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1
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 religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.
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Hebda, Paul Thomas. "Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331366/.
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This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these relationships had on the publishing company. Additionally, the chapter brings into focus the specific relationships between the musicologist, Adolf Chybiński, the company, and its individual members. The chapter concludes with a discussion of the actual publishing activities of the company. Chapter IV examines the three concerts sponsored by the company and their critical receptions in Warsaw and Berlin through the surviving reviews and comments of leading contemporary music critics, the concert participants, the composers' close colleagues, and the composers themselves. Finally, Chapter V contains a brief discussion of the music presented on the three concerts, characterizing the works within the context of their initial critical reception.
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Devillez, Virginie. "L'Etat et les artistes: entre révolution et réaction, les politiques culturelles de la Belgique (1918-1944)." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211733.
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Couette, Déborah. "L'Aracine, de l'association au musée : histoire d'une collection d'art brut (1982-2010)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H043.
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L’Aracine est une association loi de 1901 créée en 1982 à l’initiative de Madeleine Lommel en collaboration avec Michel Nedjar et Claire Teller dans le but de rassembler, de conserver et d’exposer une collection d’art brut publique en France. Conçue comme un hommage aux recherches de l’artiste Jean Dubuffet, cette collection – offerte en 1999 au musée d’Art moderne de Villeneuve-d’Ascq – constitue un rare essai de légitimation et de patrimonialisation de l’art brut. Cette thèse, histoire d’une association, d’une collecte et d’une collection, propose de revenir aux origines et aux développements de l’association L’Aracine, en mettant en lumière le rôle joué par des non-professionnels de l’art dans la constitution d’un patrimoine du XXe siècle<br>L’Aracine is a non-profit association founded in 1982 by Madeleine Lommel with Michel Nedjar and Claire Teller, to collect, preserve and exhibit a public collection of art brut in France. Conceived in tribute to the research of artist Jean Dubuffet, the collection – which was given to the Modern Art Museum of Villeneuve-d’Ascq in 1999 ― is a rare attempt to establish art brut’s legitimization and legacy. This PhD – story of an association, a collection process and a collection – reconsiders the origin and development of the L’Aracine project and casts a light on the amateurs whose role was to establish this 20th century patrimony
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Kyeyune, George William. "Art in Uganda in the 20th century." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408702.
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Wei, Linna, and Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.
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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.
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Jeffery, Celina. "Leon Underwood and primitivism in 20th century British art." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.
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Kaufman, David B. "Polish-Jewish relations during the rebirth of Poland, November 1918-June 28, 1919." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/199.
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This study examines Polish-Jewish relations during the pivotal eight months between the declaration of Polish Independence on November 11, 1918 and the formal re-establishment of the Polish state by its recognition by the Allied and Associated Powers at the Paris Peace Conference on June 28, 1919. The thesis explores the background to Polish-Jewish relations in the years immediately preceding the period under investigation in order to place the events in their political and socio-economic context. The key to the present study is a detailed examination of the controversial anti-Jewish outrages that occurred in the disputed Russo-Polish-Ukrainian borderlands, namely in Lwów in November 1918, and at Pińsk in April 1919. It is important not only to scrutinise these events in detail, but furthermore to place them in their full international perspective. The direct result was the imposition of a Minorities Treaty upon Poland, which was largely drafted during the final months of the Peace Conference. Polish anti-Jewish violence was not the only factor that influenced the Allies gathered at Versailles, yet the peacemakers felt compelled to treat Poland as a special case. The Treaty further strained the interdependent links between Poles and Jews, both in Poland and the west, as the dominant group saw it as an unfair limitation on its sovereignty. Polish resentment at the perceived influence of ‘international Jewry’ further heightened tensions between the two, yet the drafting of the Minorities Treaty was emphatically not as a result of the ‘Jewish lobby’ (which was in fact divided) that had gathered in the French capital in an attempt to further Jewish demands in both Eastern Europe and Palestine. The damage done to Polish-Jewish relationships during the crucial period of 1918-1919 not only strained interaction between those groups in the months covered by the thesis, but also exacerbated the Jewish ‘problem’ during the course of the Second Polish Republic and beyond.
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence." Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.
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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.
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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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Cappitelli, Francesca. "The chemical characterisation of binding media in 20th century art." Thesis, Royal College of Art, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444980.
