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1
Craver, Allie. ""'Picture This:' Barbara Kruger's 'Imperfect Utopia'"." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3291.
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California contemporary artist Barbara Kruger created the colossal, three-dimensional work "Picture This" as part of the winning outdoor park design "Imperfect Utopia" (1986-1997) held by the North Carolina Museum of Art in Raleigh. Situated in the landscape outside the museum’s original building designed by Edward Durell Stone, 80-foot-tall letters inscribe Kruger’s phrase "Picture This." The letters are embedded with quotations, historical markers, cultural figures, as well as elements pertaining to North Carolina’s history and environment. This thesis proposes that "Picture This" functions as Kruger’s conceptual critique of museums; more specifically, it critiques their traditional utopian goals and simulacral stature. This thesis will demonstrate that Kruger’s phrase "Picture This" functions as a dialogue with the museum and the state. By drawing parallels between Kruger’s work and French philosopher Jean Baudrillard’s theory of simulation, this study will elucidate alternative readings of "Picture This" as well as foreground its impact on Kruger’s oeuvre.
2
TREVISAN, Bianca. "«Architecture was my first visual interest». Una rilettura critica in chiave architettonica dell’opera di Barbara Kruger." Doctoral thesis, Università degli studi di Bergamo, 2019. http://hdl.handle.net/10446/128679.
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Il presente elaborato si propone di rileggere il lavoro di Barbara Kruger secondo la chiave interpretativa dello spazio e della sua passione per l’architettura. Nelle molte mostre dedicate all’artista infatti, così come negli studi critici, non si è mai considerato approfonditamente questo aspetto, concentrandosi più sulla sua esperienza alla Condé Nast come art director e dunque sull’influenza della grafica sul suo lavoro collagistico, oppure sulle questioni di genere. Se è indubbio il suo impegno in tal senso – Barbara Kruger è un’artista femminista –, così come l’importanza della sua esperienza nel mondo della pubblicità, a noi pare che queste letture non permettano una visione d’insieme del suo lavoro e di accedere alle sue ragioni più profonde.
Rileggere l’opera di Kruger attraverso l’architettura – suo «first love», «visual interest», secondo le sue stesse parole – permette anche di concentrarsi sul nucleo di opere realizzate tra la fine degli anni Sessanta e la fine degli anni Settanta, quasi sconosciute e alle quali non è mai stato dedicato uno studio: gli arazzi, le poesie e i racconti, i reading e le performance, i pannelli testo-immagine e il prezioso libro d’artista Picture/Readings, tra le cui pagine è contenuta tutta la poetica di Kruger, precedente e soprattutto successiva. Nelle sue opere, il punto è «to deal with the power of everyday», come lei stessa ribadisce: indipendentemente dal medium scelto, l’architettura le permette di operare nello spazio sociale e di mostrarlo nelle sue stesse dinamiche di potere.
3
Sohn, Youngsil. "L' énonciation en photographie en tant que tension entre le matériau et l'idée : étude d'analyse sémiotique du discours photographique dans un environnement numérique." Paris 8, 2006. http://www.theses.fr/2006PA082627.
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L’énonciation, acte de parole, permet d´analyser de manière significative l’activité d’un sujet. C´est également le cas du travail basé sur la sémiotique subjectiviste. L’énonciation en tant que tension entre matériau et idée dérive des caractéristiques à la fois artistique et technique de la photographie. Notre analyse du discours photographique de Barbara Kruger montrent qu’à un niveau stratégique, l´artiste nous invite au jeu de l’énonciation par la combinaison entre la photographie et le texte. Il semble clair que la recherche systématique de l’image amène à comprendre de façon effective la genèse du sens à travers la position du sujet et ses corrélations intersubjectives, et contribue à la compréhension approfondie du sens des images. La recherche sur l’énonciation en photographie à travers l’approche théorique et les analyses des oeuvres photographiques nous retracent les caractéristiques du médium photographiqueEnunciation, as an activity of speech, allows to analyze in a significant way the activity of a subject. This is also the case of the work based on subjectivist semiotics. The enunciation as tension between material and idea results of the characteristics both artistic and technical of photography. Our analysis of Barbara Kruger’s photographic discourse shows how at a strategic level, this artist invites us in the enunciation game by means of the combination of picture and text. It seems clear that the systematic study of the image helps us to understand in an effective way the genesis of the meaning through the position of the subject and its intersubjective correlations, and contributes to the profound understanding of the meaning of the images. The study on photographic enunciation through a theoretical approach and the analysis of the photographic works reveals the characteristics of the photography medium
4
Zwiener, Nicole V. "One in Four." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/770.
