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Kompatsiaris, Panagiotis. "Curating resistances : crisis and the limits of the political turn in contemporary art biennials." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/14195.
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Curating Resistances focuses upon the socially interventionist and activist agendas of two contemporary art biennials in Europe during and in response to the current economic crisis. This thesis seeks to untangle their tensions, conflicts and intimate socialities as they evolve against the backdrop of neoliberalism, austerity, crisis and the rise of Occupy cultures. Drawing upon primary ethnographic research on the 3rd Athens Biennale (2011) and the 7th Berlin Biennale (2012), as well as on the examination of curatorial, journalistic and archival documents, I argue for an approach that takes into consideration the threefold nature of these sites, as institutions, organizations and events. A central area of investigation is the post-1990s curatorial idea of strategically occupying the institution from within and mobilising it as a space of radical knowledge production. This idea gave rise to a model of exhibition-making, that I call the ‘discursive exhibition’, which shapes the vocabulary and forms of curating cultures at least since documenta X (1997). I argue that this model was challenged during the European crisis through the post-2010 art activism that brought ideas related to class, labour and the commons to the centre of debates on art and politics. Through their attempts to radicalise in response to such challenges, I argue that the two biennials I examine expose the limits of biennials as sites of activism and political resistance. In employing the research perspectives of place and translocality, terms borrowed from cultural geography, I argue that rather than imposing a global art language, biennials unfold through complex socio-spatial dynamics, manifesting a remarkable capacity to absorb, remediate and repurpose their surrounding environments. By discussing how a series of failed statements, border-crossings, internal conflicts, withdrawals, police interventions and press spectacles interconnect with the biennial’s organizational and institutional dynamics, this thesis navigates through the translocal tensions played upon the materiality, infrastructures and economies of curating resistances.
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Whitham, G. J. "The independent group at the Institute of Contemporary Arts : its origins, development and influences 1951-1961." Thesis, University of Kent, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244238.
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Turki, Ramzi. "La mise en réseau sur internet : possibilité de la création d'un nouveau courant artistique." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30064.
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À partir des années soixante, les nouvelles technologies ont colonisé les champs culturels. Prenant acte de cette puissance technologique, les artistes se sont mis à transformer ces dispositifs en outils de recherche esthétique. C'est ainsi que le Web est devenu un support à la fois pour les oeuvres d'art numérique et la réalisation de net oeuvres, et pour une mise en réseau universelle. Dans le même contexte, des critiques, des théoriciens et des philosophes ont annoncé un état de crise (comme l'avaient mentionné Aude de Kerros, Jean-Pierre Béland, Yves Michaud, Véronique Fabbri, Daniel Lagoutte, etc.). Selon eux, cet état est dû à un manque de communication et à une dissolution des courants artistiques, voire à une perte progressive de la communication entre les artistes. Comme le Web, l'e-mailing a généré plusieurs fantasmes de communication, il a institué également la réactivité et l'interactivité entre des individus. Pour cela, j'ai choisi d'approfondir mes recherches en thèse sur des pratiques artistiques qui peuvent toucher la crise de la communication et qui sollicitent une mise en réseau des artistes. Progrès pratique : En 2006, j'ai reçu un e-mail contenant une oeuvre scannée de l'artiste belge Luc Fierens. J'ai transmis cette image à environ 7000 adresses e-mails d'artistes en sollicitant leurs interactions, afin d'acquérir presque 200 contributions et réponses dont quelques-unes sont exposées sur le blog suivant : http://ramziturki.artblog.fr/11/. Mon acte consiste à analyser et à mettre en valeur la communication entre les artistes à travers un outil télé-communicationnel contemporainSince the sixties, new technologies have conquered cultural areas. Thanks to technological power, artists have transformed these technologies into tools of aesthetic research. Thus, the web has become a medium for digital art as well as network design in addition to establishing universal networking. In the same context, criticizers, thinkers and philosophers have announced a state of crisis (As announced by Aude de Kerros, Jean-Pierre Béland, Yves Michaud, Veronica Fabbri, Daniel Lagoutte, etc.). According to them, this crisis is due to lack of communication and dissolution of artistic movements, surely progressive loss of communication between artists. In the Web world, email has emerged several communication fantasies. It has also established the reactivity and the interactivity between people. For this, my research Thesis focuses on artistic practices that impact positively on communication between artists. This research also proposes an artist networking. Practical progress:In 2006, I received an email containing a scanned work of Luc Fierens, a Belgian artist. I emailed this work to nearly 7000 addresses of artists to solicit their interactions. This is to acquire about 200 contributions and answers, some of which are described on the blog: http://ramziturki.artblog.fr/11/. My Thesis aims to analyze and enhance the communication between artists via tools of modern communication
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au, k. hudson@murdoch edu, and Kim Leanne Hudson. ""Spiritual But Not Religious" A Phenomenological Study of Spirituality in the Everyday Lives of Younger Women in Contemporary Australia." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070711.105502.
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In current discussions about contemporary forms of spirituality, consideration is given to the question, what is spirituality? and to exploring the range of associated beliefs and practices. Common to most discussions is the acknowledgement that the term spirituality is ambiguous and does not represent any one finite quality or thing, but rather, is a wide and somewhat identifiable set of characteristics. Some commentators suggest that contemporary spirituality, characterised by its separation from institutional forms of religion, and represented by the hallmark expression I am spiritual, but not religious, is an increasing phenomenon in Australian society. In view of this, there are several debates about the merits of a spirituality without explicit links to religion (in particular Christian traditions) and whether a personal spirituality can hold any real depth or purpose, or whether it just perpetuates a superficial, narcissistic focus of the self. This kind of critique pays little attention as to how spirituality, and the associated beliefs and practices, are developed and applied in an everyday sense, and how this impacts on the lives of those who subscribe to their own sense of spirituality.
In this thesis, I shift the focus from analysing the merits of a personalised spirituality to exploring in depth some of the lay understandings and purposes underlying contemporary forms of spiritual practice. The primary concern of my thesis is to describe this phenomena of spiritual life as experienced by eleven younger Australian women aged 18-38 years inclusive, who considered themselves spiritual women, yet do not necessarily identify with a particular religious denomination. At its core, and as a phenomenological study, the thesis undertakes a theoretical exploration of consciousness and the apprehension and formation of belief, meaning, and identity. Held central, and alongside the phenomenological methodology, is the feminist notion that every woman is the centre of her own experience, that any interpretations and understandings of womens spirituality, must start with the personal. The empirical stages of research therefore focus on an exploration of the womens personal understandings, experiences, interpretations and translations of spirituality to uncover the location and application of spirituality in everyday life.
