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Dissertations / Theses on the topic 'Communists in art'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Gruin, Julian Y. "Communists constructing capitalism : socio-economic uncertainty, Communist party rule, and China's financial development, 1990-2008." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:a70d4158-ac36-477c-accb-37f940071a0d.

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To what extent does China's experience of economic reform since 1989 compel a reconsideration of the ontological foundations of contemporary capitalist development? China's political economy remains characterized by a unique and resilient political structure (the Chinese Communist Party) that penetrates both 'private' (market) and 'public' (state) organizations. The conceptual rootedness of contemporary theories of comparative and international political economy in a distinctly Western historical experience of capitalist development hinders their ability to understand Chinese capitalism on its own terms—as historically, culturally, and globally embedded. To generate greater analytic traction in understanding China's otherwise paradoxical constellation of actors and dynamics, I argue that contemporary capitalism should be studied as a set of mechanisms for managing and exploiting socio-economic uncertainty, rather than according to the binary logics of state regulation and market competition. These mechanisms can be conceptualized as an overarching risk environment. On this basis, I trace how the cognitive frames, social institutions, and relational networks that emerged within the 'socialist market economy' in China's post-Tiananmen financial system have placed the Chinese Communist Party at the nexus of the state and the market. I argue that specific ideas emerged about how to manage the flow of capital, playing a significant role in underpinning expectations of financial growth and stability. During this period the financial system underpinned the CCP's capacity to both manage and exploit socio-economic uncertainty through the path of reform, forming a central explanatory factor in a developmental trajectory marked by a trifecta of rapid economic growth, macroeconomic stability, and deepening socio-economic imbalances. Rather than viewing the path of financial reform in China solely in terms of 'partial' or 'failed' free- market reform, it thus becomes possible to cast China's development in a new light as the product of a more concerted vision of how the financial system would enable a mode of economic development that combined the drive for capital accumulation with the distinctive socio-political circumstances of post-1989 China.

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2

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, identity, co-option by external agendas as well as the artists role and identity; all of which have sought to question the currency of its practice. Is it possible then that methods and methodologies, suggested by the social use of digital technologies, may in part ameliorate some of these critiques and in the process expand the productive sites offered to community art? As part of this practice based research a community-focused artwork, Landscape- Portrait, was created. This work featured an explicit engagement with these new sites of social interaction. As an exemplar of an expanded community art practice, Landscape-Portrait combined methods and methodologies borrowed from the social use of digital technologies alongside those of critical community art practice, incorporating a network of virtual and non-virtual sites in both its production and dissemination. In accordance with my research methodology the artworks production and its outcomes were recorded and reflected on. The material generated informed my research outcomes. As a result, this research advocates caution in the championing of the sites made use of by Landscape-Portrait. It argues instead that these sites need to be considered against a set of critical questions regarding their operational culture, terminology, privacy, accessibility, ownership, agency and autonomy; all of which problematise their easy inclusion as productive sites within an expanded community art practice. In response this research proposes an understanding of site as derived from a complex network of virtual and non-virtual constituents. From this understanding a set of speculations, qualifications and methods have been produced that attempt to map the means by which an expanded community artwork, one that employs particular methods and methodologies taken from the social use of digital technology and critical community art practice, might be used to interrogate the constitutional structure of a site, as part of its consideration as a productive site within an expanded community focused art work.

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3

Morales, Monica R. "Defining Community-Based Art Therapy: How Art Therapy in School Settings is Facilitating Community-Based Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/497.

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This research explores the overlap between community-based art therapy and school-based art therapy through the surveyed experiences of art therapists working in school settings, and informed by community-based art therapy components and characteristics identified in A Model for Art Therapists in Community Practice by Dylan Ottemiller and Yasmine Awais. A literature review focused on five components and characteristics identified within the community-based art therapy literature, and informed the review of school-based art therapy literature based on the community-based art therapy themes. A qualitative survey approach was utilized through the distribution and data analysis of an electronic survey and findings were enriched by the researcher’s participation in the development and implementation of a brief community-based art therapy program providing an art therapy experience to families receiving services at a domestic violence intervention center. Analysis of the data revealed three major themes and specific areas where school-based practice is facilitating community-based art therapy (CBAT) components and characteristics. The findings discuss which CBAT components and characteristics are and are not being facilitated within school-based practice, and in conclusion the research offers ways school-based art therapy programs may offer opportunities for community-based practice.