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This dissertation describes the application and optimisation of an analytical technique, named thermally assisted hydrolysis and methylation - gas chromatography / mass spectrometry [THM.-GCMS]. THM.-GCMS is a modification of pyrolysis - gas chromatography / mass spectrometry [Py-GCMS] which involves an on-line derivatisation process known as thermally assisted hydrolysis and methylation. The method is based on the high temperature reaction of tetramethylammonium hydroxide with macromolecular materials containing functional groups susceptible to hydrolysis and methylation. During this research THM.-GCMS was used for the chemical characterisation of the most frequently-used binding media in 20th century art: oils, acrylics, alkyds and poly(vinylacetates). The major classes of binding media used in 20th century paints have been previously studied in conservation using a range of techniques, the most important being GCMS, Py-GCMS and Fourier transform infrared spectroscopy [FTIR]. However, this project was novel in that it demonstrated the possibility of chemically characterising a wide variety of both natural and synthetic binders found in modem works of art using a single technique, THM.-GCMS. Standard samples of oils, egg yolk, acrylics, poly(vinylacetates) and alkyds as well as samples containing these materials from nine painted works of art were successfully studied using THM.-GCMS. Among the art works studied, those by Marcel Duchamp and Pablo Picasso were investigated for the first time.
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Asbury, Michael. "Hélio Oiticica : politics and ambivalence in 20th century Brazilian art." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/8953/.
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This study investigates the presence of ambivalence as a strategy of cultural politics from modern to contemporary art in Brazil. It focuses on the development of modern art leading to the work of Hélio Oiticica, whose approach to avant-garde practice in Brazil was concurrent with intense articulations between the forces of social change and re-evaluations of the legacy of Modernism. The thesis has a strong historiographical emphasis and is organised in three parts: Part one attempts to view the emergence of Modernism in Brazil beyond the prevailing interpretations that emphasise its inadequacy compared to canonical paradigms. Part two discusses the development of abstraction in Brazil, particularly that associated with the constructivist tradition and its relationship with the prevailing positivism of a nation that saw modernity as its inevitable destiny. Such a relationship, between art and ideology, implicitly questions the purported autonomous nature of modern art. Again, what emerged were definite regional distinctions, themselves based on seemingly universal theoretical propositions. The context of Hélio Oiticica's emergence as a constructivist-oriented artist is discussed in order to establish the theoretical foundation for his subsequent articulations between notions of avant-garde and Brazilian popular culture. Part three deals with Oiticica's theoretical and artistic proposals. It centres on the artist's transition from a position concerned primarily with the aesthetic questions of art, to one in which art became engaged on a social, ethical and ultimately political level. Oiticica's relationship with concurrent developments in theatre and later in music and cinema is given particular attention. The artist's questioning of the divides between such fields of specialisation, socio-cultural borders or categories of creative production is argued to have arisen out of Oiticica's lessons from Neoconcretism as well as his individual creative approach to relations of friendship. The latter integrated the wider concept of participation that eventually drove the work through the apparent equivocation between national culture and avant-garde practice. The study concludes with an analysis of the artist's posthumous dissemination and its relation with today's contemporary Brazilian art.
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Zabecki, D. T. "Operational Art and the German 1918 Offensives." Thesis, Department of Defence Management and Security Analysis, 2009. http://hdl.handle.net/1826/3897.
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At the tactical level of war the Germans are widely regarded as having had the most
innovative and proficient army of World War I. Likewise, many historians would agree that
the Germans suffered from serious, if not fatal, shortcomings at the strategic level of war. It is
at the middle level of warfare, the operational level, that the Germans seem to be the most
difficult to evaluate.
Although the operational was only fully accepted in the 1980s by many Western
militaries as a distinct level of warfare, German military thinking well before the start of
World War I clearly recognized the Operativ, as a realm of warfighting activity between the
tactical and the strategic. But the German concept of the operational art was flawed at best,
and actually came closer to tactics on a grand scale. The flaws in their approach to operations
cost the Germans dearly in both World Wars.
Through a thorough review of the surviving original operational plans and orders, this
study evaluates the German approach to the operational art by analyzing the Ludendorff
Offensives of 1918. Taken as a whole, the five actually executed and two planned but never
executed major attacks produced stunning tactical results, but ultimately left Germany in a far
worse strategic position by August 1918. Among the most serious operational errors made by
the German planners were their blindness to the power of sequential operations and
cumulative effects, and their insistence in mounting force-on-force attacks.