A primary factor explored throughout the thesis is the intersection between emotional experiences, meaning and purpose, and notions of spirituality. It is my assertion that grief, crisis and trauma, and the more general emotional experiences arising from everyday life, can be a driving force to embark on an exploration of the spiritual; inform personal constructions of spirituality; and provide a basis for the articulation of that spirituality, with a central purpose of alleviating emotional pain. Thus, my main thesis contention is this new form of spirituality, as experienced and practiced outside of religious institutions, was expressed by the women in this research as a conscious and pragmatic resource applied, and developed in relation to, the various events and experiences of everyday life, and in relation to the ongoing process of developing and locating a sense of self and identity.
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Steidinger, Anja. "Auto-representaciones del malestar. De la autobiografía de los trabajadores en el siglo XIX hasta la ocupación de las plazas (no nos representan)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/145862.
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La investigación de tesis aqui presentada se base en dos preguntas claves: ¿Cómo se auto-representan las personas afectados por un malestar y qué prácticas artísticas se emplean para ello? ¿Cuáles son las transformaciones que provocan estas prácticas artísticas en el terreno audiovisual y la realidad social? De la autobiografía de los trabajadores en el siglo XIX hasta la crisis actual analizamos diferentes casos de estudios y medios de comunicación (textos, cine, video, social media 2.0).
Guiada por estas preguntas, sigo dos líneas de investigación: por una parte, trato de revisar las transformaciones en la historia del sistema capitalista de producción que generan nuevas formas de explotación y diferentes formas de malestar (p.ej. precariedad, exclusión, invisibilidad), para después examinar, por otra, las prácticas sociales y artísticas que se forman en este contexto cuando los afectados se auto-organizan.
Mis investigaciones se centran en las auto-representaciones individuales, y al mismo tiempo colectivas, que se caracterizan por procesos de politización que intervienen en la propia vida cotidiana para transformarla.
Partiendo de las representaciones del yo, de la vida cotidiana, de los géneros, de las relaciones en el medio laboral y vital, intentaré definir los nuevos malestares sociales que podemos resumir de forma genérica como condiciones de vida precarizadas.
Comienzo el trabajo con el análisis de textos autobiográficos, películas, vídeos y páginas de Internet, y concluyo con el de acciones en la calle. De esta manera reviso distintas posibilidades mediáticas de la auto-representación que evidencian tanto los desarrollos tecnológicos, como la complejidad de la comunicación de malestar.
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Chwiejda, Ewelina. "L’Europe face au défi de l’hospitalité : la représentation de la « crise migratoire » dans l’art européen entre 2007 et 2017." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0128.
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Dans les années 2000, l’Europe connaît un afflux massif de migrants et de réfugiés en provenance d’Afrique et du Moyen-Orient. Au cours de la seule année 2015, considérée comme la plus meurtrière, on estime que plus de 1.2 million de personnes sont entrées dans l’espace Schengen et que 3.770 sont mortes avant d’atteindre les portes de l’Europe. Les médias se sont fait l’écho de cette situation en véhiculant des images qui sont devenues emblématiques de ce qu’on a appelé la « crise migratoire » et qui ont contribué à ranimer la longue tradition de la représentation visuelle de l’étranger dans la culture européenne. Les artistes ont répondu à leur tour à ces images, parfois controversées et génératrices d’émotions. Cette recherche vise à analyser la relation complexe et souvent ambiguë que les images médiatiques et artistiques entretiennent avec le phénomène migratoire contemporain et ses sujets. Plus précisément, elle se focalise sur la représentation des réfugiés et de la « crise migratoire » dans l’art européen entre les années 2007 et 2017. Cette décennie, durant laquelle se cristallisent les tensions entre les médias et les artistes, est celle où l’on observe une intensification importante et une diversification de modes d’engagement au sein de l’art à vocation humanitaire. Située au croisement de l’histoire de l’art, des études visuelles et de la sociologie des migrations, cette thèse identifie des types d’images et des références iconographiques exploités durant cette période par les médias et les artistes, afin de montrer la manière dont ils s’influencent mutuellement, dialoguent et façonnent les attitudes des Européens à l’égard de la « crise migratoire » et de l’accueil des réfugiés. Le but principal de l’étude est de cartographier les tendances dominantes dans ces deux champs en portant une attention particulière à l’activité des artistes communément définis comme engagés ou militants, qui adoptent des stratégies esthétiques très diverses allant de la provocation à l’écoute, en passant par la médiation entre les nouveaux arrivants et les citoyens. Il s’agit donc d’examiner comment l’art contemporain et les médias définissent et représentent l’hospitalité européenne et, par quels moyens les artistes tentent de transformer l’art en un espace d’hospitalité et de dialogue capable d’influencer les sociétés actuelles. La thèse aborde des questions clés liées à l’expérience de l’exil et à l’accueil des étrangers, telles que la frontière comme lieu de la négociation de l’identité, la spectralité du réfugié, l’hostilité ouverte versus l’hospitalité inconditionnelle, ou encore l’importance de la langue et du témoignage dans le processus d’intégration du réfugié à sa société d’accueil. Chacun de ces aspects de la réalité migratoire européenne est présenté à travers quelques œuvres d’art et examiné avec les outils analytiques provenant notamment des études visuelles (Jill Bennett, Nicholas Mirzoeff, Ariella Azoulay). La réflexion sur le potentiel analytique de l’esthétique migratoire — selon le terme proposé par Mieke Bal —, présente en toile de fond de ce travail, se conclut par quelques propositions concernant le rôle et l’importance d’un éventuel tournant migratoire dans l’histoire de l’art. La thèse s’appuie aussi sur des éléments de la philosophie de Jacques Derrida, jugés particulièrement pertinents pour la réflexion sur la dimension éthique de la représentation des réfugiés. Cette recherche, enfin, entend contribuer au développement de l’approche interdisciplinaire dans l’étude de l’art contemporain qui se focalise sur les problèmes sociétaux importants et cherche à participer activement au débat publicIn the 2000s, Europe has experienced a massive influx of migrants and refugees from Africa and the Middle East. In 2015, considered the deadliest year, it is estimated that more than 1.2 million people entered the Schengen Area and 3,770 died before reaching the gates of Europe. The media echoed this situation by conveying images that became emblematic of the so-called "migration crisis" and contributed to reviving the long tradition of visual representation of the stranger in European culture. Artists responded to these images, which were sometimes controversial and generated emotions. This research aims to analyse the complex and often ambiguous relationship that the media and artistic images have with the contemporary migration phenomenon and its subjects. More specifically, it focuses on the representation of refugees and the "migration crisis" in European art between 2007 and 2017. During this decade, tensions between the media and artists crystallize and one can observe a significant intensification and diversification of modes of engagement within the field of human rights-oriented art. Situated at the intersection of art history, visual studies and the sociology of migration, this thesis identifies the types of images and iconographic references exploited during this period by the media and artists in order to demonstrate how they influence each other and shape the attitudes of Europeans towards the "migration crisis" and the reception of refugees. The main aim of this research is to map the dominant tendencies in both fields. Particular attention is given to the activity of artists commonly defined as socially engaged or militant, who adopt a wide range of aesthetic strategies, from provocation to listening, passing through mediation between newcomers and citizens. It is thus a question of examining how contemporary art and the media define and represent European hospitality, and the methods employed by artists to transform art into a space of hospitality and dialogue capable of influencing today's societies. This thesis addresses key issues related to the experience of exile and the reception of migrants, such as the border as a place of identity negotiation, the spectrality of the refugee, open hostility versus unconditional hospitality, or the importance of language and testimony in the process of integration of the refugee into his or her host society. Each of these aspects of the European migratory reality is presented through a few works of art and examined with analytical tools coming notably from visual studies (Jill Bennett, Nicholas Mirzoeff, Ariella Azoulay). The reflection on the analytical potential of migratory aesthetics (the term proposed by Mieke Bal) forms the backdrop to this work. It concludes with some proposals concerning the role and importance of a possible migratory turn in art history. This thesis also draws on elements of Jacques Derrida's philosophy which are considered particularly relevant to the reflection on the ethical dimension of the representation of refugees. Finally, this research intends to contribute to the development of an interdisciplinary approach in the study of contemporary art that focuses on important social issues and seeks to participate actively in public debate
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陳, 紅星. "Entité - Identité - Identification : ce que l'art contemporain fait à la philosophie." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0138.