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4

Haggar, Janette. "Issues in community art education : developing a profile of the community art educator." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0018/MQ54342.pdf.

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5

Lindström, Matilda. "Contemporary Art as a Catalyst for Social Change : Public Art and Art Production in a Community of Practice." Thesis, Linköpings universitet, Avdelningen för Kultur, samhälle, mediegestaltning – KSM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-113465.

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This master thesis contextualise, and discuss the contemporary art as a catalyst for change, and raises social issues through art production in the urban district Nima. Perspectives of "community", and "community of practice" affiliates with examples of placed based art, mainly mural paintings performed in the urban landscape of the community, in the stigmatised community Nima, an area in Ghana’s capital Accra. The study has identified an artistic climate that is emerging from within the community, where artists have created a system for various forms of arts education. The artistic climate is a process of social practice, and this study further discuss the interaction of people in the process of art production, which provides both local, and global perspectives of art. Issues of representation, especially who is in the position to represent others, and how others are in fact represented are discussed and analysed as well as the terminology of “African art”.

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6

King, Abigail Graham. "Community Art as an Interdisciplinary Challenge to Fine Art." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1123084206.

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7

Tartoni, Nicole M. "ART WORKS the creation of a contemporary art center in Johnstown, Pennsylvania /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1179760479.

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Foy, Elizabeth. "Spectacle: Framing the Midwestern Art Community." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283356889.

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9

Painter, Colin Seaward. "The uses of art." Thesis, Northumbria University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382236.

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10

Mallmann, Klaus-Michael. "Kommunisten in der Weimarer Republik : Sozialgeschichte einer revolutionären Bewegung /." Darmstadt : Wissenschaftliche Buchgesellschaft, 1996. http://catalogue.bnf.fr/ark:/12148/cb370748259.

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11

Wood, Chris. "Art, psychotherapy and psychosis : the nature and the politics of art therapy." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341832.

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12

Brown, Holly Beth. "Social Justice and Community-Based Art Education." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193320.

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Both in and out of the classroom, critically discussing and exploring the issues of gender, race, power, equality, and social justice can be a social and emotional minefield for educators and students alike. In politically charged times, escaping pre-formulated reactions and creating real change and empathy can seem a nearly impossible task. Some educators have turned to the visual and creative arts to provide students with emotional connectedness, visceral responses, and modes of self-expression. In this study, I examine two education programs to understand the effectiveness of social justice pedagogical methods using phenomenological research. My focus is on the educators' experiences, influences, and personal pedagogies. I plan to highlight three successful programs to better understand how complex and emotional issues can be better explored through art and visual culture and how other educators can adapt these methods to their own classrooms.

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13

WONG, Kei Shun Samson. "Defining community art : theoretical and practical reconstruction." Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/vs_etd/10.

