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Relevant bibliographies by topics / Art, Modern – 20th century – Political aspects / Dissertations / Theses

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Dissertations / Theses on the topic 'Art, Modern – 20th century – Political aspects'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

Younge, James Gavin Forrest. "The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.

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Bibliography: pages 232-240.<br>This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. T

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2

Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House." Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.

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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting

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3

Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

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4

Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.

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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversit

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5

Ganczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.

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This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional reli

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6

Suescun, Pozas María del Carmen. "Modern femininity, shattered masculinity : the scandal of the female nude during political crisis in Colombia, 1930-1948." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85958.

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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular fra

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7

Hojdyssek, Gunter Art College of Fine Arts UNSW. "From laughing at the world to living in the world." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.

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Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin

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8

Ayers, David Lee. "An architectural expression in the age of video culture." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23435.

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9

Kroeter, Chloe Melinda. "Art and activism : promoting change through British periodical illustration, 1893-1914." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.

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Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.

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This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides

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11

Thériault, Mark J. "Art as propaganda in Vichy France, 1940-1944." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112592.

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The French government under Philippe Petain, based at Vichy, simultaneously collaborated with the Germans and promoted French patriotism. French artists and designers produced an abundance of posters, paintings, sculptures and other objets d'art, examples of which are included here, to promote the values of the "new order." Although Christian symbols were common, fascist symbols among the mass-produced images support the idea that the Vichy regime was not merely authoritarian, but parafascist.<br>The fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhib

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12

Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called &quotmeditations,&quot which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the

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13

Yu, Liwen, and 余麗文. "Politicizing poetics: the (re)writing of the social imaginary in modern and contemporary Chinese poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42841628.

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14

Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.

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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetr

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15

Botma, Gabriel Johannes. "Manufacturing cultural capital : arts journalism at Die Burger (1990-1999)." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18065.

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Thesis (PhD)--Stellenbosch University, 2011.<br>ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study

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16

Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.

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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in

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17

Souza, Fernando Artur de. "A construção cultural da fotografia como discurso na arte contemporânea." Universidade Tecnológica Federal do Paraná, 2013. http://repositorio.utfpr.edu.br/jspui/handle/1/680.

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Este trabalho apresenta uma discussão acerca de relações estabelecidas entre a fotografia e a arte contemporânea, a partir de um viés em que a produção artística dialoga com a produção fotográfica de âmbito familiar. A fotografia é assumida como um processo mediador culturalmente construído, levando em conta aspectos de sua conformação tecnológica, bem como de seus usos sociais, ambas dimensões consideradas preponderantes para a produção de significado para estas imagens. Para estabelecer estas relações através de uma perspectiva interdisciplinar, o texto busca integrar pontos de vista de área

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18

Torrubia, Rafael. "Culture from the midnight hour : a critical reassessment of the black power movement in twentieth century America." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1884.

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The thesis seeks to develop a more sophisticated view of the black power movement in twentieth century America by analysing the movement’s cultural legacy. The rise, maturation and decline of black power as a political force had a significant impact on American culture, black and white, yet to be substantively analysed. The thesis argues that while the black power movement was not exclusively cultural it was essentially cultural. It was a revolt in and of culture that was manifested in a variety of forms, with black and white culture providing an index to the black and white world view. This i

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19

Mihail, Benoît. "Le "Néo-Flamand" en France: un passé régional retrouvé et réinventé sous la Troisième République." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211363.

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20

Claro, Mauro. "Dissolução da Unilabor: crise e falência de uma autogestão operária - São Paulo, 1963 - 1967." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-04032013-103923/.

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Este estudo busca trazer elementos para explicar a crise que dissolveu a Unilabor, uma experiência autogestionária operária única a seu tempo, em São Paulo, através da análise da documentação interna da empresa, das informações prestadas por alguns dos participantes, entrevistados, e pelo recurso à hipótese de prevalência de uma racionalidade instrumental, a certa altura dos acontecimentos, em lugar da racionalidade substantiva pressuposta nos fundamentos da comunidade. Os elementos para a formulação e exame dessa hipótese provêm das teorias marxistas do trabalho, conforme reformuladas e atual

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21

Howard, David Brian. "Bordering on the new frontier : modernism and the military industrial complex in the United States and Canada, 1957-1965." Thesis, 1993. http://hdl.handle.net/2429/2859.

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In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was le

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22

Sithole, Nomcebo Cindy. "Exhibitions of resistance posters: contested values between art and the archive." Thesis, 2017. https://hdl.handle.net/10539/24483.

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A Research report submitted in partial fulfilment of the Degree Masters in History of Arts at the University of Witwatersrand, 2017<br>This research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how thes

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23

Pozzi-Harris, Ana Jorgelina 1972. "Marginal disruptions: concrete and Madí art in Argentina, 1940-1955." Thesis, 2007. http://hdl.handle.net/2152/3771.

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This dissertation analyzes the production of the Concrete and Madí artists, who were active in Argentina in the 1940s and 50s. Concrete and Madí artists proposed, for the first time in this country, the need for an art that was completely different from representational and expressionist art, and they believed that their "inventions," both visual and linguistic, could foster social change. Many aspects of the journal Arturo, published in 1944, and of Concrete and Madí art continue to be a puzzle, such as their relation with past and contemporary artistic and intellectual productions, their rel

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24

Mathews, Heather Elizabeth. "Making histories: the exhibition of postwar art and the interpretation of the past in divided Germany, 1950-1959." Thesis, 2006. http://hdl.handle.net/2152/3457.