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Qu’est-ce que l’art ? Qu’est-ce que l’art (d’)après l’art contemporain ? Cette thèse de doctorat part du constat d’un changement paradigmatique dans l’évolution artistique, et tend à analyser la cause et la nature même de la crise dite de l’art contemporain en France dans les années 1990 du siècle dernier. L’ensemble des débats conduit par la suite nos recherches à des questions essentielles liées à la définition de l’art, aux modes d’existence des œuvres et à la fonction artistique. C’est une approche ontologique avec un esprit analytique sur l’identité de l’art et de l’art (d’)après l’art contemporainWhat is art? What is art after and according to contemporary art? This PHD dissertation starts with the observation of a paradigmatic turn in artistic evolution, and tends to analyze the cause and the very nature of the so-called "crisis of contemporary art" in France in the 90s of the last century. All of the debates subsequently lead our research into the essential questions related to the definition of art, the existence modes of works, and the artistic function. It is an ontological approach with an analytic spirit on the identity of art and art after and according to contemporary art
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Serrano, Raurell Andrea. "L’autòmat, la fotografia i la crisi del model de subjectivitat clàssica en el surrealisme. Claude Cahun i Jindřich Štyrský." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/666305.
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La present investigació té com a objecte d’estudi la significació de la figura del maniquí en el surrealisme, entesa com a imatge representativa o simptomàtica de la crisi del model de subjectivitat clàssica. Per fer-ho, es pren com a exemple l’obra fotogràfica de Claude Cahun i la de Jindřich Štyrský, en les quals, sigui com a objecte o com a concepte, la figura del maniquí adquireix un lloc destacat. En aquest sentit, per una banda, es reflexiona entorn la caiguda del subjecte substancial i es planteja la possibilitat d’entendre la figura de l’autòmat, el maniquí o la nina com una image-symptôme d’un subjecte que ha entrat en crisi; d’una altra, s’aprofundeix en el tractament que té aquesta figura en l’obra fotogràfica de Claude Cahun i en la de Jindřich Štyrský. Recorregut que, alhora, ens submergeix en el surrealisme francès i en el surrealisme txec, dos mons aparentment allunyats que, tanmateix, es troben interconnectats.
En els capítols introductoris, que serveixen per ubicar la tesi en el seu marc teòric i contextualitzar l’àmbit d’estudi, a més de definir a què ens referim quan parlem de crisi de la subjectivitat clàssica, es planteja un dels punts de partida de la present investigació, és a dir, la possibilitat d’entendre el surrealisme com una expressió del Romanticisme al segle XX. Al llarg d’aquest recorregut, apareixen així des de l’Olímpia d’E.T.A. Hoffmann a Hadaly de Villiers de l’Isle-Adam, al mateix temps que es fa una aproximació a diferents aspectes que ens ajuden a entendre el surrealisme i el tractament que en aquest té la figura del maniquí. En aquest sentit, es realitza una aproximació als fonaments teòrics del surrealisme, així com a aspectes com el mite, la màgia, la infància o la meravella, que ens porten a parlar, al seu temps, d’un rebuig a un sistema polític, econòmic i social.
A continuació, en els capítols centrals, prestant atenció al maniquí, al mateix temps que viatgem al París dels surrealistes, descobrim algunes de les principals manifestacions en què aquesta figura participà. Així, de la Rue surréaliste a les Puppen de Hans Bellmer, transitem fins als capítols dedicats a Claude Cahun i Jindřich Štyrský, en els quals, el maniquí, sigui com a objecte o com a concepte, adquireix un rol destacat.
És al llarg d’aquest recorregut, una trama interconnectada d’idees en què cada apartat té la seva raó de ser, que assistim a l’adveniment d’un nou tipus de subjecte. Idea del jo entès com a màscara, que evidencia una realitat contingent, mutable i polimòrfica. Un subjecte entès com a procés, mancat de tota possibilitat de síntesi, marcat per l’alteritat i l’inconscient. En aquest sentit, tal com digué Claude Cahun, “je suis autre, un multiple toujours”.