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This research investigates the area of practice commonly known as community art, defined to be where a gathering of people participates in facilitated collaborative art making aimed to be increasing their autonomy in generating artistic and social satisfaction and enrichment. This definition is a result of integrating existing research, literature, interviews with practitioners and analyses of their work. It is an interdisciplinary research conducted through a grounded methodology where data from practitioners and literature mutually inform to yield insights into a seemingly unstructured practice. Seven interviewees were chosen to represent a coherent and recognized body of practice. They are practicing visual and performing artists who specialize in facilitating people of communities in collaborative art process. Each having over 15 years of experience in committed engagement with communities, they are also trainers, educators and professionals in various tertiary, cultural and public institutions. They are either based or are/were committed to the development of community art in Hong Kong, and are all experienced overseas1. Their mix of art disciplines and effectiveness across countries indicate a fundamental connection in their view of art and people that is beyond artistic media and cultural context. Thus, a Hong Kong perspective is provided that may contribute to other metropolitan settings in Asia and worldwide. Guided by the data, this research sought theoretical support for the community artists’ operational concepts of art, people, community and participation. The literature drawn include the ethology of art (Dissanayake, Davies), the nature of the experience of art (Dewey), theories of education (Freire, Dewey), theories of community and individuals (Putnam, McKnight & Block), psychological theories on experience and motivation (Csikszentmihalyi, Ryan & Deci), and theories of social psychology on identity and social belonging (Baumeister & Leary, Aron & McLaughlin-Volpe). This interdisciplinary perspective builds a framework that explains how the artistic and social dimensions in community art, instead of being in compromise, can be synergetic. Of special interest are the untapped aspects of Freire and Dewey’s theories often overlooked by scholars of artistic engagement with communities. Requiring expertise beyond a single scholar, this research proposes only one effective integration of the above disciplines. This research conceptualizes the development of community art to be an interplay of artistic movements, to progressively seek social relevance from object, place, then to people, and at the same time to return art into the hands of the people. It is a practice distinct but in relation to the overlapping categories of the socially engaged arts, dialogical art, community cultural development, community-based art education and public art (Bishop, Cartiere, Goldbard, Kester, Thompson). The shifting definitions have nurtured a blossoming of artist engagement in the society, but has also resulted in miscommunication of what exactly academics, artists and institutions are planning, funding, doing, evaluating and researching. In contrast to an embracive attitude that has unfortunately led to confusion, this research proposes certain defining characteristics for community art, with implications that seek to further the discourse of artistic engagement with communities.

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Norman, Garrett Tyler. "Pismo Beach Public Art Program." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1182.

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Public art plays a significant role in communities around the world. It embodies a close relationship between the artist, the space in which it’s being exhibited, and the public. The development of this project examined various literary sources that demonstrated the importance of public art and how cities, artists, and community members may benefit from the incorporation of public art. This project included the framework for development of a Public Art Program for the City of Pismo Beach, California, which outlined the critical steps of a planning process and implementation of the program.

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Sagerson, Erin Jean. "Art and bread Mike Gold, proletarian art, and the rhetoric of American communism /." [Fort Worth, Tex.] : Texas Christian University, 2009. http://etd.tcu.edu/etdfiles/available/etd-05012009-115428/unrestricted/Sagerson.pdf.

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16

Smith, Tara Lynn. "Art for life a spiritual journey of art and the bonds of community /." Diss., [Missoula, Mont.] : The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-05212009-143136/unrestricted/professionalpapertarasmith.pdf.

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Thesis (M.A.) -- University of Montana, 2009.<br>Title from author supplied metadata. Description based on contents viewed on August 30, 2009. Author supplied keywords: Art and community, art with alternative populations, spirituality and art, art with people who are homeless . Includes bibliographical references.

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17

Choukroun, Jacques. "Le Parti communiste en Algérie de 1920 à 1936 du congrès de Tours au Front populaire." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37594639q.

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18

Gillot, Jean-Jacques Courtois Stéphane. "Les communistes en Périgord, 1917-1958 /." Périgueux : Pilote 24 éd, 2007. http://catalogue.bnf.fr/ark:/12148/cb41144926r.

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19

Orton, Elizabeth. "Transforming and healing communities through art, an analysis of community-based art in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ43320.pdf.

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Orton, Elizabeth (Elizabeth Jeannette) Carleton University Dissertation Art History. "Transforming and healing communities through art; an analysis of community-based art in Canada." Ottawa, 1999.

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21

Carr, Dawn Celeste. "ART IN COMMUNITIES: UNITING OR DIVIDING?" Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1115233455.

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Thesis (M. of Gerontological Studies)--Miami University, Dept. of Sociology and Gerontology, 2005.<br>Title from first page of PDF document. Document formatted into pages; contains [1], v, 60 p. Includes bibliographical references (p. 53-60).

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22

Keynan, Nitzan. "Family Art Assessment Praxis In Community Mental Health." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/16.

