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Dissertations / Theses on the topic 'Art material'

Author: Grafiati

Published: 30 June 2021

Last updated: 29 July 2025

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1

Strom, Yuri A. "The Art Material Girl--A Guide to Save and Find Funding for Art Materials." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/66.

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The current economic situation in the U.S. has demanded budget cuts in all areas of American life, including education. Faced with these unprecedented cuts, many arts programs are losing their funding. Many art educators are finding it a challenge to provide art education without compromising the quality of the curriculum and program. Through a comparative analysis of materials and fundraisers and a document analysis of money saving tips, strategies are suggested for art teachers to save and find money.

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2

Langille, Nicole. "Of Measure and Material." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.

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3

Freeman, Julie. "Defining data as an art material." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/31793.

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Digital technology, and speci cally digital data, forms the backbone of nearly all our communications including machine to machine, human to machine, and, increasingly, human to human. It is unsurprising that one of the most prevalent materials of our time is used by artists to create work. This thesis defines data as an art material. It investigates the variety of manifestations of data when used in art, through the review of existing artwork and the development of new artworks and visualisations that use a dataset collected for this research. Through the lens of conceptualising data as an ar

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4

Greening, Daniel John. "Art, landscape and material : subject into media." Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/299209.

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A research investigation that illustrates the development of the European landscape tradition as an unbroken interactive and material movement, through discussion of artists from Annibale Carracci (1560-1609) to Richard Long (1945 –). The contribution of each artist within their respective epoch will be used to propose that the subject of landscape has become an actual creative medium, integral to and consistent with the external Plein-Air technique. Thus, presenting a ‘creative narrative’ from the observed into the articulated that will demonstrate how the examination and representation of ac

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5

Voegelin, Salome. "Practising timespace-collage : art as material complex." Thesis, Goldsmiths College (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419777.

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6

Wagstaff, Brooke Elizabeth. "Material objects of paint." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10197.

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The research paper ‘Material Objects of Paint’ is an extension or review of past endeavours by others to establish a credible argument that paint is capable of being adopted and used beyond conventional means in the creation of a broader range of works in the arena of visual art. The research covers the areas of the visual, theoretical and practical work directed at two objectives: The first objective is to study and report on the work of modernist and contemporary artists, writers and commentators. The second objective is to develop my potential to contribute to a greater knowledge and prac

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7

Grace, Claire Robbin. "Group Material and the 1980s: A Materialist Postmodernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11662.

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Group Material's seventeen-year collaboration began in New York in 1979 through the artists' shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM's cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Félix González-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM

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8

Gordon, Rebecca Alison. "Rethinking material significance and authenticity in contemporary art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3041/.

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The traditional notion of material authenticity as being the physical and aesthetic evidence of the artist’s hand in the ‘original’ materials is outmoded. With the changed nature of art must come a rethinking of the concept of authenticity. Authenticity was and is often discussed in relation to attribution, and is traditionally linked with the artwork’s material presence. This thesis questions that assumption, drawing on the literature of philosophy that describes authenticity as someone’s ‘true essence’ in order to propose the significance of the interrelation of the artwork’s multiple attrib

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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.

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10

Hornbuckle, Rosie. "Design and the material cycle : an investigation into secondary material use in design practice." Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/21839/.

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Since the UK government's Waste Strategy was introduced in 2000 there has been sustained emphasis on the diversion of waste material from landfill and it has been acknowledged that stable markets for secondary materials must be developed to ensure that the resources used to recover them are not expended needlessly. This thesis looks at the issues surrounding a designer's ability to select secondary materials for the production of new artefacts and proposes a new framework for supporting that activity. While in the past recycled materials have mainly been used either for highly visible 'one-off

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11

Long, T. J. "Material thinking in art : subject, object and the subjectile." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1364563/.

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My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object. As a critical device the subjectile is useful both for discussing art and making it, enabling me to explore my own practice, which seeks to articulate problematic aspects of subjective status and the end limits of the subject. Artaud describes in his writing and depicts in his drawing how his body is in a s

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12

Buzz, Lu La. "The states and status of clay : material, metamorphic and metaphorical values." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11639.