La figura del maniquí surrealista, d’aquesta manera, se’ns presenta com una figura transfronterera, una imatge amb valor de símptoma que es relaciona amb un subjecte construït en gran part fora de si mateix. L’inconscient, l’alteritat o la follia, són alguns dels aspectes que es vinculen amb aquesta inquietant figura. Efígie que, com a doppelgänger o com a tout autre, sovint es converteix en un motiu discursiu que ens porta a parlar de l’emergència de nous models de subjectivitat. Així doncs, en el diàleg entre l’humà i l’inhumà, en la imprecisió dels límits que separen el subjecte de l’autòmat, el maniquí esdevé una expressió de l’unheimlich freudià. Figura que, altrament, se’ns presenta com a passatge. Una imatge de la poésie moderne, tal com observava Nezval, que esdevingué un punt de fuga per retrobar la meravella perduda en un món desencantat.The present research deals with the figure of the mannequin significance in surrealism, understood as a representative or symptomatic image for the crisis of the classic subjectivity model. Our investigation is based on the photographic works of Claude Cahun and Jindřich Štyrský, in which the figure of the mannequin acquires a prominent place, either as an object or as a concept. On the one hand, this leads us to reflect on how the fall of the substantial subject raises the possibility of understanding the figure of the automaton, the mannequin or the doll as an image-symptôme of a subject who has entered into crisis. On the other hand, our work deepens the understanding of the treatment this figure has in the photographic works of Claude Cahun and Jindřich Štyrský. This journey will immerse us in the French and Czech surrealisms at the same time, two apparently remote worlds that are nevertheless interconnected. In this way, the figure of the surrealist mannequin is presented as a cross-border figure, an image bearing a symptomatic value referring to a subject building himself largely outside his own self. The unconscious mind, the otherness, and the madness are some of the aspects intertwined in this disturbing figure. This effigy, as a doppelgänger or a tout autre, often becomes a discursive motive leading to the emergence of new models of subjectivity. Therefore, in the dialogue between human and inhumane, and in the unclear boundaries separating the subject from the automaton, the mannequin becomes an expression of the Freudian unheimlich; this figure is otherwise presented as a passage. As observed by Nezval, this image of poésie moderne has become a point of escape to regain a lost wonder in a disenchanted world.
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AVEZZU', GIORGIO. "L'ANGOSCIA CARTOGRAFICA DEL CINEMA. PERSISTENZA E CRISI DELLA RAGIONE CARTOGRAFICA NEL FILM CONTEMPORANEO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3153.
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Lo studio approfondisce la questione dei rapporti tra la geografia e il cinema, in particolare il cinema contemporaneo. La “propensione geografica” del cinema, tipicamente individuata da molti studiosi, deve oggi confrontarsi con un problema fondamentale: quello di una riconsiderazione radicale dei limiti del discorso geografico, e della geografia intesa come scienza, come sapere e come progetto della modernità. In che modo un medium con un’antica vocazione geografica oggi interpreta, commenta, elabora la “crisi della ragione cartografica”? Le “forme cartografiche” del cinema, cioè le porzioni di testo filmico che riflettono sulla geograficità del medium, nel cinema recente non si limitano a dichiarare o a celebrare tale geograficità, ma la considerano come un problema. Se le forme cartografiche sono considerate in modo problematico nel cinema contemporaneo è perché il cinema stesso si è accorto, o si è convinto, che il proprio ruolo è cambiato, che non può più (forse non deve) guardare in un certo modo. Perché la crisi della ragione cartografica del cinema è un sinonimo della crisi strutturale della cinematograficità, di un modo di vedere il mondo, di un dispositivo, di una geometria che descriveva le posizioni di soggetti e oggetti, il loro valore e il loro significato.This work explores the relationship between geography and cinema, especially contemporary cinema. The “cartographic penchant” of cinema, typically traced by many scholars, has to face a fundamental problem today: a radical reconsideration of the geographical discourse, and of geography intended as a science and an epistemic project of modernity. How does a medium with an ancient geographical vocation deal with the “crisis of cartographic reason”? The “cartographic shapes” of cinema, which are portions of filmic texts that mirror the “geographicity” of the medium, in contemporary cinema do not simply declare or celebrate that kind of geographicity, but they consider it as a problem. The reason the cartographic shapes are problematically represented by recent cinema is that cinema itself is aware, or became convinced, that its cultural role has changed, that it cannot understand the world in a certain way anymore. Because the crisis of cartographic reason of cinema is a synonym of a structural crisis of “cinematographicity”, of a way of looking at the world, of a dispositif, of a geometry that used to describe the positions of subjects and objects, their value and their meaning.
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Carstocea, George. "Reality, language, and history: three facets of contemporary Romanian cinema." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12312.
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Thesis (M.F.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.The purpose of this thesis is to closely analyze some of the individual authorial voices that have emerged from contemporary Romanian cinema. Billed by the international critical establishment as a "New Wave," the recent slate of Romanian productions, while very successful on the international festival circuit, still lacks an apt conceptualization of the precise characteristics that set these new filmmakers apart, not only from other international directors, but also from one another. The analysis focuses on six recent productions: Stuffand Dough (2001), The Death of Mr. Lazarescu (2005) and Aurora (2010) by Cristi Puiu, 12:08 East of Bucharest (2006) and Police, Adjective (2010) by Corneliu Porumboiu, and The Autobiography of Nicolae Ceausescu (2010) by Andrei Ujica, breaking down the individual authorial characteristics and thematic and stylistic concerns of each filmmaker and contextualizing them within the larger history of Romanian film, as well as the trajectories of international art cinema.
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Mesquita, Tiago dos Santos. "Pintura e fotografia (Andy Warhol e Gerhard Richter)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-16042018-084033/.
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Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960.From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.
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Espy, Amanda M. "Crisis of Symbolism in Contemporary America." Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527501.
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This thesis concerns itself with the crisis of symbolism in contemporary America and the impact this has on the collective and individual American in the 21st century. The research is rooted in the perspective of Jungian philosophy and tradition, and is presented through hermeneutic methodology. This thesis explains why symbols are important in creating consciousness, viewpoints of Jungian analysts about a crisis of symbolism, the role of nothingness as a contemporary anti-symbol symbol, and the way the lack of symbolism plays out in collective American symptomology. This thesis reaches the conclusion that Americans have effectively eliminated meaningful symbols and have entered a post-deconstructionist era in order to allow space in which to create new, more meaningful symbols. The role of the contemporary depth psychologists is to remind their patients of their part in participating in symbol making as a participation in the psychological health of society as a whole.
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Fouquet, Monique. "Contemporary art/contemporary pedagogy : interrupting mastery as paradigm for art school education." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31304.