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This study endeavors to explore the use of Helen B. Landgarten’s Family Art Assessment as a consultation service, in community mental health clinic settings. This research is a continuation of a pilot project initiated by director of the Helen B. Landgarten Art Therapy Clinic, Dr. Paige Asawa, MFT, ATR-BC, in which Dr. Asawa implemented the Landagarten Family Art Assessment at a local clinic with five families. The initial results of that study were examined and analyzed by Meirav Haber, who used a survey and an art response component to document the participants’ experience. In this study, a focus group was conducted, which consisted of various stakeholders in the agency from administration to the clinicians who participated in the initial pilot project. They shared their thoughts and feelings about the experience in a semi-structured conversational setting. The focus group recording was transcribed and analyzed into three themes: procedural recommendations, assessment conceptualizations, and therapeutic relationship indications. This indication pertained to the formation and stability of the therapeutic relationship between the family and its primary clinician, which must exist prior to conducting the Family Art Assessment. A synthesis of the existing protocol, focus group conversation, and the literature reveals that it is beneficial to have both the assessing art therapist and the primary clinician present in the therapy room during the consultation of the Family Art Assessment, in order for the results of the assessment to be as authentic and valid as possible. These results may contribute to a better understanding of the possibilities of having art therapy consultations as this local clinic, and to promote collaboration between art therapists and mental health professionals.

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Pedraza, Jennifer E. A. "Assessment of “Community Stepping Stones,” a Community-Based Youth Art Education Program." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3613.

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Community Stepping Stones is an art education program whose objective is to “provide education, mentor children and adolescents, enhance the community economics, and enrich the quality of life in the community” (Community Steppping Stones [CSS], 2009a). Community art education programs, particularly for youth, have become increasingly popular as a way to address and prevent delinquent behavior. However, art education programs have proven challenging to evaluate and sustain. The goal of my thesis was to explore how Community Stepping Stones implemented and evaluated a community-based youth arts education program compared to other, similar programs and how the organization could make the program more effective and more sustainable long-term. As part of an internship with Community Stepping Stones, I conducted participant observation, document review, and interviews with individuals affiliated with Community Stepping Stones and other art education programs in the community. Data was collected between February 2009 and September 2010.Community Stepping Stones has grown significantly during my involvement with the organization, expanding funding, programming, and staff. Current efforts to reinforce evaluation measures and secure additional funding sources will help make the program more sustainable in the future. Additional efforts towards collaboration with other community and government organizations, increased community involvement, and better program organization will also be beneficial towards sustainability efforts. At this time, published evaluations of community-based youth art education programs and organizational impact on youth and community are limited. Although not a comprehensive assessment, I hope my research can help bolster the literature in this area.

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Cerdera, Pablo Miguel. "Healing and Belonging: Community Based Art and Community Formation in West Oakland." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1436684169.

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Madeira, João. "Os engenheiros de almas : o partido comunista e os intelectuais (dos anos trinta e inicios de sessenta) /." Lisboa : Ed. Estampa, 1996. http://catalogue.bnf.fr/ark:/12148/cb390117469.

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26

Lackey, Lara Marie. "Pedagogies of leisure : considering community recreation centres as contexts for art education and art experience." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25083.pdf.

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27

Fulton, Lori Beth. "Building Art Education Relationships with Local Art Agencies." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/37.

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This educational study on building art education relationships between art educators and local community art agencies was conducted in early February of 2009. Data was collected by means of an art teacher survey, mailed to the homes of metro Atlanta art educators and by conducting face-to-face interviews with professionals working in the education departments of high profile metro Atlanta art agencies. The data analysis provides insight into the goals of local K-12 art educators, and they are compared to the goals of community art agencies. The findings of this study reveal that art teachers and art agencies share many common goals and face similar challenges. And together, through networking and close communication, they may better serve the needs of students K-12 as they become lifetime participants and supports of the visual arts.

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Lam, Wai-ming Willy. "Community artscape in Central." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953709.

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Keys, Kathleen. "A search for community pedagogy." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060041293.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains xii, 260 p.: ill. (some col.). Includes abstract and vita. Advisor: Christine Ballengee Morris, Dept. of Art Education. Includes bibliographical references (p. 236-246).