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This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance its material status. The core knowledge deduced from this research is that embodied performance transforms connectivity between artist and clay and produces a unified incarnation of both elements. Through the use of immersive research methods I gained insights which could not have been predicted - particularly that my experiential performances were a process of ‘clay becoming’ in which I ultimately became the clay.

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13

Zeligman, Brooke. "Material murmurings." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1600.

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This thesis, Material Murmurings, comprising of exegesis and creative practice, focuses on the central research question: “How do we understand the materiality of glass and what happens when said materiality is approached through feminist scholarship?” This question forms the basis for an investigation through creative practice and analysis via an interpretive framework of feminist knowledges of the body. The creative practice embraces glass as the central medium with a series of exhibitions that responded to the interpretive paradigm. It is expected that Material Murmurings will highlight and

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14

Berglund, Anna-Karin. "Materialet och traditionens estetik : ett undersökande arbete om ungdomars syn på material." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-569.

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Den här uppsatsen behandlar frågeställningen hur gymnasieelever idag förhåller sig till hemslöjdsrörelsens tradition och syn på material i förhållande till hantverk? Syftet med undersökningen är att lyfta fram och diskutera hur dagens ungdomar förhåller sig till material i jämförelse med den tradition som vuxit fram ur det sena 1800-talets hemslöjds- och sociala reformrörelser. Genom litteraturstudier inom området lyfter undersökningen fram tankegångar om på vilket sätt hemslöjdsrörelsens estetik och därmed förhållande till material, kunnat vinna ett mer allmänt utbrett anseende. I ett designp

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Smith, Rachel Lucie. "Troubling ceramic art material imaginings in the field of visual art: Ruth Duckworth and Grayson Perry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48394944.

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Ruth Duckworth and Grayson Perry approach clay as a material for creative expression from different perspectives that are firmly located within their individual subjectivities, temporalities, spatial practices and in the wider cultural and socio-political contexts in which their works and methodologies are situated. In this essay Duckworth and Perry bear the burden of representation of being female and male, respectively, and in this respect their artworks reflect their individual responses to gender distinctions. Duckworth explores issues of sex and gender somewhat obliquely by comparison to

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16

Walton, Jeremy. "Art, aesthetics and supplementarity : re-evaluating the distinctions between the work of art and supporting material." Thesis, University of the West of England, Bristol, 2016. http://eprints.uwe.ac.uk/25484/.

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This thesis analyses the importance of supplementary material for art history and philosophy by addressing its shifting and problematic relationship to the ‘work of art’. Through the use of philosophical and critical theories, including Heidegger, Benjamin, Adorno, Deleuze and Derrida, the nature and status of artworks are explored through different uses of supplementarity that are identified and developed in order to re-evaluate the cultural significance of supplementarity itself. This theoretical analysis is complemented by a cultural history that demonstrates, through a discussion of change

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Newton, Audrey. "Spaces of Tension and Material Disruptions." Thesis, The University of Sydney, 2018. https://hdl.handle.net/2123/22358.

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Spaces of Tension and Material Disruptions is a project that examines how material and space provoke the vibrancy of a sculpture or sculptural assemblage that is a part of an art installation. To explain vibrancy, I am referring to vibrancy defined by Jane Bennett in her 2010 text, Vibrant Matter, A Political Ecology of Things. She refers to matter’s vibrancy as the furtive energy or force of things within an assemblage’s agency. Using this reference of vibrancy, Spaces of Tension and Material Disruptions suggests that physical space in places and sites can add or detract to a spectator’s expe

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18

Jordan, Anne. "Material Meaning." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2789.

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The synthesis of old and new, analog and digital, and hand- and computer-based methods provides designers with an opportunity to work beyond the constraints of the computer and take advantage of the aesthetic effects that actual materials bring to visual communication. Designers who choose to actively participate in their process – bringing the aesthetic effects of working materially into the realm of the digital – will likely learn to reject an approach that relies too heavily on passive digital tools. Active participation in the design process can extend our creative vocabulary and humanize

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19

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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20

Tränkle, Marion. "Material agency and performative dynamics in the practices of media art." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/8767.

