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Dissertations / Theses on the topic 'Art practice'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Hsieh, Su-Lien. "Buddhist meditation as art practice : art practice as Buddhist meditation." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.

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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them wi

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2

Martin, Anne. "Automatism and art practice." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/2209.

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The research project is to develop an understanding of the use of automatism in the practice of art derived from an interrelationship between the material process of art and critical text. As these practices converge in their vocabularies of the psychic and the somatic, they formulate a discourse of interpretation. The critical textual inquiry has identified an expanded language of interpretation for automatism within the vocabularies of three particular areas of investigation in, 1. Psychoanalysis, 2. Phenomenology and certain currents of thought in Existentialism, and in 3. The theory and cr

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3

Cable, Courtney Paige Davids. "An art practice sustained." Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/227.

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Image makers are often--and rightly--held to task for what they produce. This is a necessary lesson, but the time has come for us to cast a critical eye on the processes that lead up to the creation of that image in the first place, especially as it relates to sustainability and environmental cost. When asking the question of "what does this work say and who is it saying it to?" we must concurrently ask "what is the environmental cost of making this work and is that cost balanced by what it is saying?"

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4

Michael, Maureen K. "Precarious practices : artists, work and knowing-in-practice." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/21879.

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This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of co

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5

Parker, Vincent. "For a socialist art practice." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.256407.

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6

Espinosa, Amaris. "Art As A Mindfulness Practice." Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1537904782837034.

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7

Brierley, Donald. "Reflexivity imagined as art practice." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15006.

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A consideration of the relationship between conscious self-aware systems and art. I introduce my art practice and demonstrate the connections language has to self-conscious reflexivity. The document of research can be considered part of a creative practice that also uses language as a material. Being able to imagine re-duplications and proceed with reiterations using available materials including existing ideas is correlated with my art practice. This adaptive and emergent methodology uses a group of simple components and a flexible recursive process that can be modified to suit changing

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8

Warner, Lachlan Phillip. "Art Practice as Buddhist Practice: A Soteriology through Suffering." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/17924.

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The thesis examines the Buddhist concept of suffering, portrayed through visual art. The central questions are how can art be used to understand Buddhist suffering and, conversely, how can Buddhist suffering be used in the creation and perception of visual art. My thesis is based on an understanding of suffering (Dhukkha) described in the Early Buddhist Texts. Suffering is addressed through the Khandhas; collective processes that recognize human subjectivity as shifting. The Khandhas show that we are just processes of cause and effect. The Khandhas also bridge divides between reason and affect

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9

Evans, Stephen W. "Art unto death." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5750.

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As people living in 2017, what, if anything, have we come to know about art as a whole? What can we say about the artistic impulse? What is art for, and what does it stand to show us about ourselves today? In this paper, I try to address these questions, from the standpoint of both an artist and a human being. Examining art as ancient as the prehistoric cave paintings, as well as art of the present day, I discuss certain ontological traits that art-making has both lost and maintained over the years. Through Heidegger’s philosophy of Being, Tillich’s theology of New Being, and Stephen King’s de

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10

Carter, Kevin. "Expanding community art practice : an analysis of new forms of productive site within community art practice." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8yyz5/expanding-community-art-practice-an-analysis-of-new-forms-of-productive-site-within-community-art-practice.

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This practice-based research is a reflection upon a community art practice mediated via the social use of digital technologies such as social media, Free Libre Open Source Software (FLOSS) and open data. In combining existing community art methods and methodologies, with those taken from the social use of digital technologies, an attempt has been made to expand community art to include these social sites productively within its practice. Over the past 40 years, community-focused art practice has produced a significant and mature body of critique derived from a range of issues such as community

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11

Dafiotis, Panagiotis. "Art practice as a form of research in art education : towards a teaching artist practice." Thesis, Institute of Education (University of London), 2011. http://eprints.ioe.ac.uk/7362/.

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Although the borders between art practice and domains like philosophy have been questioned, education and its relation to art seems somehow to be overlooked in these exchanges. In my arts-led research I examine the ways the teaching artist may be able to cross the borders between art and education to produce a hybrid field in which hierarchical distinctions are questioned and the voices of students legitimised. Through my own practice as a teaching artist I am attempting to recognise, theorise, ground and develop a framework for this hybrid field. In my practice-led PhD I am trying to create s

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12

Lee, Won Jae. "Art form and content." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3334.

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13

Bradley, Jessica. "Postmodern bodies and feminist art practice." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.

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This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference

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14

Morris, Simon David Chester. "Bibliomania and related fine art practice." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434240.

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15

Clancy, Catherine. "Poiesis and obstruction in art practice." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/7842/.