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Contemporary art/contemporary pedagogy: interrupting mastery as paradigm for art school education is a narrative exploration of artistic and pedagogical practices within the specific context of post-secondary art school education in stand alone art schools as opposed to a university art department. This study considers the following three primary questions: How can art school education better reflect postmodern cultural production? What are some of the ways in which pedagogical practice disrupts the monolithic model of mastery? How can art school pedagogy be re-oriented away from an overly deterministic notion of education? Through reflexive inquiry, I offer a personal perspective on art school education, weaving together my own experiences as student, artist, teacher and administrator, and juxtaposing 'my' text against the text of three artist pedagogues, representing specific aspects of field experience. Throughout the dissertation I seek to unearth the hidden assumptions that are embedded in historically inherited ways of being and doing in relation to contemporary art. I suggest that the partitioning of the institutional space into studio disciplines also segregates knowledge, and as such, largely determines the pedagogical framework of art schools. In the face of the interdisciplinary character of contemporary practice, I question the usefulness and relevance of disciplinary pedagogues modeled around the notion of achieving mastery as a paradigm that has shaped curricular practices in art schools in the past, and largely continues to define art school education today. I propose that the three artist pedagogues in this dissertation are each contributing to creating new inquiry structures that challenge boundaries between studio disciplines, between school and not-school, and between and among places of learning. I end by suggesting, as a topic for further research, complexity science as it may offer a productive framework to re-consider art school education.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.
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Vicente, Andreia Maria Farah. "A morte da pintura em questão : a obra de João Camara e Siron Franco nas decadas de 1960/1970." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284066.
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Orientador: Maria de Fatima Morethy CoutoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho analisa o processo de inserção no cenário artístico nacional dos artistas plásticos João Câmara e Siron Franco - que, através da linguagem da pintura oriunda da técnica em óleo sobre tela, se destacaram no cenário artístico nas décadas de 60 e 70, época em que se discutia intensamente - tanto no Brasil como no exterior - a crise do suporte artístico tradicional em detrimento das novas linguagens artísticas. Como fator importante neste processo, destacamos a criação de Salões competitivos em outras capitais do Brasil nos quais as obras desses dois artistas foram selecionadas ou premiadas. A representação da figura humana é o principal eixo condutor da trajetória das obras de João Câmara e Siron Franco, sendo o corpo espaço metafórico para reflexões sobre os problemas humanos, críticas à sociedade e/ou ao momento político em que o país se encontrava no período acima citado.
Abstract: This dissertation analyses the insertion of the artists João Câmara and Siron Franco - artists that through the language of painting build up from the technique oil painting over canvas have appeared into the artistic scenario in the decades of 1960 and 1970. In this time it was discussed - in Brazil and abroad - the crisis of the traditional artistic support, taking only in consideration the new artistic languages. As an important factor of this process we point out the creation of competitive Art Salons in others main cities of Brazil, in which the works of those two artists were selected and won thefirst prizes. The representation of the human figure is the main axis of the trajectory of the works of João Câmara and Siron Franco, taking into account that the body is the metaphorical space for the reflections upon human problems, critics to the society and/or, to the political moment of the country related to the aforementioned decades.
Mestrado
Artes
Mestre em Artes
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Schmiedl, Dominic. "Crisis and Masculinity on Contemporary Cable Television." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-176166.
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Both the “crisis of masculinity” and “quality TV” have been popular discourses in academia in recent years. Many of these contemporary quality TV series feature male anti-heroes at the center of their narratives. This dissertation argues that the constructions of masculinity in series such as "Breaking Bad" and "The Walking Dead" are informed by the Western hero.
Furthermore, the dissertation links this recourse to an arguably outmoded model of masculinity to recent crisis tendencies in the USA, most notably the recent economic downturn and the aftermath of September 11 2001. Moreover, the return of the Western hero can be understood as a process of remasculinization in light of the crisis of masculinity.
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Smurthwaite, Kathryn C. "Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.
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There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.
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Maixner, Miroslav. "Ambivalence identity: kulturní tradice jako téma v současném českém a slovenském umění." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2020. http://www.nusl.cz/ntk/nusl-432632.
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The dissertation focuses on the phenomenon of a new presence of references to traditional folk culture in contemporary Czech and Slovak art. Emphasis is placed on the period from the year 2000 to the present. The core of the work consists of chapters devoted to artists who in this period significantly thematized various aspects of traditional folk culture, either as a partial element of specific projects or in the form of continuous interest in the field. The essence of this part is to show the breadth and heterogeneity of the examined manifestations across the media spectrum. The main purpose of the work is to analyze and place the researched phenomena in a relevant context within the theory and history of art. The reason is their different nature from thematically similar manifestations in the 19th and 20th centuries. In addition, when compared with current trends abroad, a number of connections are shown, such as links to environmental issues, criticism of the state of society and, above all, to new issues related to personal and collective identification. Therefore, I base the analysis of these phenomena on a hybrid interdisciplinary basis using theoretical approaches to identity in the social sciences and humanities. I do so in the introductory theoretical chapters, but the main focus is on the final analytical synthesis. To a large extent, it also builds on data obtained from interviews with artists, the transcripts of which the reader will find in the appendix. Finally, the documentation of curatorial projects and exhibitions realized as a practical part of the dissertation project is attached.
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Meneses, Romero Mariana. "Women cooking art : hospitality and contemporary art practices." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20638/.
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This thesis examines the notion of hospitality in light of contemporary food-based artistic practices created from 2000 to 2015 by female artists Sonja Alhauser, Mary Ellen Carroll, Leah Gauthier, Ana Prvacki, Alicia Rfos, Jennifer Rubel I, Miriam Si mun, and Anna Dumitriu, and the experimental food artists Sam Bompas and Harry Parr. The aim is to make sense of how food practices, art, and feminism intersect, especially in light of the gendered history of the food system, including cooking, when opened onto a philosophically developed notion of hospitality. I explore the intricacies of hosting the "other", considering the multiple levels in which the relationship between the host and the guest develops. Hospitality is examined as a continuous cycle of relationships where dynamics and discourses of power and of generosity are constantly rehearsed. I focus on four main stages within the food system: 1) the gathering of edibles; 2) the cooking process; 3) the moment when food is shared and ingested with others; and 4) the digestive process. Throughout this thesis, I consider hospitality as an open structure that sheds light on the understanding of the encounters between human and non-human species-including animal, vegetable, and microbial-in the food chain. My analysis is situated within contemporary debates of gender studies, cultural studies, food studies, and philosophy of hospitality, in particular, Jacques Derrida's ethics of the other, and the imperative that "one must eat well". Eating is discussed as the literal and metaphorical assimilation and incorporation of the other, and incorporates feminist theoretical engagements which highlight Western thought as being structured by a series of gendered dichotomies, including those of nature-culture, male-female, mind-body, object-subject. I argue that the philosophical notion of hospitality and feminist theory enable a critical approach to the food system as a continual ethical imperative for and to the other.
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Lagana, Louis. "Prehistoric Malta and contemporary art." Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/7718.