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This dissertation identifies a strategy of artistic inquiry within contemporary media art practice. It applies the concept of material that acts in an agential capacity, generating performative acts. It argues that the emergent potentials of materials and their interconnectedness with the compositional layers of a work can facilitate modes of effecting change in the artistic system. Through the theoretical investigation of the production processes of physical structures and environments, the thesis focuses on the compositional dynamics within which materials actively perform. It examines how L

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21

Pyk, Oscar. "Form, funktion, material, färgexperiment : soffa i trä med resårplymå." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2731.

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22

Sadokierska, Iwona, and Fanny Stålnäbb. "Bildskapande i förskolemiljö - Art in preschool environment." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32164.

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Detta examensarbete syftar till att undersöka och synliggöra hur det arbetas med tvådimensionellt bildskapande. Vi har för avsikt att utforska vad barn och pedagoger säger om bildskapandet på förskolan. Med utgångpunkt i Reggio Emilias pedagogisk filosofi och Vygotskijs teorier om skapande och utveckling vill vi få förståelse för vad skapande innebär i förskolan. Med hjälp av intervjuer med både pedagoger och barn visar vi hur två förskolor utan uttalad specifik pedagogisk inriktning arbetar med bildskapande. Resultatet av intervjuerna behandlats utifrån tre olika områden; bildskapande, ma

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23

Rynn, Sarah. "Reprocessing interference : an artistic exploration of the visual material generated by interference." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8199.

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Includes bibliographical references (leaves 45-47).<br>My body of work is concerned with the constructed promise of telecommunication - that is, the promise to connect people all over the world via telephone lines, computer networks and, most recently, satellite signals. The development of and access to networked systems has brought about this "utopian promise" (Mitchell 2005: 305), an ideal of instant connectivity that allows a user to be in contact with others through technological devices over vast distances. Connectivity supposedly enables users to develop and sustain relationships on the

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24

Greedy, Paul Maxwell. "Listening to Objects: Sound as an Expression of Material Flux." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18133.

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This research paper examines the use of sound in art as a means to explore processes of movement, transformation, and change as they operate within the physical relationships that exist between energy, matter and space. It situates the author’s own material-based sound art practice in relation to its primary historical and contemporary influences, identifying critical developments in art making that offer creative, conceptual and practical insights into the nature of physical processes. In doing so, the paper locates the origins of sound art within late 20th century sculpture, experimental mus

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25

Woodall, Alexandra Caroline. "Sensory engagements with objects in art galleries : material interpretation and theological metaphor." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37942.

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This thesis aims to explore sensory engagements with material objects. In other words, it investigates the physical encounter between a person and a thing, particularly through a focus on the sense of touch. It does so within the art gallery context. It looks at the capacity of such embodied practices to inspire creative response to objects, an approach which, the thesis argues, does not necessarily rely on knowing contextual information or fact, but rather allows for responses including imagining and making. The research coins the term ‘material interpretation’ to describe such an approach to

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26

Ives, Harley. "The Material Qualities of the Moving Image and the Painterly Gesture." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/19674.

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This thesis examines how qualities of process errors in the moving image might be adapted and applied aesthetically in ways analogous to painterly gesture. In recent history, materialist film-makers, signal process artists and glitch artists have foregrounded these artefacts of process as a means to promote anti-illusionism in art. To achieve this, residual artefacts of faulty equipment became the work of art, independent of the original image, and without consideration for how such process artefacts might interact with the original content of the moving image. This thesis and the accompanying

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Waentig, Friederike. "Plastics in art a study from the conservation point of view." Petersberg Imhof, 2002. http://d-nb.info/989014312/04.

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Johnston, Iain Gray. "The Dynamic Figure Art of Jabiluka: A study of ritual in early Australian rock art." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148425.