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This PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis, (a philosophical companion to poiesis), familiar to artistic practice. This thesis describes the orientation of the original idea, The Aeolian Mode, clinically developed by Dr. Murray Cox in

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16

Gilhooly, Jonathan. "Enchanted Objects : Agency in the Magic Act and Contemporary Art Practice." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523528.

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17

Matthee, Jean. "Art practice as an act of paradoxical creation sublimation ex nihilo." Thesis, Royal College of Art, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295776.

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18

Nijsse, Jennifer Jean. "Beauty: deepening an understanding of contemporary art, art practice and theory /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2100.

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19

Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.

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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.

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20

Babic, Morgan T. "PRACTICE." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4127.

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Past training as an athlete has driven me to reach for the unattainable goal of flawlessness. This mentality, which I apply to jewelry making, has led me to recreate the intricate angles of the athletic body and the beauty of its movements. I use gymnastics imagery within my work as a tool to communicate how we learn and understand through practice and repetition. With shifted lines, skewed shapes and geometric wirework, the jewelry tumbles over the architecture of the wearer’s body. The repetitive metal forms come together to simulate movement and enhance the physical language that a body

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21

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

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22

Williamson, Beth. "Anton ehrenzweig : Between psychoanalysis and art practice." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499813.

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23

Tait, Stuart. "Becoming multiple : Collaboration in Contemporary Art Practice." Thesis, Birmingham City University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527468.

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24

Ganani-Tomares, Dafna. "Mimesis : Judith Butler, visual practice, tragic art." Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/178/.

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The project grounds the use of mimesis in my video art practice. In the written element I query equivalence between mimesis and performativity in Judith Butler's conception; I consider the tragic and hyperbolic faculties of these, as ways of promoting expansion of context in received convention. My video clips have performance in them and mime destructive regimes in mainstream conventions of visual culture, of sexual identity and of political position, to challange these. They mobilize convention and deviation from it, through ineptitude of performance or my ambiguous relation to the conventio

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25

Lodder, Matthew C. "Body Art : Body Modification as Artistic Practice." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525734.

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This thesis is an investigation into the legitimacy and limits of the term "body art" in its vernacular sense, wherein it refers to methods of decorating or ornamenting the body, such as tattooing or piercing. Though the term is widely used and widely understood, it has rarely appeared in any writing which takes an explicitly arthistorical or art-critical approach, and has never been subjected to any sustained analysis which uses the methodologies deployed by specialists when engaging with other forms of art. If tattooing and its coincident technologies are "body art", they have not as yet bee

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26

Throp, Mo. "Trauma, performativity, and subjectivity in art practice." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/2039/.

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Abstract: This is a practice based PhD of predominantly video works/installations which seek to examine, alongside the accompanying reflective writing on these works, a particular dynamic set up between the artwork and the spectator which allows a rethinking of the model of the subject's relation to the 'other'. This investigation which is lead by my ongoing practice (presented as six artworks) is informed and underpinned by feminist theoretical concerns seeking a way out of the deadlock of Lacanian thinking which characterises the feminine as problematic (the other of the other). Though I mak

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27

Shepley, W. A. "Installation art practice and the 'fluctuating frame'." Thesis, Manchester Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325422.

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28

Wilks, Suzanne Madhi. "FEDA : between pedagogy & politicised art practice." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421914.

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29

Gilson-Ellis, Jools. "The feminine/oral in contemporary art practice." Thesis, University of Surrey, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326477.

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30

Stupart, Linda. "Becoming object : positioning a feminist art practice." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20117/.

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This thesis considers new possibilities for the object as a site of emancipation from and resistance to neoliberal models of subjectivity. In particular, I propose new queer and feminist object positions and practices as potentially rupturing the matrices of taste, labour, identity, and subjectivity as they are reproduced in both the material form (the institutional display and trade of art objects) and thematic content of contemporary art, particularly in ‘the West’. The first chapter critiques the objectification qua subject production of neoliberal capitalism, exemplified in the mechanisms

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31

Haidet, Roza. "Socially Engaged Art: Managing Nontraditional Curatorial Practice." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1374491330.

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32

Pulie, Elizabeth Maree. "The End of Art and Contemporary Practice." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14910.

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The idea of the end of art, originating in Western modernism, forms a link between modern art and thought. The tendency for this idea to recur throughout the modern, together with the proliferation of art in the post-modern period, has rendered ‘the end of art’ somewhat redundant in most contemporary art analysis. By contrast, this thesis considers the value of applying the idea of the end of art to contemporary art discourse and practice, in particular for its potential to strengthen the link between discourse and practice and return a sense of sovereignty to contemporary artists. Contempor

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33

Vickery, Veronica. "Fractured earth : unsettled landscape through art practice." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/25237.