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Malta, a small island in the middle of the Mediterranean is extremely rich in its Prehistoric archaeological heritage. Local and also foreign artists were and continue to be fascinated and influenced by prehistoric art during the course of their careers. This thesis demonstrates the ways in which contemporary artists interpret Neolithic symbolism, particularly the images of Neolithic Goddesses found in various temples on the islands. The well preserved state of the Maltese Temples and their artefacts, and their beauty, still stimulate the imagination of artists to create works of art that show not only their personal reflections, but also their 'collective' psychic qualities. My methodological approach is to employ Jungian theory and contemporary theories of Primitivism to analyse such these works of art. I explore the reasons why artists are still interested in recreating symbols of the past. My general line of argument in the thesis is that some contemporary artists have a strong desire to recapture what they see as the 'spiritual perception of nature' that seems to be lacking at the present time. Through personal and collective symbols artists can be seen to be creating a new vocabulary which might act as a healing agent to relieve society from its persisting ills. The particular facets of this work and issues arising within practices relating to Malta's Neolithic past are explored through a number of case studies, examining closely the works of some well-known artists (local and foreign), such as Neville Ferry, Eva-Gesine Wegner, Sina Farrugia, Louis, Casha, and Jean Busutil Zalcski.
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Hill, Katie. "On relocating contemporary Chinese art." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401481.
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Reginio, Robert, David Houston Jones, and Katherine Weiss. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.
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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.https://dc.etsu.edu/etsu_books/1182/thumbnail.jpg
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Owen, Evelyn. "Geographies of contemporary African art." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18143.
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This thesis explores how the art world negotiates what contemporary African art means, in the context of the international contemporary art system and in relation to the histories of Western perspectives on Africa. Using conceptual and methodological approaches drawn from cultural geography, it examines the field of contemporary African art, foregrounding the terms of negotiation framing contested geographical imaginations and ideas of Africa. The research considers curatorial practices, exhibitions, art institutions, networks and the wider art infrastructure as an arena in which geographical concepts and categories are formulated, debated and contested in relation to contemporary African art. It draws on interviews with artists, curators, gallerists, collectors and scholars, as well as ethnographic fieldwork conducted in institutions and at art events, to unpick the idea of 'contemporary African art' as a working category and conceptual frame. It reveals tensions running through the field hinging on questions of categorisation, scale and location, the geographical dimensions and implications of which are currently under-explored. The conclusions argue for the importance of geographical awareness in debates around contemporary art from Africa and its shifting position internationally, particularly in the context of globalising trends in the art world and beyond, which engender complex geographies of mobility, identity, belonging and opportunity. The thesis also highlights the relevance of debates around contemporary African art for geographers, proposing new directions in research on art within cultural geography.
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Withey, Andrew. "Contemporary, emigrant, Middle Eastern art." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/44734/.
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The thesis focuses on those artists who have emigrated from their Middle East homelands since the middle of the Twentieth Century. The first Chapter proposes that the artists form an identifiable group, through the use of common themes deriving from their heritage. The second chapter debates if Post-Colonial theories of alienation, hybridity and ‘third space' are useful concepts and tools for these artists. The last chapter discusses the different approaches to the concept of universalism, which is frequently used in the presentations of the work of these artists. Chapter One identifies the themes of calligraphy, literature, nostalgia/longing and politics which are common to the group of artists. These themes demonstrate a clear cultural memory, with each artist using one or more of these characteristics. Chapter Two questions the usefulness and relevance of Post-Colonial concepts of alienation, hybridity and ‘third spaces' in the analysis of the artists' work. The individuality and complexity of the artists, their lack of clear alienation from either or both of East and West and the absence of predictability in their output makes it difficult yo apply these concepts as analytical tools. The third chapter shows the way in which contemporary Middle Eastern art has taken over from the earlier, Western based, Orientalism. The resulting work has frequently attracted the label of Universalism but this term has different connotations for Western viewers and curators compared to the Middle Eastern artists and their patrons. The former results in differentiation, the latter claims to transcend boundaries and geographies. The Conclusion, thereafter, draws together the discussions and attempts to position Middle Eastern art within the current international art scene, rather than as an ‘other' which is outside a usually Western mainstream. The Middle East expatriates are seen as part of a growing but incomplete globalism, within which localism can co-exist.
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Weiss, Katherine. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.
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Verschooren, Karen A. (Karen Annemie). ".art : situating Internet art in the traditional institution for contemporary art." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39149.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.Includes bibliographical references (p. 187-202).
This thesis provides a critical analysis of the relation between Internet art and the traditional institution for contemporary art in the North American and West-European regions. Thirteen years after its inception as an art form, the Internet art world finds itself in a developmental stage and its relation to the traditional institution for contemporary art is accordingly. Through an elaborate discussion of the key players, institutions and discourses on aesthetics, economics and exhibition methodologies, this sociological analysis of the past and current situation hopes to offer a solid ground for extrapolation and predictions for Internet art's future as an art world in its relation to the traditional art institutions.
by Karen A. Verschooren.
S.M.
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Mulenga, Andrew Mukuka. "Contemporary Zambian art, conceptualism and the ‘global’ art world." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/5187.
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In Zambia, ‘contemporary art’ (as a category constructed by the European-dominated international art world), was introduced by the European settler community and continued within its preserve, remaining largely inaccessible to the indigenous community of Africans until Zambia’s independence in 1964. This thesis traces the integration of Africans into the contemporary art community and attributes the process, in part, to a small group of artists of European descent who played a significant role in engaging with Zambians, working side by side with them, subsequently influencing their art production and implicitly shaping the ways in which ‘Zambian’ art ‘ought to’ look for decades to come. The research traces the early days of contemporary art practice in Zambia to the Lusaka Art Society and Art Centre Foundation that was founded and run by an all-settler group of formally trained artists with a particular inclination towards sculpture and painting. In the wake of the integration however, art production in the formalist manner was further proliferated by the European diplomatic community which would also go as far as dictating artistic subject matter. This thesis argues that the Eurocentric and pre-eminently formalist approach to contemporary art has cost Zambian artists an international presence. I submit that the few instances where contemporary Zambian art practice has penetrated the ‘global art’ scene or caught the attention of international curators is due to artists adopting more radical conceptual approaches to art production, often creating tensions with local viewers. This thesis also examines conceptualism in contemporary Zambian art practice and examines the inequalities of the ‘global art’ world. I argue that conceptual art, although not generally accepted on the Zambian art scene, has played a vital role in helping Zambian artists enter the global art world, albeit modestly.