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One in Four is an ad campaign targeted at raising awareness of on-campus sexual assault and the effects that assault has on survivors. This ad campaign will include testimonies of survivors of sexual assault within the Claremont Colleges and will be shared through social media and printed on physical flyers. This thesis will explore how marketing strategies, such as, social norms marketing, has the potential to change the audiences behavior in relation to their peers’ behavior. It will also explore the work of the Guerrilla Girls and how anonymity was crucial to their success. In addition, One in Four will examine the work of Barbara Kruger and her use of graphics and red text. Through the use of various marketing strategies and influence of the work of the Guerrilla Girls and Barbara Kruger, One In Four will be successful in it's goal of raising awareness, destigmatizing sexual assault and have survivors feel that their stories are important and they are not alone.
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Fischer, Kathrin Barbara [Verfasser], and H. [Akademischer Betreuer] Krug. "Genotoxicity of Synthetic Nanomaterials / Kathrin Barbara Fischer. Betreuer: H. Krug." Karlsruhe : KIT-Bibliothek, 2009. http://d-nb.info/1014099870/34.
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Egnolff, Mareike [Verfasser], and Barbara [Akademischer Betreuer] Krug-Richter. "Die Sehnsucht nach dem Ideal : Landlust und Urban Gardening in Deutschland / Mareike Egnolff. Betreuer: Barbara Krug-Richter." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2015. http://d-nb.info/1079217487/34.
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Egnolff, Mareike Verfasser], and Barbara [Akademischer Betreuer] [Krug-Richter. "Die Sehnsucht nach dem Ideal : Landlust und Urban Gardening in Deutschland / Mareike Egnolff. Betreuer: Barbara Krug-Richter." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:291-scidok-63033.
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Saito, Hiroyuki [Verfasser], Gerd [Akademischer Betreuer] Schwerhoff, Gerd [Gutachter] Schwerhoff, and Barbara [Gutachter] Krug-Richter. "Jugendliche Gewaltkultur und soziale Kontrolle in der frühneuzeitlichen Stadt : Das Beispiel Leipzig, ca. 1570-1650 / Hiroyuki Saito ; Gutachter: Gerd Schwerhoff, Barbara Krug-Richter ; Betreuer: Gerd Schwerhoff." Dresden : Technische Universität Dresden, 2019. http://d-nb.info/1226897193/34.
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Saito, Hiroyuki [Verfasser], Gerd Akademischer Betreuer] Schwerhoff, Gerd [Gutachter] Schwerhoff, and Barbara [Gutachter] [Krug-Richter. "Jugendliche Gewaltkultur und soziale Kontrolle in der frühneuzeitlichen Stadt : Das Beispiel Leipzig, ca. 1570-1650 / Hiroyuki Saito ; Gutachter: Gerd Schwerhoff, Barbara Krug-Richter ; Betreuer: Gerd Schwerhoff." Dresden : Technische Universität Dresden, 2019. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa2-330820.
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Chen, Yu-Jing, and 陳育菁. "Feminine Consciousness and Body Politics in Barbara Kruger\'s Works with Pictures and Words." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6ek2n7.