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Anderson, Larna. "Art marketing and management." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002188.

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Formal art education equips students with skills to produce artworks. A formal art education may increase the opportunity for employment, however, art-related employment is very limited. Art graduates would be better equipped to market and manage art establishments or their own careers if art education were to be supplemented with basic business skills. Artists who wish to earn unsupplemented incomes from their art should undertake to acquire business acumen. This includes being presentable to the market place in attitude and appearance. It also includes aptitude in art, marketing and management. Role models and non-models of success and failure in business should also be observed. Art graduates should adopt applicable tried and tested business methods. Good marketing is a mix of business activities which identifies and creates consumer needs and wants. Marketing activities involve research, planning, packaging, pricing, promoting and distributing products and services to the public to create exchanges that satisfy individual and organisational objectives. Art products include artworks, frames, art books and art materials. Art-related services include the undertaking of commissions, consulting, teaching, free parking, convenient shopping hours, acceptance of mail or telephone orders, exhibitions, ease of contact, approval facilities, wrapping, delivery, installations (picture hanging), quotations, discounts, credit facilities, guarantees, trade-ins, adjustments and restorations. Good management is a mix of business activities which enables a venture to meet the challenges of supply and demand. There is a blueprint for management competence. The three dimensions of organisational competence are collaboration, commitment and creativity. Self-marketing and management is an expression of an artist's most creative being. It is that which can ensure and sustain recognition and income. Artists, like other competent organisations and entrepreneurs from the private sector, should operate with efficient manufacturing, marketing, management and finance departments. They are also equally important and therefore demand equal attention. Artistic skill together with business acumen should equip the artist to successfully compete in the market place. There are no short-cuts to becoming an artist but there are short-cuts to becoming a known and financially stable artist. Understanding marketing and management could mean the difference between waiting in poverty and frustration for a "lucky break" (which may only happen after an artists's death) and taking control. Success should be perpetuated through continuous effort.

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Manternach, Brad Andrew. "Content within the community: a look at content driven community-based art practices and the results of an after school art program." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3344.

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The purpose of this research was to study the ways in which a content driven after-school art program focused on community-based art projects inspires high school students to create work that are personal and purposeful. This study involved members of the Hempstead High School Art Club. I collected data in various ways including focus groups video recording, journal reflections, and observations with Art club members who meet monthly to discuss the project and biweekly to work on the project. My plan was to gather information on the effectiveness of a content driven after school art club in the teaching and learning of visual art. Through my research I hoped to discover the benefits and drawbacks of an after school art program as compared to a regular art classroom setting and the implementation of content driven art projects. Finally, I hoped to study and analyze the effects such a program would have on a student's understanding of the purpose of creating community-based art.

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Martini, Nerine Yvette Art College of Fine Arts UNSW. "Tributaries: public art, connecting & reflecting people and place." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44425.

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Tributaries are geographic fingers of water moving across the landscape making connections with a main water source. As a title for my Master of Fine Arts research paper this metaphorically refers to the political, social and cultural streams which are expressed through my public artworks. It is also a poetic play on notions of paying tribute. This research examines the process of collaboration and cross-cultural arts practice and the relationship between a public artwork, the site and the audience. Four diverse yet interrelated public art projects are presented for my Master of Fine Arts degree. This research investigates the conceptual links between the four projects and the current discourse of cross-cultural collaborations. Although my art practice varies in location, materials, forms and approach, generally it is focussed around sculpture and installation and includes temporary and permanent public artworks. Two of the projects discussed took place in the Blue Mountains, west of Sydney, the other two took place in Vietnam. This research discusses the advantages, disadvantages and challenges in choosing to work collaboratively and questions the relationship of the author to the work and the importance of the process in creating an artwork. It also explores notions of hierarchy and power relationships that occur between artists from within the same culture and between artists from different cultures. Exploring the connections between public art and specific communities/sites has expanded my research into related notions of homes, homelessness and displacement. My approach to public sculpture is deliberately anti-monumental. This takes into account the relationship of scale within a public artwork: including the relationship of the work to the human body and to the surrounding environment I examine how contemporary public art can serve as a form of tribute to historic events and people of the past. My poetic approach to creating public art differs from more conventional monuments and statues of tribute and can be considered as a non-linear approach to presenting history. While the events these artworks refer to have taken place in the past, the issues surrounding them continue to have relevance to political situations of today.

