richard. "Art and the Roman viewer : the transformation of art from Augustus to Justinian." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359557.
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Källblad, Emma Jane. "Charactered through body and art : an interpretive study from central Indian rock-art." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620621.
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Camara, Del. "Visual arts: Teaching creativity from within." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3628.
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In the ever-changing world of visual arts education, there is a gap in the literature about the incorporation of creativity, risk-taking, and play in the curriculum. The purpose of this study was to understand how high school visual arts educators teach visual arts and creativity in the age of digital media, including the practices art teachers use to engage their students in their development of art-making and ways teachers encourage students to take risks in art-making practices. Utilizing an arts-based research method focusing on four case studies in the Central Valley of California, this inquiry examined the way visual arts educators teach the arts at the high school level. Further, this study used data sources of classroom observations, surveys, and one-on-one interviews. Data analysis utilized the theoretical lens of multiple intelligences to examine the different ways each visual arts teacher teaches visual arts. Findings indicated that there is a need for a common definition of creativity, student-teacher relationships are critical for improving students’ efforts in the arts, learning about the visual arts develops skills that students can use throughout their lifetime, and students from lower socioeconomic backgrounds tend to be more willing to take risks in their artwork. Recommendations for further research and policy for school leaders conclude this study.
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Friedman, Elizabeth B. "Selections from the Butsuzo Zui." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391587419.
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Johns, Danielle. "What surfaces from one /." Online version of thesis, 2009. http://hdl.handle.net/1850/10979.
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Espezel, Amanda. "Working from the body : subjectivity and the artistic process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.
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This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work.
The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion.<br>vi, 56 leaves : col. ill. ; 29 cm
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Vosilov, Rustam. "Essays on Art Markets : insight from the international sculpture auction market." Doctoral thesis, Umeå universitet, Företagsekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-106693.
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The main purpose of this thesis is to investigate the viability of sculpture as a potential alternative investment. This goal is achieved through partly assessing the market quality of the auction market for sculptures and partly by studying their long-run diversification potential. The assessment of the sculpture market quality, together with the long-run co-movement analysis are objectives met through conducting four individual studies. In Paper I, I find that auction house art experts' relative estimate range positively affects realized prices. The effect is robust across the mid- low- and high-end segments of the international sculpture market. Interpreting the art experts' price estimate range as a proxy for the prevailing divergence of investor opinion in the art market, the findings are consistent with the disagreement model of Miller (1977). This evidence is contradictory to the predictions of the general auction model in Milgrom (1982) and does not lend support to the interpretation of the price estimate range as a proxy only for uncertainty. Moreover, the study gives insight into the price determinants of sculpture using a unique large dataset of over 65,000 sculpture sales at international auctions. Paper II is the first study to find evidence of a home bias in prices of art sold at international art auctions. All else equal, art prices are higher when they are auctioned in the home country of the artist compared to outside of the artist's home country. Moreover, the home bias in prices is more pronounced in the low-end sculpture market segment than in the high-end segment, indicating that familiarity can be a potential explanation of the bias. Furthermore, the home bias is found to be partly related to patriotism. The findings indicate that the home bias in prices increases as the relative level of patriotism rises in the home country of the artist, and that patriotism is a more persistent source of the home bias in art prices than familiarity. Paper III examines the absolute and time-varying weak-form market efficiency of the international sculpture auction market. The results indicate that the sculpture market efficiency varies over time lending support to the Adaptive Markets Hypothesis. Moreover, I find that the times of peaking relative market inefficiency coincide with distress in the wider economy and financial markets. Additionally, I find evidence that auction house art experts' pre-sale estimate accuracy Granger causes developments in time-varying market efficiency, highlighting the importance of art experts. Paper IV analyzes the dynamic relationship between the international sculpture market and the traditional financial investments during the period 1985-2013. Three international sculpture price indices are constructed to proxy for the general sculpture market price movements along with the low- and high-end segments of the international sculpture market. The results show that price development in the sculpture market does not move together with government bond prices in the long run. When it comes to equity markets, I find significant cointegrated dynamics between sculpture indices and the world equity markets. On the other hand, there is no such relationship when the S&P 500 is considered. Furthermore, cointegration is detected when analyzing the sculpture markets with the world GDP per capita. Granger-causality tests reveal that sculpture prices, in general, are Granger-caused by GDP per capita. Moreover, the Granger-causality tests indicate that sculpture price developments follow the world equity price movements, but not those of the S&P 500.