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博士國立臺灣師範大學
美術學系
107
Barbara Kruger's works changed with the evolution of feminism. She ironically deconstructed and reconstructed pictures and words, and critically understood the social mechanisms of daily life construction, consumption, seduction and control. This thesis divides Kruger's works into three categories: "gender discourse", "patriarchal hegemony" and "subject self". Kruger's works with pictures and words convey gender differences which are meanings under cultural interpretation, and gender forces bodies to become cultural symbols. Male phallus symbolizes power in patriarchal society, and disparaging to female body leads to ideological domination. Stereotypes even facilitate to create standardized subjects. In the patriarchal society, women are the exploited objects, exchangeable commodities, and women are shaped into objects of sexual desire, and lost themselves under the mask of femininity. Body aesthetics makes bodies to become alienated products and consuming objects. The "slim tyranny" of bourgeois is a powerful discipline which culturally standardizes women. Bodies are the struggling fields of power, and women become gloomy silent victims under normative rights. Women should declare a war to patriarchy arbitrary discourse through writing to break the rule of Phallogocentric discourse. The ironic combination of Kruger's works of pictures and words with humor reveals hidden realities of society and women's unspeakable claims. Women's long-repressed and domesticated minds and bodies are swayed by resonating with Kruger's works, therefore the shackles of rigid bodies and minds are loosened. The works of Kruger's feminine issues complete stage tasks, they are full of great historical significance and value.
11
Ramos, Rosa Coelho 1982. "Hibridismos - sintomas de expansão na pintura contemporânea." Master's thesis, 2012. http://hdl.handle.net/10451/5934.
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Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2012The contemporary pictorial field, as a reflection of multiple changes conveyed by creative processes,themes and multi-directional artistic practices, is especially characterized by its hybrid nature. Its comprehension depends on the identification and study of a possible set of of "symptons"- appropriation, simulation and installation. These "symptons" coexists in various disciplines, and present themselves as the forerunners of the fluidity and territorial expansion that we can see in Comtemporary Painting. A further study of such practices, which are deeply inter-related, is better achieved through the presentation of case studies (in this paper we focus on the work of Barbara Kruger and Petter Halley). "Walking Under", the integrated personal artistic project in this dessertation, can be , by its features, one of these case studies ( but it is more than that: it was the driving force that led to this thesis, determining the core aspects of the theoretical study)
12
林彣全. "The Study of Contemporary Art and Graphic Communication Phenomenon —Take Post-Modernism Artist Barbara Kruger As An Example." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/75198819386938182645.
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碩士國立臺灣師範大學
圖文傳播學系
99
Human beings have been connected with the context of digital convergence in the 21th century. The newest messages are diffused by kinds of communication medium. The wideness and depth of communication has been much better than before. They keep playing the medium role in culture passing, and they also have been the media source of artistic work to build up a diverse stage of artistic performance. Communication technology not only promotes artistic idea extension, but also mixes with artistic work. Contemporary art expresses more aspects due to post-modern characters such as collage, uncertainty, and mix. The research tries to analyze with contemporary art that brings about the different cognition and creative aesthetic feeling to mass according to postmodernism and communication theory. Let people know the daily life spectacle that media presented according to the contemporary artist’s work and viewpoint. Barbara Kruger well uses graphic symbols to create art works due to the media working background, so she owns a particular position in contemporary art field. Then, the research takes Post-modernism artist Barbara Kruger as study example. She adds simple and bright element of words and pictures. She well-manages her life experience and discusses with politics, feminist movement, and lots of social issues with communication media. Interior display, public space and lively merchandise are her creative canvas. As a result, the study would documentary analysis to collect data, and compare with the deeply-interview to experts and scholars. It would hope to find out the connection between the contemporary artist and public mass under graphic communication phenomenon according to Barbara Kruger and two research methods. Finally, the research hopes it can conclude the interactive communication mode and future development vision among three of them.
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Umbelino, Ana Patricia Romão Barreira 1977. "Publicidade e pós-modernismo." Master's thesis, 2012. http://hdl.handle.net/10451/7304.