The Allies, and especially the British, were exceptionally vulnerable in certain
elements of their warfighting system. By attacking those vulnerabilities the Germans might
well have achieved far better results than by attacking directly into the Allied strength.
Specifically, the British logistics system was extremely fragile, and their rail system had two
key choke points, Amiens and Hazebrouck. During Operations MICHAEL and GEORGETTE, the Germans came close to capturing both rail centers, but never seemed to
grasp fully their operational significance. The British and French certainly did. After the
Germans attacked south to the Marne during Operation BLUCHER, they fell victims
themselves to an inadequate rail network behind their newly acquired lines. At the
operational level, then, the respective enemy and friendly rail networks had a decisive
influence on the campaign of March-August 1918.
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Janicki, Maciek. ""Incorrigible enemies of Soviet power" : Polish citizens in the Soviet Union, 1939-1942, in the light of Soviet documents and Polish witness' testimonies." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101883.
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Between February 1940 and June 1941, in four major deportations Soviet authorities moved Polish citizens to work-colonies in the Soviet interior and detained others in various prisons and camps. Based on war-time information, works on the deportations published in the West during the decades of communist rule in Eastern Europe and since reported figures of over 1.5 million deportees, of whom as many as half reportedly died in the USSR. These works held a prevailing view that Soviet intentions towards the deported Poles were genocidal. Recent work with Soviet archival materials has led Polish and Russian historians to revise the number of deportees to 320,000. This substantial reduction has received a mitigated response in the work of Western commentators. A review of published archival materials and of accounts left by witnesses demonstrates that both sets of sources are indispensable to an analysis of the deportations. It also shows that Soviet policies directed against the deportees were not genocidal in their intent and adds a dimension, that of the perpetrators, to the limited conceptualization afforded to the subject thus far. The study shows that under the control of the NKVD the deportations were economic and political components of internal Soviet policy in 1939-1942 and suggests that the Soviet infrastructure was incapable of supplying the resources necessary to fulfill plans set by Moscow. Moreover, the Soviet documentation offers a glimpse into the perpetrators' planning and execution of massive population displacement, thus taking the deportations outside of the realm of conjecture and placing them more firmly within the grasp of historical understanding.
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蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.
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Taylor, Grant D. "The machine that made science art : the troubled history of computer art 1963-1989." University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.
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[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy
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Heath, Karen Patricia. "Conservatives and the politics of art, 1950-88." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:d62a078b-4009-40a8-8765-1a4f5e0fbcbc.
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This thesis offers a new policy history of the National Endowment for the Arts, the federal agency responsible for providing grants to artists and arts organisations in the United States. It focuses in particular on the development of conservative perspectives on federal arts funding from the 1950s to the 1980s, and hence, illuminates the broader evolution of conservative political power, especially its limits. The most familiar narrative holds that the Endowment found itself caught up in the Culture Wars of the late 1980s when Christian right groups objected to certain federal grants, particularly to Andres Serrano's Piss Christ and Robert Mapplethorpe's Self-Portrait with Whip. This thesis, however, uncovers the older origins of conservative opposition to state support for the arts, analyses conservative conceptions of art, and illuminates the limited federal role the right sought to secure in the arts in the post-war period. Numerous studies have analysed the meanings and origins of the Culture Wars, but until now, scholars had not examined conservative approaches to federal arts politics in a historical sense. Historians have generally been too interested in explaining change to the detriment of examining continuity, but this approach under-emphasises the long-term tensions that underlie seemingly sudden political eruptions. This work also offers a deep account of the conservative movement and the arts world, an area that has so far been almost completely ignored by scholars, even though a focus on marginalised players is essential to understanding the limits of conservatism. In a general sense then, this thesis evaluates the range and diversity of the conservative movement and illuminates the overall odyssey of the right in modern America. In so doing, it provides a new insight into the ways we periodise political history and also invites a broader view of how we understand politics itself.
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Arthur, Brid Caitrin. "Envisioning Lhasa: 17-20th century paintings of Tibet's sacred city." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437525195.
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Buffington, Adam. "In Relation to the Immense: Experimentalism and Transnationalism in 20th-Century Reykjavik." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587637102245713.
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Feng, Huanian, and 馮華年. "The reception of western art history in Republican China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227326.