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Flis, Nathan. "From the life : the art of Francis Barlow." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571655.
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Francis Barlow (c. 1626-1704) was one of the most prolific picture makers to work in England during the second half of the seventeenth century. Surprisingly, there has not been an account of his life and works in almost forty years, and even then Barlow was •• #.-f presented rather narrowly as the 'first master of English book illustration' (Hodnett, 1978). Barlow is now chiefly remembered for his illustrated Aesop 's Fables (1666), but he has also gained attention as a satirist, and as a sporting artist. This dissertation attempts to piece together the many facets of wide-ranging oeuvre. Following the introduction, which reveals new information about his life, Barlow's works are investigated in eight chapters, arranged according to the heuristic categories of natural history; religion and politics; and hunting and travel. As the chapters proceed, the interconnectedness of Barlow's works is revealed, as is the lack of distinction between the aspects of seventeenth-century society and culture, which they reflect. The dissertation mainly recovers Barlow as a painter. It is argued that Barlow has been forgotten as a painter due to a strong connoisseurial tradition in the history of British art, which has tended to underrate his painting. No less than forty-three paintings are interpreted and placed into a chronology. Striving to understand them in a seventeenth-century context reveals Barlow' s craft, his relationships with a wide range of patrons, and the nature of his place in the London community. Extrapolating from what we know about Barlow' s activities as a graphic satirist, the politick of his patrons, and the 'internal' evidence of the narratives of his paintings, this study demonstrates how, at least for Barlow, painting was not merely decorative. - ---~--------- / \
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Pyatt, Neil. "Hybrid agency : postmodern contemporary art from Oaxaca, Mexico." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/13818.
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The last three decades have seen the Southern Mexican city of Oaxaca evolve to become an autonomous centre for the creation and promotion of contemporary art on state, national and international levels. The present research's original contribution to knowledge is the analytical investigation of an art movement's response to the political and technological effects characteristic of postmodernity and effected through globalisation. The research uses a hybrid theoretical framework that includes the work of: Fredric Jameson to discuss postmodernism; Nelly Richard to characterise a postmodern Latin America; Homi K. Bhabha to analyse the postcolonial context and the creation of agency; and, inherent to this structure and the context, the work of Néstor García Canclini. The theoretical investigation is supported by ethnography that ascertains how hybrid political thought and community altruism characterise the Oaxacan art community and the aesthetic expression practised by a new generation of its members. Oaxacan contemporary art is based on the success of the post-Rupture primitivist magical realism practised originally by important Oaxacan artists living and travelling in other locations. The most recent generation of contemporary artists in Oaxaca integrates with, upholds and promotes the model of cultural production that is now inextricably intertwined with the local and wider communities. Participant observation and the analysis of the behaviour of the artists studied, focused the investigation on the efficient interaction between artists and collective action as an integrated sector of civil society. The research determines how the artists studied and the wider Oaxacan art community applies their knowledge of global communications and information technology to create and market a cultural product and promote a postmodern social and political perspective. Regarded as a solid sector of the local and regional community due to its national and international standing, the Oaxacan art community constructs political power from significant, direct involvement with micro-projects to engaging in partnerships with state and federal stakeholders in large-scale cultural endeavours. The research discusses projects instigated and undertaken by the artists studied, including the call for a pacifistic solution to the Oaxaca Conflict of 2006, a six-month socio-political uprising caused by actual and historic conditions in the national and regional Left-Right political duel. The strength of the art community is founded on necessary and reinforcing collective action in both artistic and altruistic projects; often combined through the direct use of art in the creation of funds and media-empowered support towards achieving a perceived common good that centres on the protection of identity and the political defence of diversity.