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Nedkova, Iliyana. "Curating contemporary art : an investigation into the relationships between new media art and contemporary art through curatorial theory and practice." Thesis, Liverpool John Moores University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555800.
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This thesis contributes to an understanding of contemporary curatorial practice and theory through an investigation into the complex relationship between new media art and contemporary art. A fresh curatorial perspective is introduced charting three major forms of relationships between new media art and contemporary art - antagonism, ambiguity and convergence. A historical evolution starting with antagonism, moving through ambiguity and finally converging the forces of new media art and contemporary art is proposed and explored throughout the thesis. The overarching research question: is there a need for distinct curatorial theory and practice of new media art underpins the hypothesis and furthermore puts the selected curatorial projects to the test. What emerges is a strong argument for the incorporation of new media art and its associated curatorship into the more encompassing entity of contemporaineity - its art, as well as its theory and practice of curating. Inspired by the method of critical reflection, Curating Contemporary Art opens with a hypothesis featuring an introduction, literature review and curatorial methodology outline. A novel notion of curatorial constituents: pre- production, production and post-production is proposed and then further investigated in relation to each of the four selected case studies. This approach provides a navigable structure for each of the three chapters. Specific issues of the curatorial constituents are highlighted under the relevant stage in each chapter. This host of curatorial issues with references to a range of appendices, including a detailed bibliography, lie at the thesis research core. The thesis ends with a synthesis or a conclusion. Overall, the thesis aims to enrich the current curatorial discourse through professional-confessional analysis of issues such as curatorial premise, theme-led practice, eo- curatorship, curatorial commissions, public commissions, funding, added value, ownership, genre and time-based notions. Here, a refreshing curatorial eye is cast on those issues in an attempt to foreground the importance of exhibition making, its theory and practice. Period-wise, the current investigation positions the thesis as part of the larger and ongoing project for curatorial historisation of the decade at the end of the 20th and at the beginning of the 21 st Centuries. It also asserts its intention to boldly go where no comprehensive curatorial study has ventured before by probing deeply into our assumptions about new media art, contemporary art and curatorship such as: is there a specific entity as curating computer based art or just curating contemporary art? Furthermore, it builds its innovative hypothesis around the three forms of relationships between the two art worlds under scrutiny: antagonistic, ambiguous and convergent, by comparing curatorial views and analysing experiences from across the two 'ideological camps'; by distinguishing between curatorial practice and curatorial theory while tracing their own origin and historical precedents. The antagonism of the mainstream art world towards new media and vice versa has contributed to the marginalisation of new media art and even its demarcation outside of the cultural mainstream. The marked ambivalence between the two fields of study is explored through the oscillating love-hate relationship which provides evidence for the reasons why the contemporary art world still sends out mixed signals of love and enmity about its digital other half. At the other end of the spectrum, the relationship between new media art and contemporary art appears much more convergent, amicable and mutually beneficial. The pioneering example set by New York's Postmasters Gallery is discussed in the self-reflective contemporary context of ARC Projects Gallery, Sofia.
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Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production." Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.
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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)
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SRITONGSUK, PONGCHAI. "A STUDY OF CONTEMPORARY ART MUSEUMS." The University of Arizona, 1997. http://hdl.handle.net/10150/555225.
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Ranyard, Marie Phyllis. "Transcontextual mechanisms in contemporary art music." Thesis, City University London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264241.
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Simoniti, Vid. "The epistemic value of contemporary art." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:82a1ee71-98a3-44ac-93ac-2a91eebe8100.
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Recently in analytic philosophy, interest in the issue of the epistemic value of art has been revived. Philosophers have sought to establish whether and in what ways art is a source of knowledge, understanding or a means of inquiry. In philosophy this is a longstanding question, addressed both in the Greek and German traditions, but it seems pertinent to ask the question again today in light of significant changes that have taken place in contemporary art practice. In my thesis, I investigate this question from two perspectives: in terms of analytic philosophy of art, and in terms of developments in contemporary art since the 1960s. In Part I, I offer a defence of a philosophical theory of artistic value, critically overview the extant philosophical literature on the question of epistemic value of art, and explain why the inherently experimental character of contemporary art makes it difficult simply to apply the available theories. I argue that a philosophical engagement with contemporary art requires a different, more inductive method. In Part II, I closely consider three recent developments in which the relationship between art and knowledge has been rendered more complex. The Conceptual Art movement of the 1960s and 1970s privileged concerns with concepts, thought processes and truth over expression, materiality and fidelity to genre. The social turn of the 1990s cast the artist in a position that is almost indistinguishable from that of a teacher, social activist or even of a technology developer. And the artists working within the bio art movement of the 1990s and 2000s have assimilated the activity of the artist to that of the scientist, sometimes blurring the two roles. The goal of the thesis is twofold. On the one hand, I show how cases from recent art history put pressure on some key commitments in recent analytic philosophy. Revisions and challenges are suggested in particular for extant theories of artistic value, conceptions of artistic autonomy and heteronomy, and some popular accounts of the epistemic value of art. On the other hand, concepts from analytic philosophy are used to shed light on some of the more radical developments in recent art practice, and to rethink the ways in which art participates in the broader culture.
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Lu, Shih-Yun. "Site specific interventions in contemporary art." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/691/.
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Site-specific interventions in contemporary art are still a relatively new area of study. The relevant disciplines include site-specific art, cyberspace, new media art and interdisciplinary art, and installation art. In addition to practical experimentation the work draws upon literature and practice from these disciplines in order to create a theoretical framework. In response to the emerging practical and theoretical framework, site-specific installation works were created in contrasting locations that presented both internal and outdoor spaces. The frameworks created through theoretical investigation have been used to analyse both the creative process and the art work itself in relation to both physical space and cyberspace. An experimental art method approach was used in order to gain a deeper understanding of the issues relating to spatial concepts. The analysis uses a wide range of documentary material such as video and photographic recording, as well as the visual interpretation of the art work through exhibition and creative practices. This investigation explored site-specificity in both physical and virtual space in three distinct parts; projects in physical and virtual site-specificity, projects in physical site specificity, and Net art projects. These projects have been analysed from the perspective of spatial concepts theories and Zen philosophy within the framework provided by the four elements - space, time, media and practice. This research examined the value of site-specificity in both physical and virtual sites through the results of the creation of art work in `interdisciplinary art'. This led to the principal conclusion from this research: namely, that physical sites can be duplicated and documented by using emerging digital technology and then be transmitted as a particular mix of physical and virtual sites using the Internet as a medium. This research is an exploration of the under-examined area of site-specificity within contemporary art.