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This thesis is an investigation of ritual practice in the Dynamic Figure rock art of Jabiluka in Mirarr Country, Australia. Painted across western Arnhem Land, Dynamic Figure art constitutes the earliest easily recognisable body of rock art in this region of northern Australia. Despite its antiquity, its most striking attributes are the extremely detailed depictions of human figures with a plethora of material culture, that are engaged in a range of narrative scenes. This thesis explores how the material culture, scenes and other attributes of Dynamic

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Rosenthal, Dalia. "O elemento material na obra de Joseph Beuys." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285092.

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Orientador: Ernesto Giovanni Boccara<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-04T14:01:53Z (GMT). No. of bitstreams: 1 Rosenthal_Dalia_M.pdf: 6232476 bytes, checksum: 182064c92ac1ced38ba24095f8b78ad5 (MD5) Previous issue date: 2002<br>Resumo: JosephBeuys(1921-1986), artista plástico do pósguerra alemão,conhecido em todo o mundo,é consagradocomoumdosartistasmaisinfluentese divulgadosdesteséculo.Um nome que está intimamente ligadoaousoincomume bizarroquedeuaosmateriaisqueutilizavaemsuas ações,esculturase trabalhos

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Shemilt, Emile Josef. "Material tensions : a practice-based study of the tension between the 'material' and the 'image' in digital moving image art." Thesis, University of Dundee, 2010. https://discovery.dundee.ac.uk/en/studentTheses/3e8707f1-df7f-48ed-9516-f5b499fcb41b.

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This practice-informed research is an exploration of the tension that exists between a representational image and the material of its construction in moving image art. In this thesis, I discuss the viewer's role in perceiving and sustaining the tension. In developing this research, I have created three moving image artworks in digital media. Inspired by Jackie Hatfield's statement that 'the ascendancy of any one theory, history or lineage ... is due to the scarcity of writing relative to other art forms' (Hatfield, 2004, p.14), I describe this tension in moving image art in relation to the art

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Amborn, Johan. "Från ax till möbel : förnyelsebara material som möbler." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2713.

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Förnyelsebara och/eller miljövänliga plaster som t.ex. biokompositer är ett eftersatt område inom möbelindustrin, där utvecklingen hittills ofta har inriktats på återvunna material. Jag har koncentrerat mitt projekt till detta område med inriktning på det förnyelsebara materialet veteglutenkomposit(VG) i samarbete med forskningsföretaget STFI-Packforsk och gjort ett flertal experiment i materialet. Det slutgiltiga resultatet har blivit en komposterbar stol i VG och ett flertal urnor samt materialprover. En av de stora fördelarna med materialet är att det är komposterbart och redan efter några

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Filippa, Kenne. "Breakfast-Piece by Nicolaes Gillis : A comparative study of material perspectives." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182721.

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Andrews, Noam. "Irregular Bodies: Polyhedral Geometry and Material Culture in Early Modern Germany." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493270.

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The dissertation explores the centrality of the Platonic Solids, and polyhedral geometry generally, to the artistic and mixed-mathematical cultures of Renaissance Germany. Beginning with Albrecht Dürer’s groundbreaking treatise on geometry, the Underweyung der Messung (1525), the dissertation redefines sites of early modern experimentation to include the graphical spaces in which new geometrical knowledge was practiced, invented, contested, manipulated, discarded, and presented. The research describes the historical contexts and development of the practice of polyhedral geometry over the cours

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Morris, Michael J. "Material Entanglements With the Nonhuman World: Theorizing Ecosexualities in Performance." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1435325456.

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35

Couzins, Richard. "Inside out : the under-theorised object and material voice in fine art practice." Thesis, University of Brighton, 2014. https://research.brighton.ac.uk/en/studentTheses/43e6e0bf-6b83-4b78-a232-0dbbed6c3c41.

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The human voice is significant to culture and communication and its agency differs across the heterogeneous discourses within which it is listened to and produced. This thesis assesses what the voice does in Fine Art practice where it is under-theorised but often used by artists. The research questions are: how does a voice register as a material and an object (physical material presence), rather than equating only to the subject who produces it? And how can an artist produce a direct address with their voice? The thesis examines the nature of direct vocal address in Fine Art practice with the

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Nowacki, Brenna M. "Verification and Calibration of State-of-the-Art CMC Mechanistic Damage Model." University of Dayton / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1461761780.