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Macedo-Lamb, Silvana Barbosa. "From fine art to natural science through allegory." Thesis, Northumbria University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410383.
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Koch, William. "Opening a World From Categorial Intuition to Art." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002574.
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Justis, Hannah T. 4239670221. "Meditative Art: A Diversion from Stress and Anxiety." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/397.
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I wished to present a body of work that visually represented my own meditative process of managing stress and anxiety. Towards the end of studying for my undergraduate, I began preparing for my Final Exhibition Show, and with these preparations, my life, as well as my work, changed drastically. Within the past two years, my drawings began to take on a meditative therapeutic process. It was this development that then helped manage my growing stress levels and well as the symptoms that stemmed from high levels of anxiety and bloomed from losing control in my day to day life. It was then conceived, through this carefully crafted systematic means of creation, the notion that my mind could relax and take time to resolve the matters that plagued it, while at the same time, construct something artistically productive. While drawing, I achieved a juxtaposition of varying means of visually representing the idea of control and order within my work as well as within my mind and body. It was this, the creation of these drawings, that hence became my meditative escape in managing my stress and anxieties as well as my obsessive compulsive tendencies, where; without structure, had the potential to turn self-hindering and painful.
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Hussain, Muayad H. "Modern art from Kuwait : Khalifa Qattan and Circulism." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3909/.
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This thesis explores the life and work of the Kuwaiti artist Khalifa Qattan (1934-2003). The first chapter views Qattan in the context of twentieth-century visual culture in Kuwait. It also shows the European influence on his work, as he lived and studied in Britain in the 1950s. A second chapter is dedicated to Qattan's aesthetic theory called Circulism; it shows that it is a philosophy and a style, and situates Circulism between western and Arabic sources. The third chapter deals with the Gulf War of 1991 as a particular topic in Qattan's work, and compares his work about the war with the work of John Keane, the British artist who was commissioned by the Imperial War Museum as an official recorder to cover that war. Considering western and Arabic writings on the war, this chapter argues that different visual interpretations of the war are rooted in an 'insider' and 'outsider' experience. A conclusion discusses the general problems involved when viewing non-western visual cultures with western eyes. An appendix, a bibliography and a list of illustrations followed by 61 illustrations conclude the thesis.
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Gubbins, Pete. "Constructivism to minimal art : from revolution via evolution." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38056/.
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Modern art owes a debt to Constructivism. In particular, Minimal art owes a debt to Russian Constructivism. In something akin to the suspension of Lenin’s embalmed body, Constructivism has been suspended since its demise. In this thesis I propose that the short-lived phenomenon of Russian Constructivism was revisited and further explored with the Minimal art moment in the West. Minimal artists in the United States were influenced by the works of the Constructivists, but due to the cold war this influence was suppressed. Constructivism in its original form ceased before the ideas and ideological urges of the Russian Constructivists were fulfilled. This form of art, that had a strong connection with a utopian social ideal, by 1932 was replaced by the officially decreed art of the Stalin era; Socialist Realism. The Constructivist moment did not lead into an artistic cul-de-sac because of the death of Lenin in 1924. The Constructivists have had an influence far beyond the years in which they first flourished and I intend to show that Constructivism has been unfairly misrepresented. From my research there is no question that Minimal art in the United States used Constructivist ideas. But the correlation between Minimal art and Constructivism was obscured by cold war politics, by many of the texts which have discussed Constructivism since, as well as by unconvincing curatorial decisions. This situation has led to an unacceptable degree of misrepresentation of the influence that Constructivism has had on Minimal art. Russian and Soviet Constructivism, rather than being seen as a cultural dead-end, should be viewed as a means by which the freedom to follow a non-representational path for abstract art was secured. Constructivism’s influence on Minimal art has been undervalued. This thesis aims to settle the debt.
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Hopkins, Noel Paul. "Abradable coatings : from black art, to materials science." Thesis, Swansea University, 2007. https://cronfa.swan.ac.uk/Record/cronfa42844.