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Sharon, Tamar. "Reconciliation and community development through community art: an investigation into the methodologies employed by community artists." Doctoral thesis, Universitat Rovira i Virgili, 2013. http://hdl.handle.net/10803/111096.

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la hipótesis inicial de la investigación fue que el éxito de un proyecto de arte comunitario y su capacidad para reconciliar est´fundado únicamente en la metodología artiística y su aplicación adecuada. no obstante, ésta investigación, realizada durante los últimos diez años, investigando las teorias presentadas por autores e investigdores líderes en el campo, combinado una profunda investigación de diez casos, me llevaron a descubrir que existen otros parámetros de éxito de proyectos de Arte comunitario los cuales llamo:" parámetros socio-organizacionales". Es de la combinación exitosa de dos conjuntos de parámetros en un proyecto de arte comunitario de lo que dependen los buenos resultados.

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Lenz, Elsa. "COMMUNITY CONNECTIONS: OPENING RELATIONAL AND DIALOGICAL SPACE IN ARTS ORGANIZATIONS THROUGH COMMUNITY OUTREACH." Thesis, Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1139%5F1%5Fm.pdf&type=application/pdf.

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McBride, Kenneth. "Eastern European time-based art during and after Communism." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/486.

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Soviet-era Communism was a project of emergence that failed to realise its Utopian ambition. Nevertheless, it created an unprecedented simulacrum whose visual language was appropriated by a number of artists as a readymade. This artistic response to everyday reality shaped an unofficial narrative of the Communist epoch. Operating beyond the official realm these artists were subject to varying degrees of censorship, and their activities led to what became known as ‘non-official’ art. Non-official artists suffered from inferior materials, lack of exposure, and were forced to radicalize their methods of production. Without official support the everyday domestic realm and a diverse range of outdoor sites became sites of production. The primary arena, however, and the one that would become the most politicized, was the artist's body that often acted as one or both material and surface. On the one hand the thesis takes the Communist context as a common platform from which to discuss time-based art practices in Eastern Europe while, on the other, it proposes that such a general view is worthless since it does not pay sufficient attention to the particular conditions within each bloc country. While the former serves as a reference for artistic response in a wide view, the latter provokes a deeper, more contextualised, understanding of the social, political, and cultural conditions that ultimately shaped non-official art. To understand fully the effect of the Communist past also involves analysing it through the lens of the present day. A number of works produced pre- and post-1989 are analysed that offer insights into the past, its disintegration, and the transition period. The theoretical and critical thrust is shaped from primary research material gathered from artists, intellectuals, and critics throughout the region, so as to most clearly reflect its own contemporaneous and unfolding discourse. It builds on these key sources and underscores the difficulties faced when trying to locate the works within existing art history canons. Together with this written element, a further two curatorial strands complete the form of the thesis. A website has been created that reflects the thesis enquiry, three re-enactments of historical works are undertaken as a strategy that allows for a more experiential understanding of context, and three new performances devised by the author in response to the contexts researched complete the work. The thesis was written throughout Eastern Europe, and primarily in Poland where the author lives and works.

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Fergus, Kelly. "Cultivating a Democratic community in the Elementary Art Classroom." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/6112.