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Bristow, Maxine. "Pragmatics of attachment and detachment : medium (un)specificity as material agency in contemporary art." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12033/.

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This research arises out of my situated experience and the subsequent indeterminate positioning of my practice in-between the traditional disciplinary fields of textiles and fine art. Through a body of studio enquiry and accompanying theoretical and reflective commentary, the research questions whether a practice and knowledge base that is historically grounded in the interrogation of medium specific conventions can continue to be viable within a post medium/ postmodern contemporary art context. Implicit within this are two further considerations concerning the relationship between aesthetic a

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Rahaim, Margaret. "Material-digital resistance : toward a tactics of visibility." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1685/.

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This research considers the ways in which digital, networked technologies influence contemporary everyday life and creative practice. Through studio practice and writing, I ask how a contemporary condition of everyday life, characterised by the suppression of distance in speed of communication and the ubiquitous presence of surveillant apparatuses, affects the way we understand and use the image. I also consider the role of the digital image in both destabilizing and reinforcing human agency. In the past, tactical creativity was protected by a level of invisibility from the vision of authority

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Kern, Susan A. "The Jeffersons at Shadwell: The social and material world of a Virginia family." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623475.

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From the 1730s through the 1770s Shadwell was home to Jane and Peter Jefferson, their eight children, over sixty slaves owned by them, and numerous hired workers. Archaeological and documentary evidence reveals much about Thomas Jefferson's boyhood home. Shadwell was a well-appointed gentry house at the center of a highly structured plantation landscape during a period of Piedmont settlement that scholars have traditionally classified as frontier. Yet the Jeffersons accommodated in their house, landscape, material goods, and behaviors the most up-to-date expectations of Virginia's elite tidewa

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Lima, Fábio Rogério Batista [UNESP]. "O graffiti como patrimônio cultural material." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153543.

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Submitted by FABIO ROGERIO BATISTA LIMA (fabio.robal@yahoo.com.br) on 2018-04-16T02:19:46Z No. of bitstreams: 1 O GRAFFITI COMO PATRIMÔNIO CULTURAL MATERIAL.pdf: 3817144 bytes, checksum: a4ea30857d72c833100e99f177316778 (MD5)<br>Approved for entry into archive by Satie Tagara (satie@marilia.unesp.br) on 2018-04-16T16:59:57Z (GMT) No. of bitstreams: 1 lima_frb_dr_mar.pdf: 3817144 bytes, checksum: a4ea30857d72c833100e99f177316778 (MD5)<br>Made available in DSpace on 2018-04-16T16:59:57Z (GMT). No. of bitstreams: 1 lima_frb_dr_mar.pdf: 3817144 bytes, checksum: a4ea30857d72c833100e99f177316778

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Lewis, Sage M. "The Material Image." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405708145.

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Vernon, Mitzi Renee. "A place for learning: a phenomenology of geometry and material." Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/53112.

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This work is comprised of two parts: The Inspiration and The Institution. The Inspiration concerns what originated the work—the conception of the idea. It lies within the realm of those things which are timeless. Therefore, it is what gives character to the building of the place or the institution. The inspiration is the beginning. The Institution is the formulation of the work--the "building" of the idea. It is a place crafted with the methods of its time. ln this sense, the institution is circumstantial, and therefore representing the end. However, in its completion there is the reflecti

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Harrius, Caroline. "The Repulsive Flower : A material based research about art history, gender and decorative porcelain." Thesis, Konstfack, Institutionen för konsthantverk (KHV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7239.