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Suck, squeeze, bang, blow! The efficiency and performance of a gas turbine engine relies on the ability to maintain high gas pressure ratios, throughout each stage of the compressor. To do this, engine manufacturers must minimise gas leakage over compressor blade and seal fin tips. Increasing the efficiency of the gas turbine engine is an area of enormous importance to engine manufacturers worldwide. The rewards are obvious when it is considered that a modest improvement of 0.5 to 1% to the Specific Fuel Consumption (SFC) can translate to huge savings on fuel costs. One way in which engine manufacturers are looking to do this is through the use of abradable seals, which are used to help seal the engine and reduce air leakage over blade tips. In an attempt to gain a fundamental understanding of abradable materials, this thesis discusses research carried out as part of an Engineering Doctorate. The research focuses on three key topic areas, identified as necessary for generating a robust understanding of the complete coating life. The research carried out within this EngD programme has helped to generate a fundamental understanding of abradable materials by focusing on three key topic areas: i) Development of Test Methodology ii) Definition of Performance Drivers iii) Implementation of Technology Within these topic areas programmes of work have been carried out, which aim to fill gaps in current knowledge and provide the knowledge and techniques for future coating development. Significant advances have been made in all aspects of abradable understanding and the knowledge generated is now being successfully implemented within the Rolls-Royce Abradable Strategy. As the demands from regulators and airlines for greater aero engine performance increase, the need for reliable and effective compressor sealing will become evermore critical. The knowledge and techniques developed within this EngD programme will enable further detailed understanding of the science of abradable materials.
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Mazzola, Gaia. "Meeting Phenomenon-Based Learning : Insights from Art Education." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7344.
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The most recent Finnish national curriculum for basic education was implemented starting from 2016. The curriculum calls for the development of learners’ transversal competences, which are built on the broader discourse on 21st century skills and challenges. Phenomenon-based learning, as a multidisciplinary approach, was formulated to address the new Finnish curriculum, in order to help regular subject teaching to tackle the transversal competences. As an artist, art educator and researcher, my interest was directed towards the understanding of phenomenon-based learning from an art-educational perspective. Therefore, this study brings insights from art education to phenomenon-based learning, in order to open a discussion on the following questions: where do art education and phenomenon-based learning meet? And following, how could teachers and learners benefit from this encounter? A post-structuralist view on art education forms the researcher’s perspective within the study. Methodologically, a post-structural positioning was also taken, relying on the a/r/tographical approach. A/r/tography is a performative arts-based research methodology that recognizes the complexity of situations and articulates in-between them. An arts-based workshop worked as a platform for exploration. Framed within a phenomenon-based project, the workshop was conducted in collaboration with a class of 6th graders and their teacher, in the City of Espoo, Finland. The a/r/tographical toolkit, built on visual and performative ethnography, worked alongside workshopping as methods of data collection and being with the material. The collected data include: visual and written field notes, video recordings, audio recordings, a written questionnaire and a semi-structured interview. Performing the material through theory revealed that art education and phenomenon-based learning meet in the concepts of multidisciplinarity and engagement, through different entanglements. The study suggests that the encounter between art education and phenomenon-based learning could benefit teachers and learners in different ways. In addition, the situation experienced in this study holds some interesting challenges that leave space for further developments.
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Ralphs, SCT. "On Distance: From art history to Ernest Mancoba." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8203.
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In this thesis the central narratives of Western art history, specifically those related to modernism and African art, are considered in light of a climate of criticism concentrated over the past thirty years in Western and South African an historiography. In considering complexities of interpretation of the life and work of the African modernist painter, Ernest Mancoba, I address a perceived need for a critical discourse pertaining to early black South African modernist art. As a way of organising both my critique and contribution, I establish and use the thematic of distance. This work argues for greater consideration of individual motivation and circumstance in our understanding of early African modernist art production.
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Aljared, Rawya. "Fueling Petroculture: Contemporary Art from the Arabian Gulf." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1523025656392709.
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Barry, Marie Porterfield. "Lesson 09: Michelangelo- From High Renaissance to Mannerism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/10.