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This thesis brings feminist ontologies into a renewed dialogue with post-phenomenological landscape studies through the development of a critical arts-research practice. Contemporary landscape scholarship in cultural geography foregrounds landscaping practices as performative; visual culture studies, similarly influenced by phenomenology, critiques the powerful fixings of representation; whilst current commentaries on art-geographies focus on questions of interdisciplinarity, rather than the potential for art practice-as-research to be generative of politically complex cultural geographies. La

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34

Attwood, David. "Towards a Situated Non-Objective Art Practice." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/641.

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This project is a practice-led investigation into the potential for a situated Non-Objective art practice. Taking the divergent impulses that currently inform my own creative practice as a starting point, the project aims to reconcile the differing aesthetic and ideological principles that define both Non-Objective, and situated practice, to achieve new syntheses.

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35

Richardson, Joanne Haywood. "Resolutely Inclusive: Merz Art Practice and Einfühlung." Thesis, Curtin University, 2017. http://hdl.handle.net/20.500.11937/54082.

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Through creative practice and exegetical writing this research investigates a possibility for continual engagement in aesthetic appreciation and a particular way of noticing that artists and viewers of artwork may share. Merz, invented by artist Kurt Schwitters, is a type of accumulative art practice that could include any material or method. Viewing and producing this type of artwork is examined via a theory of aesthetic appreciation called Einfühlung: a study of spectator’s embodied experiences with aesthetic works.

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36

Andreallo, Clare Therese Maria. "Understanding sound art practice : a multidisciplinary approach." Doctoral thesis, importedStudentThesis, 2016. https://researchprofiles.canberra.edu.au/en/studentTheses/4873871f-7c47-4970-bdd2-ede16e626a40.

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37

Taylor, Kristin Vanderlip. "Visual Art Communities of Practice| Cultivating Support for Beginning Visual Art Teachers." Thesis, Pepperdine University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816921.

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<p>Visual art teachers, from beginning to veteran, often report experiencing feelings of professional isolation and a desire for content-specific support and collaborative professional learning experiences. Mentoring and Induction Programs (IPs) offered by schools and districts continue to fall short of meeting the needs of beginning visual art teachers in particular. There are a large number of visual art teachers in the state of California, especially in Los Angeles County, yet there are no visual art specific support networks for beginning visual art teachers to help them navigate their fir

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38

DOHERTY, WILLIAM. "ART + DEMOCRACY: Expanding the meaning and practice of Democracy through Public Art." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22783.

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This thesis contributes to an EU Policy Lab project entitled The Future of Government 2030+. The aim of which is to generate knowledge in the context of the rapidly changing relationship between citizens and government.Using a co-design and speculative design process this thesis specifically looks at informing a citizen centric perspective on envisioning and formulating the design of new interactive tools and forms of engagement. Looking at the potential of art’s role in rethinking the way democracy and governments operate and exploring how citizens could interact, participate and engage in de

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Murray, Tracey Donna. "The contribution of art practice to art therapists' understanding of their professional identities and practices : an arts-based inquiry." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557392.

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This arts-based inquiry explores visual art practice as a way of knowing, doing and sharing. The conceptual frame traverses the borderlands of postmodern creative practices and socially constructs a narrative of a Northern Ireland studio-based group of art therapists' visual, reflective and social conversations. These studio conversations explore how art therapists engage with art practice to understand and make meaning of their professional identities and practices, professional standards, and continuing professional development (CPD). The narrative findings show that the studio art practice

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40

Haley, Andrew Allerton. "An obedient participant in late capitalism explains art." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5490.

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Art making is silly. This is why it should not be taken so seriously. When topics are addressed with too much seriousness they become stagnant and rigid. This thesis addresses topics I find crucial to the process of making Art. I use popular culture references because of their communicable potential. Nothing is argued in the duration of this work. On the contrary, thoughts are shared in hopes to inspire the reader to question what type of journey and practice they involve themselves.

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Hammersley, John. "Dialogue as practice and understanding in contemporary art." Thesis, Cardiff Metropolitan University, 2015. http://hdl.handle.net/10369/8076.

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This study investigates how social constructionist dialogue as art demonstrates a layered mode of practical inquiry, which weaves together interactive and explorative, re-presentational and reflective modes of dialogue in the performance of knowledge. Recent art debates present dialogue as a relational, collaborative and situated mode of meaning-making, and an alternative to traditional constraining frameworks of art. However, artists have been criticised for idealised interpretations of dialogue, which present it as something essentially good and democratic, for insufficiently scrutinising di

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Darbyshire, Ralph. "Activism, art practice and the vulnerability of message." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/558.