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Cultivating a more socially just, democratic classroom community is a best pedagogical practices qualitative case study. This study is designed to explore how three Virginia elementary art teachers define and create a democratic classroom community, inside their art rooms, through the implementation of various instructional strategies within the physical, social-cultural, and pedagogical spaces of their classrooms. Such instructional strategies may include a shift in power dynamics, student-centered art, choice-based art, and a big idea/real-world issue-orientated curriculum (ex: visual culture, social justice, democratic pedagogies). Each of the three selected participants were interviewed and asked to describe their classroom practices as well as provide examples of ways they perform any or all of the various instructional strategies mentioned. The data in this research study was collected through a digital survey, interviews, raw field notes, audio recordings, and visual journal entries. The responses to the interview questions were then coded and analyzed to compare and contrast understandings of the participants’ pedagogical practices. This study concludes that the perceptions of these progressive instructional strategies varied among each participant, however, they ultimately all fall on the spectrum of a democratic classroom community.

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Newall, Diana. "Art, artist, patron, community in Venetian Crete, 1200-1450." Thesis, Courtauld Institute of Art (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527483.

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Utley, Gertje R. "Picasso : the communist years /." New Haven : Yale university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb376408294.

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Yin, Zhiguang. "The politics of art : Creation Society and the making of Chinese Marxist individuality." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609835.

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Van, Der Stad Sarah Gratia. "Museums and civic engagement in the Pacific Northwest /." Connect to title online (Scholars' Bank), 2007. http://hdl.handle.net/1794/5354.

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Burrowes, Adjoa J. "The South Side Community Art Center| How Its Art Collection Can Be Used as an Education Resource." Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1602513.

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<p> This study examines the South Side Community Art Center in Chicago, its history, educational mission, and the ways in which its collection of primarily African American art can be used as an art education resource. The data collection for this qualitative case study included questionnaires focusing on the collection and the Center’s history and mission, in-depth interviews with three Center administrators and one visual artist, informal personal communication, and observational notes. All data was examined using content analysis. Respondents indications concluded that the mission and goals of the Center grew out of its WPA beginnings and was primarily to support the artists and to educate the community about the value of African American art; that the Center’s education mission revolved around its educational programming; that the art collection had been used in the past to teach about the Black Power Movement and makes references to important events in history; and that the Center’s relationship to the community was multi-faceted and included outreach to local schools in after-school art programs. </p><p> The center’s art collection, because of the themes inherent in many of the works, make important connections to key events in American history such as the WPA, WWII, the Great Depression and the Black migration that facilitates meaning making across the life span. The study’s results provided evidence of the South Side Community Art Center’s role as not only a repository for regional and national African American art and artists, but also as an educational hub for visual culture, art study and relevance for contemporary life themes.</p>

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Stapleton, Christina E. "In What Ways Do Community Center Art Programs Affect Older Adults?" Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1248873573.

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Durst, Adrienne. "Art therapy : three models of community-based mental health facilities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0006/MQ43686.pdf.

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Forrestel, Pam. "Empowering youth a framework for evaluating community-based art education /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0007020.

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Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art." Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.

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This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to the virtual. I combine original research on public poetries such as the poetry slam, the poetry-music ensemble, and video-poetry and synthesize a variety of critical approaches, including cultural studies, postcolonial theory, and ethnomusicology. I analyze specific elements of the performance--the voice, music, the body on stage, and the dialogic relationship betwee performer and audience--and discuss how these poets use the poetry event to articulate a poetry-community-in-the-making. Throughout this study, I argue that these poetry events demand our active engagement with the performance and use emergent technologies to document and analyze this poetry community. As such, "Performance" ultimately demands that we not only rethink the relationship between these poets and their communities, but that we rethink the place of poetry in contemporary American culture.

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Philippou, Alexia. "A community creativity facility : encouraging a public interface with art." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/30018.