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Tuncer, Fatma Gökcen. "ATTENTION! ART IS ON THE STAGE : An Applied MasterProject onActivist Art Including theInterview Series withNine Artists from Seven Art Forms." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-25841.
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The balance of the world has been built on various empires, kingdoms, civilizations and economic systems for centuries. This study is written in the belief that the center of the world rule started to change. The determiners are not the leaders or the systems anymore but the individuals themselves. People are aware of that their voice can easily reach to the rest of the world. For most of the people it is not onlysharing their ideas on various social networks but also playing an active role in the world order. Since every human being has different ways of expressing themselves, their active role will also differ from each other. This study focuses on the active role of Art, which is one of the important ways when it is about self-expression. By this research, it is aimed to find answers to the following questions: "How can art be effective in the change of the world?" and "In what point activist art differs from propaganda?"
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Salmassian, Leyla. "Spirituality and Art Therapy: The Practice of Sufi Zikr, Sufi Meditation Tamarkoz and Art-Making From an Art Therapist’s Lens." Digital Commons at Loyola Marymount University and Loyola Law School, 2017. https://digitalcommons.lmu.edu/etd/298.
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This research examines the effects of a daily, ritualistic, intentional practice of Sufi meditation Tamarzok, Sufi Zikr and art making in the life of a female art therapist graduate student, in a transitional professional and developmental stage of life. The general psychology and art therapy literature were examined to look at contemporary understanding in the integration of spirituality and art in mental health. A lack of information in the art therapy literature prompted the interest in the development of this study to respond to this inquiry. This art-centered research informed by a heuristic, phenomenological, dialectical inquiry of self-examination, encompassed the practice of Sufi Zikr and Sufi meditation Tamarkoz as understood from the perspective of the Sufi Order Maktab Tarighat Oveyssi Shahmaghsoudi School of Islamic Sufism, followed by art making as a way of documenting and contextualizing the qualities of the internal and external emotional landscapes to uncover themes and broaden self-knowledge in the support and enhancement of growth and well-being. The data was analyzed by looking at emergent themes. Conclusions drawn aligned the combined practices of art making and spirituality to that of a relational home where the Self and all parts of the psyche can coexist and contextualized for meanings to emerge and healing to take place. The findings of this inquiry were in overall alignment with the reviewed art therapy literature; gaps in the reviewed literature were noted in the exploration of the somatic component of the practice of art making as it relates to healing. Further research is warranted to expand and explore the data and the uncovered areas.
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Dresden, SLUB. "Kunst im Werden: Skizzen, Projekte und Arbeitsbücher: Ausstellung der Klasse Bildende Kunst der Sächsischen Akademie der Künste im Buchmuseum der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) 25.6.2011 – 22.10.2011." Sächsische Akademie der Künste, 2011. https://slub.qucosa.de/id/qucosa%3A1229.
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Wo beginnt die Kunst? Mit der Idee oder in einer ersten materialisierten Form? Welche Stufen gibt es, und: Sind sie tatsächlich zu trennen von dem, was allgemein als fertiges Werk gilt? Die Ausstellung »Kunst im Werden« zeigt anhand 18 verschiedener Positionen das breite Spektrum einer Entwurfspraxis von Künstlerinnen und Künstlern einer mittleren und älteren Generation, die eben diese Fragen evoziert und vielleicht Antworten darauf liefert.
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Sher, Gabrielle Melanie. "Reality or illusion?, a study of the emancipation of women in the GDR as portrayed in selected stories from Helga Schubert's Lauter Leben." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/MQ42691.pdf.
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Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.
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This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art.<br>Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity.<br>Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument.<br>Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?
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Bevan, Paul Graham. "Manhua artists in Shanghai 1926-1938 : from art-for-art ʼs-sake to wartime propaganda". Thesis, SOAS, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.729337.
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Sassu, Suarez Ferri Natalia. "Carlos Cruz-Diez : from figuration to kineticism." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11817.