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This research project uses practical work and a supporting text to explore activism in contemporary art. Its chief concern is to consider what constitutes an activist art practice by clarifying the terms of engagement of such work. In the textual part of this submission the production of recent and contemporary artists who are widely presumed to make activist art has been examined. Their different approaches have been identified and critical evaluations of them have been offered. The artists under review include Christian Boltanski, Agnes Denes, Hans Haacke, Thomas Hirschhorn, Edward Kienholz,

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Zimna, Katarzyna. "Play in the theory and practice of art." Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/6277.

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This thesis focuses on the notion of play in the theory and practice of art in the 20th and 21st centuries. I approach play both as an internal element of the concept of art (following the philosophical tradition) and as the external model for the creative process (as applied by modern and postmodern artists). The main purpose is to produce an interpretation of play that would span various, often contradictory, features of this concept and would serve to reinterpret the notion of artistic representation, traditionally linked with the vocabulary and approaches coming from the domain of work (pr

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Hoyle, Brian. "British art cinema, 1975-2000 : context and practice." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:5698.

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This thesis shall largely concern itself with examining two general aspects of British art cinema between 1975 and 2000; namely, how the British art cinema operates as an art cinema in the context of its 1960s and 1970s European counterparts54 and how the individual filmmaking practices of these British directors both conform to and deviate from classic definitions of art cinema. In this way, this thesis shall demonstrate the ways in which British art cinema can be characterised not only as a belated continuation of classic European art cinema but also a significant development from it. Theref

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Lucas, Geoff. "Towards a concrete art : a practice-led investigation." Thesis, University of Dundee, 2015. https://discovery.dundee.ac.uk/en/studentTheses/39bcfa2e-be67-4e00-a1ae-eef5898a4fc1.

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This study aims to identify a consistent position for Concrete Art, relevant to an understanding of, and highlighting its vital importance in, contemporary practice. As a practice-led study, its primary research methods have drawn upon the curating of series’ of exhibitions, hosting of discussions and production of publications at the Highland Institute for Contemporary Art (HICA: www.h-i-c-a.org). HICA is an artist-run space that I co-founded in 2008. Its exhibitions are particular examples of relevant practice and vehicles for the further exploration of ideas. They have included artists such

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Needham, Michael. "Incarnate: Presence and vestige in contemporary art practice." Thesis, Australian Catholic University, 2010. https://acuresearchbank.acu.edu.au/download/cdbb1df1a9a42567fa800c58d69cac488f12086d9a0e13aba35ab30f6d982641/187933626/Needham__Michael__2010___Incarnate__Presence_and_Vestige_in_Contemporary_Art_Practice__Ph.D_Dissertation.pdf.

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Incarnate: presence and vestige in contemporary art practice is a body of sculptural work presented as a series of human-scale physical vessels intended for installation in the gallery and other settings. In conjunction with a supporting visual and textual document I utilize these vessels to posit and explore a primary parallel between the Christian concept of The Incarnation and an art process traditionally conceived as creative experience made manifest. My central argument is that the soteriological idea of ‘God made flesh’ corresponds to fundamental artistic aspirations whereby abstract con

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Henry, Deborah. "Rediscovering the Art of Nursing for Nursing Practice." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3470.

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The art of nursing is discussed throughout nursing literature but research on the topic is lacking. The purpose of this research was to reveal experiences of the art of nursing. Nurses were asked to describe experiences about the art of nursing from their own nursing practice. This study was qualitative in nature and used a phenomenological approach to answer the research question, “What is the experience of the art of nursing in nursing practice?” The study was guided by the philosophical stance of Merleau-Ponty and the research strategies of Thomas and Pollio. Participants included nurses wh

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Pedler, Elizabeth Ruth. "Participatory Exchange: Generating Critique in Social Practice Art." Thesis, Curtin University, 2017. http://hdl.handle.net/20.500.11937/69407.

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In my practice-led thesis I approach socially engaged art as both a theorist and practitioner to understand how exchange is employed by artists to generate critique. Through a study of the literature and fellow artists’ methodologies, I examine how exchange functions as a model, consider the effects of their methods, and adapt selected strategies for use in my own practice. I produced four socially engaged artworks, to examine how exchange facilitates participation and critique.

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Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.

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This PhD addresses approaches to art practice that are simultaneously individual and participatory. It comprises a research-based dissertation that sets out to understand why combined practices are so prevalent among contemporary Indonesian artists (66.66 ̇%), and a practice-led body of work that investigates the nexus between individual and participatory modes in my own art practice, accompanied by an exegesis (33.33 ̇%) . The arguments set out in the dissertation are the result of research into primary and secondary written resources, trans

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Holm-Mercer, Pernille. "Maternal perspectives in art : reflected on and performed through text and art practice." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428092.

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