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The dissertation proposes a Community Creativity Facility in the Cultural Precinct in the lower Central Business District (CBD) of Pretoria. The client, Tshwane Leadership Foundation (TLF) and its affiliate, the School of Creative Arts (SCA), require a facility that caters for the visual arts within Pretoria’s city centre that uplifts its users on a socio-economic level. Furthermore, an arts facility in the lower CBD is absent and can contribute to inner-city activation. The dissertation investigates how a relationship can be established between the visual arts and Pretoria’s inner city community and city users. The building intends on fostering an arts appreciation and relationship through exposure, education and skills development. It seeks to educate people on the relevance and contribution of art. This will be investigated by analysing the role that art museums and galleries currently hold - the perceptions attached to them. The theory and the concept, which encourage active participation and interactivity, will inform the design of the building. The urban framework, the site analysis and the precedent studies also inform the dissertation. The design is primarily form-driven, as it was realised that the ground floor – the public realm – is the most important drawcard in exposing people to art. Thus, the spatial manipulation of the ground floor resulted in a public square that encourages exposure to art, accidental/impromptu encounters and informal activities to occur. The treatment of surface planes was also approached to allow for visual and physical connections. Commercial, educational and leisure programs were combined into a single building as a mixed-use building can further encourage exposure to art. As the building intends on facilitating creativity and creating spaces that are inclusive for its users, the design development explored this extensively through hand drawings, 3D modeling, concept models and computer generated drawings. Copyright 2011, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Philippou, A 2011, A community creativity facility : encouraging a public interface with art, MArch(Prof) dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-12012011-112138 / > C12/4/27/gm<br>Dissertation (MArch(Prof))--University of Pretoria, 2011.<br>Architecture<br>unrestricted

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Weeks, Harry Jasper James. "'A unique epochal knot' : negotiations of community in contemporary art." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16182.

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This research identifies the negotiation of inherited understandings of the term ‘community’ as an increasingly widespread concern within the field of contemporary art since 1989, particularly in the wake of art’s communitarian turn during the 1990s. The thesis examines these artistic investigations in connection with the work of philosophers such as Maurice Blanchot, Roberto Esposito and Jean-Luc Nancy during the 1980s and 1990s, where we find the most thorough interrogation of the term ‘community’ since the nineteenth century. Contending that art has significantly contributed to a discourse long established in philosophy, the thesis reflects on what precipitated the widespread shift from an artistic interest in ‘this or that community’ to ‘community as such’ during the 1990s, and on what art has offered to the negotiation of community that philosophy has not. These dual concerns have been developed in the two sections that comprise the thesis, entitled ‘Untying the “Unique Epochal Knot”’ and ‘Collaboration, Participation, Performance and the Negotiation of Community’. An important issue the thesis broaches is whether art can (despite concerns about its co-optation within neoliberal institutions) constitute a potent site for the negotiation of community. The affirmative, if critical, answer given considers the unorthodox forms, logics and strategies that art is permitted to employ, art’s ability to enact material interventions into social relations and, overall, art’s operation as an alternative/complementary mode of articulation to that offered by philosophy. Through the analysis of pertinent case studies, the thesis examines how collaborative, participatory and performance practices have been particularly employed by artists including Tania Bruguera, Kristina Norman and Artur Żmijewski, seeking to scrutinise factors crucial to the rethinking of community. These factors include singularity, commonality, temporality and ethics. Springing from interviews, research trips to key case studies, and a thorough literature review, as well as implicating a range of work from diverse geographies and spread over the past two decades, the thesis situates the move towards the negotiation of community in art both historically and theoretically. In doing so, the analysis develops an important reconsideration of contemporary art’s widely noted attendance to the social. In privileging a conceptual framework for the discussion of this tendency in art, as opposed to the more prevalent formalist model, greater critical purchase may be gained on this urgent development in contemporary art history.

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Jilka, Milan. "Artistic Learning in an MFA Community." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538710/.

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The purpose of this phenomenographical case study is to explore the ways in which a group of MFA students conceive of their learning as they are enmeshed within an MFA community. The research follows along two guiding research questions: 1) What does artistic learning involve for graduate students in an MFA community? 2) How is one's artistic practice shaped by one's active participation in an MFA community? The findings of this study have been presented as lines of artistic learning and help to show the various conceptions that MFA students have of their learning as artists while in an MFA program of study. Ultimately, it is in better understanding one's lines of artistic learning that MFA students can be better supported in their journeying to become professional, practicing artists.

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Feilen, Kimberly Val. "Arts for my sake identities of urban youth in the local "artistic" community /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925785001&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Danner, Sarah E. "Creative Leadership in Art Education: Perspectives of an Art Educator." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217001351.

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