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The Venezuelan artist Carlos Cruz-Diez (b.1923) is an exemplar of modernism both in Europe and in Latin America. This thesis offers a broader understanding of his work by discussing his early paintings as a precedent to his more recognized production. Cruz-Diez's chief aim as an artist is the liberation of colour, a process undertaken with the motivation of being part of art history, in an avant-garde quest for what his original contribution to art could be. Transition, interaction, colour, space and time: these are the crucial concepts of the work of Cruz-Diez investigated in this thesis and positioned in the Latin American/European and Kinetic/Optical context. Today, Cruz-Diez's works from his first Physichromie (1959) onwards have been extensively explored both by him in numerous commentaries and by scholars. In contrast, only few works of the 1950s have been displayed and discussed. The key aspect of my argument is that 1959 is not an abrupt beginning to Cruz-Diez's work but the conclusive stage of a ten-year process of transition from figuration to abstraction. I demonstrate that there is indeed a drawn-out “passage” made of readings and experiments, of “successes” and" “failures”. I argue that this “passage” is articulated along three parallel paths: 1) the detachment from naturalistic or figurative representation; 2) the detachment from the concept of colour as a synonym of pigment on a support; and 3) the shift in emphasis from a “passive” to an “active” spectator.
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Earls, Darlene Knies. "The promise comes from faith /." Online version of thesis, 1993. http://hdl.handle.net/1850/11767.
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Conradie, Johan. "Tenebrism in the painting of Odd Nerdrum from 1983 to 2004." Diss., University of Pretoria, 2006. http://hdl.handle.net/2263/59656.
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The hypothesis of this dissertation is that contemporary Norwegian painter, Odd
Nerdrum (b 1944), uses tenebrism as a mode of beauty and a device to
emphasise psychological states of being. Tenebrism is an effective kitsch
device to create an impression of realism and so-called truthfulness while
pointing to the deepest human sentiments and emotions.
I argue that Nerdrum's tenebrist art questions dark truths about modernity and
its effect on the self. The darkness of his tenebrist style amplifies the emotional
states of his human characters, and becomes a negative form of transcendence
into absence and the power of its nothingness.<br>Dissertation (MA)--University of Pretoria, 2006.<br>Visual Arts<br>MA<br>Unrestricted
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Ecevit, Emek Can. "A study on institutionalisation of contemporary art from Turkey." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/13247.
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This doctoral study is concerned with identifying the determinants of the institutionalisation of art (IoA) in general and institutionalisation of contemporary art (IoCA) in particular. It focuses on the influence of the state and the private sector on economics and politics of arts as artworld in Turkey. The proposed relational framework is based on the current controversial problematisation of social theory in terms of various understandings of modernity and post-modernity. Here, modern art is taken to be based on an orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from a post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of the classical understanding of modernity. Within this scope, this study formulates and operationalises the research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations that define IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study are primarily limited to national level. The research questions are, in general, framed with qualitative research techniques and specifically substantiated with data sources primarily obtained from a self-employed semi-structured survey method complemented by observations and an extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings are undertaken within the scope of relational sociology and using the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and art critics from Turkey. Within this conceptual framework, the roles of the state and the private sector are questioned in terms of the economics and politics of arts, including their cultural couplings. The domain of social relations remaining outside the private sector, specifically the art public and the groups, collectives and initiatives of arts are assessed as the civil domain of arts. Knowledge of the arts and its formal (institutional) and informal relations provide an essential source and play a central role in this study. Within this framework, the art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks are considered as the primary constituting components of the interactive relations of IoA. The findings of this thesis have implications for increasing the knowledge about and practices of IoA and contribute to the development of a framework of research questions that explains the interactive relations of the IoA in Turkey and offers an insight into a growing body of literature on art and includes recommendations for the directions of future research. The proposed relational framework is based on the current controversial problematisation of social theory in terms of modernity and post-modernity understandings. Here, modern art is considered to be based on orthodox (classical) modernity