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In this project I am investigating my relationship with western traditional porcelain produced between 1700 and 1900 from a gender perspective. While looking at what has been feminine coded within the late history of ceramics I made the horrible realization that I do not value this kind of ceramics. The 21th century Scandinavia with stripped down, clean surfaces, filled with cool people dressed in black leaves little room for romantic, billowy vases decorated with flowers. I have produced a series of 30 porcelain vases, all decorated in the same way with a botanical pattern. They are insta

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Gollannek, Eric Frederick. ""Empire follows art" exchange and the sensory worlds of Empire in Britain and its colonies, 1740-1775 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 427 p, 2008. http://proquest.umi.com/pqdweb?did=1625773591&sid=9&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Oliveira, Sérgio Augusto de [UNESP]. "Sal: uma abordagem sobre o elemento material na obra de arte." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110342.

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Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-06-24Bitstream added on 2014-11-10T11:58:09Z : No. of bitstreams: 1 000796356.pdf: 8165198 bytes, checksum: 4a75a1149f4785e419b1cf7e3ecdf935 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Neste trabalho apresenta- se o processo de construção de pesquisa artística desenvolvida a partir do elemento material sal. O desenvolvimento da pesquisa se deu a partir da produção plástica do autor, no intuito de refletir sobre o aspecto material na produção do trabalho d

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Christiansson, Susanne. "Plast möter traditionellt hantverk : ett undersökande möte belyst genom lampskärmen." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-502.

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Det här arbetet bygger på en undersökning om vilka likheter/skillnader det finns mellan uttrycken i produkter av plast och produkter av ett mer traditionellt hantverk, vad som uppstår i ett gestaltande möte mellan plast och traditionellt hantverk belyst genom lampskärmen, och vilka värderingar ungdomar har när det gäller materialet plast och hur dessa kan behandlas i skolan. Syftet med undersökningen är att arbeta med och titta närmare på ett samtida material som plast i kombination med ett mer traditionellt hantverk, dess utryck och de värderingar som läggs i materialet plast. Jag vill också

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El-Danasouri, Andrea. "Kunststoff und Müll : das Material bei Naum Gabo und Kurt Schwitters /." München : Scaneg, 1992. http://catalogue.bnf.fr/ark:/12148/cb35614994x.

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Winberg, Marlene. "Annotations of loss and abundance : an examination of the !kun children's material in the Bleek and Lloyd Collection (1879-1881)." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/21627.

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The Bleek and Lloyd Collection is an archive of interviews and stories, drawings, paintings and photographs of and xam and !kun individuals, collected by Wilhelm Bleek and Lucy Lloyd between 1870 and 1881 in Cape Town. My dissertation focuses on the !kun children's material in the archive, created by Lucy Lloyd and the four !kun boys, !nanni, Tamme uma and Da, who lived in her home in Cape Town between 1879 and 1881. Until very recently, their collection of 17 notebooks and more than 570 paintings and drawings had been largely ignored and remained a silent partner to the larger, xam, part of t

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McAuley, James. "Material masterpieces : art collecting and the formulation of French-Jewish identity from Dreyfus to Vichy." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ffdd3e1e-efaa-4b05-b398-b1c9eb947656.

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This thesis relies on an extensive series of previously unexploited archival materials in France, Britain, and the United States to examine the role of art collecting among French-Jewish elites after Dreyfus and before Vichy. The families who constituted France's fin-de-siècle Jewish establishment - among others, the Rothschilds and the Reinachs, the Éphrussis and the Foulds, the Camondos and the Cahen d'Anvers - all shared an intense interest in collecting art and material objects. This interest they pursued with passion throughout a period in which the position of French Jews was increasin

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MacCulloch, Laura. "Ford Madox Brown : works on paper and archive material at Birmingham Museums and Art Gallery." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/611/.

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This collaborative thesis focuses on the extensive collection of works on paper and related objects by Ford Madox Brown (1821-1893) held at Birmingham Museums and Art Gallery (BMAG). It is the first academic study to use Brown's works on paper as the basis for discussion. In doing so it seeks to throw light on neglected areas of his work and to highlight the potential of prints and drawings as subjects for scholarly research. The thesis comprises a complete catalogue of the works on paper by Brown held at BMAG and three discursive chapters exploring the strengths of the collection. Chapter one

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