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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Hester, Diarmuid. "Passionate destruction, passionate creation : art and anarchy in the work of Dennis Cooper." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/58069/.
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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
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Warmus, Sarah E. "The lost generation: truth and art." Thesis, Boston University, 2004. https://hdl.handle.net/2144/27792.
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Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-02
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Craren, Robin Pilch. "Veit Stoss/Wit Stwosz Contextualized within the Polish Tradition of Sculpture in the Late Fifteenth Century." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/199428.
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Art History<br>M.A.<br>Veit Stoss (ca. 1438/1447-1533), a contemporary of Albrecht Dürer (1471-1528), was one of the most prominent limewood sculptors of the late fifteenth-early sixteenth century in Central Europe. Stoss worked in Nuremberg for a majority of his career, commissioned by its leading patrician families to make various pieces of limewood sculpture for the city's churches. His work in Nuremberg was interrupted by a nearly twenty-year stay in Krakow, Poland, from 1477 until 1496, where he undertook two monumental sculptural projects that remain his earliest extant works today, the multi-winged altarpiece of the Dormition of the Virgin Mary (1477-1489) done in limewood and the red marble tomb effigy for King Casimir IV Jagiellon (1492). Previous scholarship on Stoss has focused on the commission of the Dormition of the Virgin Mary, but has ignored the importance of this work both within the artist's large artistic development and within the already existing tradition of wood sculpture in late-fifteenth-century Poland. What is more, many twentieth-century German and Polish art historians have mobilized Stoss's career anachronistically within modern nationalist frameworks to support their own political agendas, choosing to ignore the cosmopolitanism of Krakow's mixed population and the dynamic hybrid nature of his works' iconography and artistic style. This thesis seeks to move beyond the limiting and distorting lens of earlier nationalist agendas with the aim to restore Stoss to his historical context as an artist who borrowed stylistically from painting, prints, and sculpture, and who met the demands of diverse patrons, both in Germany and in Poland, by creating a dynamic hybridity of styles, local and foreign.<br>Temple University--Theses
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Thompson, Rowan Douglas. "Art and authority : aspects of Russian art since 1917." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1007298.
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From Introduction: The Artist was denied any role in Plato's Republic because of his ability to impair reason by imitating reality through his works. Aristotle, however, welcomed the artist because of his ability to express ideas about society through artistic form. Ernst Fischer agrees with the latter view, "Art enables man to comprehend reality, and not only helps him to bear it but increases his determination to make it more human and more worthy of mankind. Art is itself a social reality, society needs the artist ... and it has a right to demand of him that he should be conscious of his social function" (Fischer: 1963:46). Fischer adds to Aristotle's view by stating that society has a right to demand a social function from the artist. This issue has been the subject of controversial debate throughout the history of art. In a society based on class, the classes try to recruit art to serve their particular purposes. Art is seen by some as a powerful weapon - a means by which people can be swayed towards certain ideals. At the time of the Counter Reformation Italian artists were given strict instructions by the Jesuits on how to persuade and educate the people with their paintings. Napoleon urged his men of letters, painters and architects to refer to the classical ideals of ancient Greece and Rome to shape the emergent French Republic. The French philosopher, Dennis Diderot, stressed the futility of art unless it expressed great prinCiples or lessons for the spectator. Ideals of justice, courage and patriotism were embodied in the Neo-Classical movement. The didactic paintings of Jacques Louis David portray the above ideals. History records several attempts by those in power to coerce artists into conforming to their idea of society, indicating that authoritative manipulation of the arts is not purely a twentieth century phenomenon. This thesis intends to examine aspects of Russian art since 1917. Because Soviet art was dominated by policies which enabled authorities to determine its content, its history raises ideological issues which are relevant to the study of art. The theories of Suprematism, Constructivism and Socialist Realism will be discussed and conclusions will be drawn as to whether these theories succeeded as art movements which were ostensibly designed for the improvement of mankind. Present attitudes toward the visual arts in Russia will also be examined. However, in order to examine the above it is necessary to place the development of art into historical perspective.
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Rydzewska, Joanna. "East meets West meets Auteur : transnational encounters with imagined identities in British and Polish cinema." Thesis, Swansea University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678569.
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霍少霞 and Siu-har Silvia Fok. "The development of the stars (Xingxing) artists, 1979-2000." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225986.