understanding. In contrast, contemporary art (CA) is regarded as either a rejection of modern art from post-modernity perspective or an intensive criticism of it from inside modernity. Both positions direct their criticisms to the basic assumptions, methodological tools, epistemological sources and ontological basis of classical understanding of modernity. Within this scope, this study formulates and operationalises its research problem in terms of relational sociology and uses grounded-theory to establish the significant interactive relations defining IoA. The unit of analysis is the interactive relations of individuals as artists. The boundaries of the study primarily remained at national level. The research questions are framed in general with qualitative research techniques and substantiated specifically with data sources primarily obtained by self-employed semi-structured survey method in addition to observations and extensive review of the relevant literature as documentary-historical data. The analysis of the data and the interpretations of the findings made within the scope of relational sociology and with the tools of grounded-theory methodology. The empirical data collected from a sample of artists actively involved as producers of works of arts and/or academicians, advisors and critics of arts from Turkey. Within this conceptual framework, the role of the state and the private sector is questioned in terms of economics and politics of art, including their cultural couplings. The domain of social relations remaining outside of the private sector, specifically the art public and the groups, collectives and initiatives of arts are inquired as the civil domain of arts. Knowledge of arts and its formal (institutional) and informal relations provide an unavoidable source and play a central role in this study. Within this framework, art market is considered as an emerging hegemonic construct in the economics and politics of arts. Furthermore, artists and artworks were taken as primary constituting components of the interactive relations of IoA. The findings have implications for knowledge and practices of IoA and contribute in the developing a framework of research questions that explains the interactive relations of the IoA in Turkey and adds an insight to a growing body of literature on art including recommendation for future research directions.
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Powers, Janine A. Olson. "From medicine to art: Nils Paul Larsen (1890--1964)." Thesis, University of Hawaii at Manoa, 2003. http://hdl.handle.net/10125/1223.
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Nils Paul Larsen (1922-1964) was a significant transitional figure in Hawai'i as it was changing from the plantation era to a modem Pacific community. Larsen, who lived in Hawai'i from 1922 until his death in 1964, was recognized in varying degrees as a physician, director, researcher, writer, historian, politician, artist, playwright, inventor, association president, decorated war hero, Swedish consul, honorary kahuna, and Congressional delegate. Larsen was especially acknowledged for his instrumental role in advancing plantation medicine and elevating public health in Hawai'i as a pathologist and Director of the Queen's Hospital. He used his professional influence to raise public awareness through numerous publications and associations in the field of health. His medical interests emphasized the need for better nutrition, notably with regard to infants and plantation workers. He was also involved with educational measures related to population control, sanitation, and industrial medicine. Larsen became President of the Honolulu Print Makers Association and was nationally recognized for his original etchings. His artistic sensibilities centered on local scenery and nature themes. His etchings often reflected a social and cultural sensitivity that suggested ambivalence toward modernity and the Western impulse toward technology and development. In the course of his many-sided career Larsen championed the cause of social justice. Among his interests were traditional Hawaiian herbal and medicinal practices that he concluded were superior to those of the early missionaries. His immersion in this line of study led him to the status of an honorary kahuna. There is ultimately a compelling contrast between Larsen's role as a scientist and empiricist and his capacity to appreciate the influence ofnontraditional medical practices. Larsen's political desires led him to accept the appointment as Swedish Consul. He advocated the change from Territorial status to statehood for Hawai'i and, in 1960, took an active role as a delegate in the Constitutional Convention to assist in the writing of the Constitution. His devotion to world unity led him to attempt to springboard the Hawai'i chapter of the World Federation, a group hoping to unite the nations ofthe globe in a "more perfect union."
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Willey, Paul F. "The art of riverine warfare from an asymmetrical approach." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2004. http://library.nps.navy.mil/uhtbin/hyperion/04Mar%5FWilley.pdf.
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Gibson-Quick, Robyn. "Art Deco influences on women's dress from 1915-1925." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400076412.
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Bush, Melissa Ann. "Art from the Macchiaioli to the Futurists: Idealized Masculinity in the Art of Signorini and Balla." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5655.