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Tese de mestrado, Estudos curatoriais, Universidade de Lisboa, Faculdade de Belas Artes, 2012In the late seventies and extending to the eighties of the twentieth century, critical discourse in American visual arts has linked to the post-structuralism theories and observes a disidentification of the artistic activity with the assumptions of the hegemonic modernism. Occurring within that time, the exhibition named Pictures provided guidelines to this statement by pointing out a number of artists who will show oppositions with isolation and elitism of modern art by taking their practice to a critical intervention. For some of these, representation becomes bound with the analysis of the influence of image and also with a sense of the inescapable presence of the visual in cultural space. Because it shares a visual result with photography,the ubiquitous, volatile and fictitious nature of advertising finds through this medium an entry point into art, extending the relationship, always conflicted, between high art and mass culture. The awareness that photography provided another evidence, beyond the functional use of its technical abilities, put a new set of questions that come to dismantle the orthodox conception of modernism, who had Clement Greenberg as the main figure . Cindy Sherman, Barbara Kruger and Richard Prince exemplify an active positioning towards a social, cultural and political issues by observating gender representations, fetishization of consumer goods and denouncing how advertising affects social behavior and individual forms
14
Van, der Merwe Celeste. "The relationship between script and image with specific reference to the work of Celeste van der Merwe, Willem Boshoff and Barbara Kruger." Thesis, 2012. http://hdl.handle.net/10321/764.
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Thesis submitted in partial fulfillment of the requirements for the Degree of
Master of Technology in Fine Art, Durban University of Technology, 2011.The crux of my thesis is the study of the relationship of script and image in the work of contemporary arts. I chose to focus on three selected artists, i.e. myself, Celeste van der Merwe, a local South African male artist named Willem Boshoff and an international female artist, Barbara Kruger. My intention was to write a readable self-study thesis that would be both informative and educational while simultaneously appealing to the heart of the reader. In order to realise this intention, I focussed on how the above-mentioned artists used script and image to address social issues prevalent in society today. I also made social statements through the medium of my art based on the familiar allegory, Little Red Riding Hood. My aim has been to address the breakdown of the family structure by focussing on the suffering of teenagers as a result of dysfunctional family structures and behaviours. I explored the powerful and provocative manner in which Barbara Kruger effectively wields the combination of script and image in her work. Boshoff on the other hand is a South African linguist who incorporates script in a variety of disciplines such as installations, visual poetry, concrete poetry, sculpture. In my own art I deconstructed and transformed materials and found that the process of breaking down and rebuilding reflected the breakdown and restoration in/of the lives of children. By consciously investigating my practice as a creative artist using script and image I have gained a better understanding of myself and I believe I am now able to improve my practise. Through this self-study research I have grown in self-discovery and self-actualization as an artist and have developed as a researcher. Finally, I concluded that the relationship between script and image is open-ended, not conclusive and differs in each work of art.
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Martins, Roberto Filipe Benevides 1980. "A personificação do belo." Master's thesis, 2012. http://hdl.handle.net/10451/6547.
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Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2012The Personification of beauty is a matter that falls within the problematics of contemporary beauty. After an investigation that had its roots in classical Greek times and extends to the present time, we intend to argue that nowadays a form of objectification of beauty is in the world of cosmetic surgery. We can consider the embodiment of beauty as continuous process that comes with the humanization of beauty, accompanied by technological evolution and industrialization that have constantly changed the way of being and judging the world. This dissertation is based on the practical project The Dorian Effect (TDE), a reference to Oscar Wilde's Dorian Gray, a character who chose to trade his soul to gain eternal youth and beauty – concepts that justify the growing demand of the individual for cosmetic surgery to achieve its ideal of beauty. TDE does not work with the results of surgery, considering the very diverse personal tastes. Concentrates all its attention on the will and narcissism of a personified subject of a stereotype of beauty in his own body. Assumes beauty as a carnal concept, in other words, incarnated. The personification of beauty justifies the relationship and the two senses that the word beauty represents: the beauty/beautiful interested in an end - useful and objective beauty; beauty without interest in an end - the purely aesthetic beauty. The research is supported by some reflections on the beauty developed over time, including important authors as Plato, Kant, Oscar Wilde, Georg Simmel, Tatarkiewicz, among others
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Jun, Zhang Rui, and 張蕊君. "The Sketch of Patriarchy in Barbara Kruger’s Works." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54327640552274196112.