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25

Kelly, Patricia M. "From SDS to LSD : politics, viewers, and minimal art in late 1960s America." Thesis, 2003. http://hdl.handle.net/2429/15139.

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When the artist Mel Bochner described the reductive geometric forms on view in the "Primary Structures" exhibition in 1966, a show that announced the arrival of minimalism on the New York art scene, he claimed: "there is nothing behind these surfaces, no inside, no secret, no hidden motive."1 Yet after a careful examination of minimal art, and the ways in which it challenged a modernist trajectory set into place in the postwar period, I am arguing Bochner couldn't have been more wrong. With minimalism as its primary focus, my thesis considers how the political turmoil of the late 1960s-

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"符羅飛(1897-1971): 20世紀的中國藝術與革命". 2013. http://library.cuhk.edu.hk/record=b5549694.

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本論文選取畫家符羅飛（1897-1971）進行研究，旨在通過文字及圖像史料復原這一被視作“歷史失蹤者的藝術家個案，並將其放在20 世紀中國藝術與革命互動關係的語境中進行考察。文章依據時序及符羅飛活動地點與内容的變化，分爲五個章節，結合文獻考據、視覺分析及藝術社會學等研究方法，分別探討他於20 世紀20 至60 年代在上海、意大利、香港及華南等地的藝術創作與社會活動，並著重觀察這位以藝術積極投入社會革命、且擁有明確政治信仰的畫家及其代表的群體，是如何通過主動轉變藝術面貌，從而與20 世紀中國社會的大變動連成一體。本文認爲：符羅飛於抗戰期間攜傾向古典寫實的那不勒斯畫派畫風及自創的水墨寫生歸國，但其藝術救國活動最初並未達至理想效果；直到40 年代中期才在通過不斷地寫生、辦展，逐漸吸收國統區漫畫與木刻中流行的德國表現主義元素，脫胎出具有強烈視覺刺激和道德感召力、又符合中共革命訴求的代表性藝術面貌，在特定的政治人群中得到廣泛承認，在此過程中輿論因素的影響不可忽視；同時，他的彩墨實驗等游離於政治目標之外的藝術活動打破了“革命畫家"的刻板印象；而他在政權鼎革後因未能適應高度一元化的藝壇新秩序而湮沒於混亂時世的最終命運，又折射出五四以來自由知識分子傳統與中共黨文化之間不可調和的矛盾。<br>This thesis is a monographic study on the artist Fu Lu

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27

Gieskes, Mette. "The politics of system in the art of Carl Andre, Sol LeWitt, and Vito Acconci, 1959-1975." Thesis, 2006. http://hdl.handle.net/2152/2868.

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28

"現代中國繪畫中的毛澤東圖像". 1998. http://library.cuhk.edu.hk/record=b5896285.

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羅欣欣.<br>論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998.<br>附參考文獻.<br>中英文摘要.<br>Luo Xinxin.<br>序言 --- p.1<br>論文摘要 --- p.2<br>插圖目錄 --- p.5<br>緒論 --- p.14<br>Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949)<br>Chapter I. --- 毛澤東政治地位的確立 --- p.28<br>Chapter II. --- 土地革命戰爭時期(1927-1937)：毛澤東繪畫圖像的起源 --- p.30<br>Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31<br>Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32<br>Chapter 2. --- 晉西北木刻工廠1941 --- p.33<br>Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34<br>Chapter 4. --- 赤色郵政 1944 --- p.40<br>Chapter 5. --- 中共黨報 1945 --- p.41<br>Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展

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29

Marie, Annika. "The most radical act: Harold Rosenberg, Barnett Newman and Ad Reinhardt." Thesis, 2006. http://hdl.handle.net/2152/3456.

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30

Martini, Allesandro. "Norms for the evaluation of literature focusing primarily on the Frankfurt School." Diss., 2000. http://hdl.handle.net/10500/18637.

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Critical Theory, as posited by members of The Frankfurt School, was evaluated with the objective of attaching an implied ethical dimension. This was discovered in their privileging of a particular type of aesthetic, as evinced in their analysis of certain works of autonomous High Modernism. This implied ethic, which is one based around the concept of enlightenment as potential for emancipation, was then applied as a norm for the evaluation of art. This ethic, however, does not seek to impose a particular reading on (specifically) literary production: Rather, it seeks to impart the import

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31

Swanepoel, Andrew Peter. "Repositioning the problematic gender formation of a generation of white South African men through performance art." Diss., 2018. http://hdl.handle.net/10500/25347.

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An overview of global statistics on violence, country to country and worldwide, indicates that men are the main perpetrators of violence in our societies. Furthermore, the behavioural traits of risk-taking and self-harm are also associated with men. It is my contention that the formative processes involved in gender identity are at the root of these dysfunctions. In an attempt to present a positive alternative, I focus on a group I name the X- Men: white South African Generation X males. Drawing on Judith Butler‟s theory of performativity and its allowance for agency and resistance, I argue

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