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Beginning around 1850, Italians found themselves in the midst of an identity crisis. Europeans in France and England had surpassed Italians in terms of political, economic, and social progress. Italians seemed trapped in the past, clinging to their magnificent artistic heritage. However, new cultural and social movements were on the rise in Italy that attempted to throw off the domination of other European entities and forge a promising future for Italy. The Macchiaioli, a group of Italian modern artists who painted from 1853 to 1908, were the first group to address contemporary social issues such as class struggle and national weakness. Their art called for progressive change and arguably influenced how the later Italian Futurist movement would address similar concerns beginning in 1909. One of the Macchiaioli, Telemaco Signorini, advocated the development of new technologies and industries—dominated by men—in realist paintings from 1853 to 1901. Futurist artist Giacomo Balla gained recognition for promoting similar ideas in a more radical fashion. Most art historians believe that the Futurists were influenced by trends originating in Western Europe, specifically the French avant-garde. This thesis argues that the Futurists were significantly influenced by an Italian tradition that originated with the Macchiaioli. The Macchiaioli were animated by a nationalistic fervor and a desire to create a strong and unified Italian state. They used art and literature to advance progressive ideals based on masculine acts. The Futurists responded to similar stimuli in their day. In the absence of a powerful national identity, Signorini and Balla employed modern artistic styles to idealize masculine solutions to social problems. Both ultimately foresaw a world in which technology, mastered by men, would elevate Italian society.
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Cosser, Marijke. "Images of a changing frontier worldview in Eastern Cape art from Bushman rock art to 1875." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002196.
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A discussion of the concept of worldview shows that how an artist conceives the world in his images is governed by his worldview - an amalgam of the worldview of the group of which he is a part modified by his own ideas, beliefs, attitudes, perceptions and upbringing. The author proposes that studying an artist's work can reveal his, and hence his group's, worldview and thus the attitudes prevalent when the work was produced. A brief historical sketch of the Eastern Cape to 1834 introduces the various settlers in the area. Though no known examples of Black, Boer or Khoi pictorial art are extant, both the Bushmen and the British left such records. A short analysis of rock art shows how the worldview of the Bushman is inherent in their images which reflect man's world as seen with the "inner" eye of the spirit. In white settler art, the author submits that spatial relationships changed in response to a growing confidence as the "savage" land was "civilised" and that the position, pose and size of figures - and the inclusion or exclusion of certain groups - reflect socio-political changes. The two foremost nineteenth-century Eastern Cape artists, Thomas Baines and Frederick I'Ons, succeeded in capturing the atmosphere of Frontier life but are shown to interpret their surroundings through the rose-tinted spectacles of British Romanticism. They also reveal individuality in approach - Baines preferring expansive views while I'Ons's landscapes tend to be "closed-in", strictly following the coulisse scheme of Picturesque painting. Perhaps, the author postulates, such differences result from the very different environments, i.e. Norfolk and London, in which the two grew up. I'Ons is shown typically to use generalised landscapes as backdrops for his foreground figures, while comparing Baines's scenes with modern photographs shows that he adjusted the spacial elements of the topography as well as the temporal sequence of events to suit aesthetic considerations. Lithographed reports of his work contain even further adjustments. The author concludes that the use of Africana art as historical records must be treated with great caution.
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Gibson, Ashley M. 1982. "From Ant Farm to UbuWeb: Distribution and Access in Artists’ Video from the 1960s to the Present." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11984.
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viii, 87 p. : ill. (some col.)<br>This thesis examines the history of distribution platforms for artists' video. Artists' video is defined as time based art works that employ the medium of film, videotape, digital video, or any combination thereof. The thesis categorizes different points of access for artists' video from the 1960s to the present as well as how artists have distributed their work.
Three macro level platforms serve to classify the different sites of access between artists' video and a viewer - the first is television, the second is institution, and the third is the Internet. Over the past forty years, artists' video has transitioned from a marginal practice that existed outside of the institution to a medium that is now synonymous with the idea of a contemporary art museum. However, the Internet as a platform allows artists' video to exist outside of the museum, which is consistent with the earliest goals associated with this medium.<br>Committee in charge: Kate Mondloch: Chair and Advisor;
Albert Narath: Member;
John Fenn: Member
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Maor, Yonah. "Delamination of oil paints from acrylic grounds." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1487.
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