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碩士大葉大學
設計暨藝術學院碩士在職專班
99
The purpose of this paper is to analyze the observation and description of female images in art creation using feminist perspectives and the uniqueness of female images that Kruger’s works pesent. Feminist perspectives and the research of traditional art creation are the first part introduced. Then the analysis of Kruger’s works is presented, mainly focusing no three aspects: (1) The original type of female image in Kruger’s works: the discussions between the issues of patrimonialism control, stereotypes of art creation and the shift of the female role. (2) The effects of feminist perspectives on Kruger’s works: feminist perspectives in different periods inflence the signs and elements of feminist perspectives in Kruger’s works. (3) The role “shift” caused by the images and words in Kruger’s works: the uniqueness of Kruger’s works includes the most meaning in the least eays, the expression combined pictures and context, facing the public directly. To appreciate Kruger’s works, it’s difficult to find something about “single creation”. She uses an array of the dialogues between different kinds of females. As this paper mentioned, the visual pleasure from the male’s gazing, female’s bodies under social censoring, misogxny and mother’s abhorrence, inspecting Kruger’s works, just like observating the map of the 20th century’s anti-patriarchic exposition. The artist’s creation inspires reader’s minds to participate in works, and makes readers examine themselves.
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HUANG, Hsin-Yi, and 黃心怡. "Possible to Shift: Barbara Kruger's Works with Images and words." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/21511107797563146128.
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碩士國立臺北教育大學
藝術與藝術教育學系碩士班
94
Image-and-word is the usual way to express in postmodern cultures, and the wide using of photography gives even more opportunities to juxtapose images and words. However, we seem to ignore that the meaning of artwork is composed, not only through the viewer, but the form constructed by both images and words, which is also the key point to bring emotions first. Images and words aren’t as just two visual materials; their semantic relationship should be emphasized better. So the study takes the big graphic works, which are ones with images and words by Barbara Kruger in 1980-1999, and explores their inner structure, to see how it can be possible for them to leave a space admitting open interpretations. In addition, Barbara Kruger’s works in this period are generally commented as “Demystification”. But there are still things interesting and contradictory which are in existent studies fail to emphasize: their similarity with the popular texts, and the active characteristic of the viewer. Through comparing the works with the practice and concept of advertising, and with two works of major female artists in 80s, Cindy Sherman and Jenny Holzer, we finally conclude that the artwork can have an open character which subverts and challenges the state of affairs, though wearing a kitsch look.
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Saraiva, Catarina 1973. "Espelhos e reflexos." Master's thesis, 2012. http://hdl.handle.net/10451/6333.
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Tese de mestrado, Pintura, (Variante Curricular I), Universidade de Lisboa, Faculdade de Belas Artes, 2012This dissertation is part of my Master‟s Degree in Painting (course variant I), at Faculdade de Belas Artes, Universidade de Lisboa. Its objective is to present a reflection on such concepts as body, identity, duplication, fragmentation or distortion, and how they mould a variety of approaches to the representation and construction of the feminine. Throughout the history of Western Art, the mirror, as an attribute of seduction, has accompanied the image of the woman. In contemporaneity in general and in contemporary art in particular, it appears as a postmodern deconstruction of classical archetypes that acquires the status of an art object, revealing a multitude of meanings and conveying the personal or collective experiences of the female subject. Within this context, and in accordance with contemporary artistic practices, a number of works by women artists who explore the mirror image‟s dimensional possibilities in a variety of techniques, such as sculpture, photography, performance, video and installation, will be analysed. The reflection carried out within the dissertation theoretical component will be warranted by the study‟s visual work section