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The Best MPhil Thesis in the Faculties of Architecture, Arts, Business& Economics, Education, Law and Social Sciences (University of HongKong), Li Ka Shing Prize<br>published_or_final_version<br>Fine Arts<br>Master<br>Master of Philosophy
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White, Steven Robert. "A confluence of thinking: The influence of 20th century art history on American landscape architecture." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.
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Since beginning my graduate studies in landscape architecture, I have encountered many situations in class in which references to art were used. I discovered a connection in the usage of the jargon of art in landscape architecture study. People, for the most part, do not know what landscape architects do or who we are. In this thesis I will make the case for aligning the profession of landscape architecture with the fine arts and humanities. An art history component in the curriculum and education and training of landscape architects would augment their design and presentation skills in the workplace. I have included the results of a survey questionnaire that I sent to 65 landscape architecture teaching faculty representing 38 landscape architecture programs in the United States. These individuals held either a Bachelor of Fine Arts degree, a Master of Fine Arts degree, or they had a scholarly research interest in art.
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Ohki, Hitomi. "American Poet Emily Dickinson Set to Music by 20th Century Composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.
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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.<br><p>Soprano: Hitomi Ohki</p><p>Piano: Anders Kilström</p><p></p><p>Aaron Copland (1900-1990)</p><p>Twelve Poems of Emily Dickonson</p><p>1, Nature, the gentlest mother</p><p>2, There came a wind like a bugle</p><p>3, Why do they shut me out of Heaven?</p><p>4, The world feels dusty</p><p>5, Heart, we will forget him!</p><p>6, Dear March, come in!</p><p>7, Sleep is supposed to be</p><p>8, When they come back</p><p>9, I felt a funeral in my brain</p><p>10, I've heard an organ talk sometimes</p><p>11, Going to Heaven!</p><p>12, The Chariot</p>
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Setti, Godfrey. "An analysis of the contribution of four painters to the development of contemporary Zambian painting from 1950-1997." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002218.
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This study presents an analysis of the contribution of four painters to the development of contemporary Zambian painting, from 1950 to 1997. This is preceded by a brief history of Zambian painting, including Bushmen rock painting and early Bantu art, which is followed by an account of the way western influence, introduced by the white man, started changing the style of painting in the country as it began to affect indigenous artists. In the work of artists who began painting from about 1900 to 1950, both western and traditional stylistic influences can be seen. While the painters whose work is analysed in this thesis had some knowledge of Zambian art before 1950, they were mainly influenced by western ideas of painting. From a list of more than ten painters ofthis period from 1950 to 1997, I selected: Gabriel Ellison, Cynthia Zukas, Hemy Tayali and Stephen Kappata because I know them personally and therefore had access to them and their work, which facilitated my analysis of their work and its contribution to Zambian painting. This analysis takes the form of four chapters, one for each artist, in which relevant biographical and educational background is outlined, followed by an analysis of examples of\vork. Finally, ways in which each painter, through exposure to the Zambian public and artistic community, contributed to further development in Zambian painting, are emphasised.
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Levi, Rachel M. "A Digital Crisis? Art History and Its Reproductions in the 20th and 21st Century." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/689.
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This thesis analyzes the emergence, presence, and use of digital reproductions in the scholarship of art history and how these reproductions impact individual encounters with art. It will address matters related to the authenticity of reproductions, the development of modern technologies, and the rise of new media, reflecting on issues related to integrating technology into the discipline and proposing how to deal with the digital reproductions in the study of art history.
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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
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Lui, Shi-mun Patricia, and 呂詩敏. "Research on the art of Zhu Ming with special focus on his Taiji', andThe living world' series." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207388.
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Lloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.
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Mukdamanee, Vichaya. "(De)contextualising Buddhist aesthetics." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.
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'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.
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Chaplain, Josefina. "Gendered visions postcolonial Indian art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31223928.
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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
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Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.
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Rattalino, Elisabetta. "The seasons in the city : artists and rural worlds in the era of Calvino and Pasolini." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15588.
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The Seasons in the City. Artists and Rural Worlds in the Era of Calvino and Pasolini explores rurality in postwar Italy. Between 1958 and 1963, the country underwent an unprecedented yet uneven industrialisation, a period known as the Economic Miracle. Drawing on a relational and dynamic understanding of rural space provided by human geography, this thesis investigates the impact of these economic and socio-cultural transformations on the countryside, and on the ways in which the rural world was perceived and conceptualised in the following decades, especially by contemporary artists and intellectuals. Works of Gianfranco Baruchello, Claudio Costa, Piero Gilardi, Maria Lai, Ugo La Pietra, Antonio Paradiso, Pino Pascali, Giuseppe Penone, and Superstudio have been selected and analysed for the complex views on the topography of the country they convey, whilst challenging more conventional forms of art. Organised in themed chapters that find resonance in the contemporary works of two iconic Italian intellectuals, Italo Calvino and Pier Paolo Pasolini, these artistic practices manifest the ways in which Marxist theory and anthropology contributed to artists' identification of rural landscapes and communities at the time. More importantly, this thesis offers an alternative geographical perspective on 1970s Italian art, one that challenges the pastoral myths that were constructed in the country's metropolitan centres.
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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 of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfield, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff???) to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life.
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阮佩儀 and Pui-yee Yuen. "A study of the Art of Mu Shiying's fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222134.
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Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
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This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
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Bellettiere, Giovanna Marie. "AMERICAN FEMINISM: THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.
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Art History<br>M.A.<br>This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.<br>Temple University--Theses
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Clarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke." University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Title from PDF of title page.<br>Document formatted into pages; contains 65 pages<br>Thesis (M.L.A.)--University of South Florida, 2003.<br>Includes bibliographical references.<br>Text (Electronic thesis) in PDF format.<br>ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.<br>ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.<br>ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.<br>System requirements: World Wide Web browser and PDF reader.<br>Mode of access: World Wide Web.
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Hellman, Michel. "Art, identité et Expo 67 : l'expression du nationalisme dans les oeuvres des artistes québécois du Pavillon de la Jeunesse à l'Exposition universelle de Montréal." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98928.
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This thesis will examine the relationship between art, nationalism and identity as it appears in the context of the 1967 Montreal Universal Exposition. "Expo 67" saw a confrontation between Canadian and Quebecois expressions of nationalism, and we will concentrate on this aspect as it appears through the artistic representations in the different national pavilions.<br>We will also look into the artworks presented by young Quebecois artists in the more marginal "Youth Pavilion" situated on Ile Sainte-Helene, and will explain how this new generation of artists was able to take advantage of the particular context of the Universal Exhibition in order to implement its own concept of national identity, an identity closely related to popular culture, and thus very different from the image projected by the Quebecois elite of the time.
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Lai, Mei-lin, and 黎美蓮. "Words and images in contemporary Hong Kong art: 1984-1997." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222808.
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Beardmore, Peggy. "Students of Hospitalfield : education and inspiration in 20th-century Scottish art : the significance of Hospitalfield in the development of 20th-century Scottish art : the artwork and influence of James Cowie and Ian Fleming." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=231423.
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Through time, Hospitalfield in Arbroath, Scotland, served as a pilgrim hospice, private home, art school, and artist residency centre. In the 20th century, its art school and residency programme enabled hundreds of artists to live, work, and learn within a unique educational environment. Despite its wide-reaching impact, Hospitalfield has remained an ethereal presence within scholarship. This thesis presents the first investigation of its significance to the development of 20th-century Scottish art. Part 1 examines Hospitalfield's importance as a place where artists, throughout the 20 th century, encountered new influences, formed communities, responded to the landscape, and developed their own practices. Its analyses provide new insight into the work and careers of well-known Scottish artists and introduce significant works by their lesser known contemporaries. It also explores the impact of Hospitalfield's institutional change upon the student experience and its relationship to broader trends in art and education. Part 2 focuses on the art and influence of Hospitalfield's resident 'Warden', James Cowie , (Warden from 1935-1948) and Ian Fleming (Warden from 1948-1954), arguing that Hospitalfield contributed to the development of Scottish art by enabling the evolution of Cowie's and Fleming's artwork and the dissemination of their influences. It presents new analyses of Cowie's and Fleming's work and contextualises their bodies of work within the painting culture of Scotland and beyond and traces how aspects of the Wardens' practices influenced multiple generations of artists. Both parts were informed by archival material, secondary sources, and oral history interviews conducted during the research process and archived in the Elphinstone Institute, University of Aberdeen for future educational use. In accordance with the research's funding arrangement between the Hospitalfield Alumni Association and the University of Aberdeen, Part 1 was written to be accessible to a generalist audience, while Part 2 is in an academic style.
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Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.
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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).