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Binder, Lisa M. "Contemporary African art in the London art market : 1995-2005." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500812.
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This thesis explores the market for contemporary African art in London from 1995 to 2005 using case examples of artists, museums, art festivals and fairs, auctions and galleries. The study is generally bracketed by two festivals, africa 95 and africa 05, touching also on events that transpired during the intervening decade. Many artists from Africa who were working, living or exhibiting in London during this time experienced degrees of marketable success as a result of their participation or relationship with actors involved in the marketplace and in private and public institutions. However, this was not the case for all connected with the two events. The purpose of this thesis is to examine the underlying network of market systems, in a particular place and time, for work by contemporary artists from Africa, in order to frame the various points of entry into the market and, by extension, the broadening of contemporary art historical canons
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Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.
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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's definition of society, given that the interconnectedness of capitalism as a system is negated by the restriction of that definition to industrialised societies. In other words, there is a universalisation of the particularity of industrialised societies underlying Adorno's social theory, that hides a functionalist understanding of the state and disavows its constitutive character for capitalist social relations. The introduction of an analysis of the particularity of the state in latin American societies serves as a counterpoint to the societies analysed by Adorno. latin American societies are analysed from the point of view of Dependency Theory, particularly in relation to Henrique Cardoso's and Enzo Faletto's concept of dependent development. This concept allows a further differentiation internal to latin American societies and problematises the common assumption that structural heterogeneity is a key concept for understanding these societies. Consequently, the thesis focuses its analysis on the socio-economic and political situation of the societies in the Southern Cone of South America, particularly Argentina, given their relative social homogenisation during the 1960s. The thesis claims that contrary to Adorno's assumption that capitalist social development destroys collective subjectivities while producing homogenisation, the Southern Cone societies show that development and relative social homogenisation in contexts of dependency do not necessarily produce political neutralisation but rather its opposite. The problematisation of Adorno's social theory is further complicated by the historical development of capitalism during neoliberalism. The decoupling of the spatial grounding of the relation between capital and labour constituted during monopoly capitalism is presented from the point of view of the radical transformation of Argentine society from the mid-1970s onwards. The thesis introduced the concept of the 'destruction of the social' in reference to the central role that the process of accumulation by dispossession, as theorised by David Harvey, has for the transformation of Argentina. Given this expanded global context, the thesis then discusses the effects that the transformation of the relation between capital and labour has for the conditions of production of artistic labour during neoliberalism. In particular, it claims that the 'developmentalist' dynamic that aligns technological development, industrialisation and artistic material in Adorno's concept of the new, has been problematised by the primacy of financial valorisation as a form of accumulation, and the dynamic role that accumulation by dispossession has in it. The emergence of a globally expanded labour theory of culture is analysed in relation to the contemporary art produced in Argentina between the late 1960s and the 2000s. The relation between the socially regressive tendencies developed during this period and artistic technique is analysed throguh the introduction of the notion of the 'return to craft.'
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Küffer, Simon, and Tåve Uglem. "The Art Of Surving A Crisis : Strategic Crisis Management in Manufacturing SMEs." Thesis, Umeå universitet, Företagsekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-172927.
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Nowadays, there is a growing need to consider crisis management in organizations due to an increased occurrence of crises in our society. Manufacturing organizations are often affected by crises due to their supply chain reliance and many small-medium sized enterprises (SMEs) do not have the resources to work with crisis management. There is an identified lack of research regarding how manufacturing SMEs work with crisis management and how the particularities of the manufacturing industry and the specific characteristics and reliance of resources of SMEs can affect crisis management. The purpose of this thesis is to increase the understanding of strategic crisis management in manufacturing SMEs. The thesis outlines different strategic crisis management models which includes the crisis processes of detection, occurrence, and recovery. To understand the practices of manufacturing SMEs, a qualitative study was conducted through 8 eight semi-structured interviews with respondents from Sweden and Switzerland. The thesis discuss the findings of the crisis management carried out by the manufacturing SMEs and existing crisis management models for SMEs and Chinese large- and medium-sized manufacturing enterprises (CLMMEs). The paper concludes that manufacturing SMEs are affected economically by the Covid-19 pandemic crisis. The most common impacts include a decrease in orders and delivery delays. Furthermore, the research provides a contribution to the understanding of how manufacturing SMEs deal and work with crises. The most identified practices were market diversification, active communication with stakeholders, cost reduction and crisis recap.Findings also showed that manufacturing SMEs worked with pre-event planning as an essential part of their crisis management. The paper further proposes a strategic crisis management model for manufacturing SMEs.
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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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Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.
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Drinkall, Jacquelene Ashley School of Art History & Theory UNSW. "Telepathy in contemporary, conceptual and performance art." Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/31097.
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This thesis investigates the impact of telepathy and psi on conceptual and performance art from 1968. Emerging from the author???s art practice, the thesis argues telepathy is a key leitmotif and creative concern within much post 60s art, and has become central to the practice of a number of contemporary video, performance and new media artists. This thesis is composed of two interrelated parts: an exhibition of the artwork by the author concerning telepathic processes, and a written project which uses the major themes of the exhibition to frame an historical study of a number of key contemporary artists whom, it is argued, work with telepathy. These artists, Jane and Louise Wilson, Suzanne Treister and Susan Hiller are discussed under the themes of ???twinning and doubling,??? ???technological mediums??? and ???telepathy experiments???. These themes also overlap in the authors artwork, are introduced through an overarching analysis of the work of performance artist Marina Abramovi?? and philosopher Jacques Derrida who, it is argued, provide a new model of telepathy as an art practice. In addition, the thesis argues that telepathy is an often suppressed thematic in art which may not appear to directly address it, and uses the work on the Wilsons, Treister and Hiller to re-look at other 20th Century artists and artistic themes in the light of the conclusions it draws on telepathy and art. Walter Benjamin greatly admired the Surrealists, but had virtually no time for their interest in telepathy, hypnosis and psi. Together with positive materialist misappropriations of Adorno???s Thesis Against Occultism, artistic and theoretical work with telepathy and psi has been sidelined from other important themes in art and critical theory, all of which telepathy and psi illuminate, energise and empower. The art of the author and other more recognised and established artists can be seen to work with telepathy in ways that flow into and reinforce the grain of progressive leftist practice and aesthetics. Women???s work with telepathy should be considered as important as women???s work with sexuality. Women, sexuality, Otherness, liminality, spirituality, telepathy, trauma, healing, radical politics, and other taboo areas of patriachal codes, were adandoned by macho participants of fluxus and Conceptual art. The recent conceptual and performance tilt in contemporary art sheds new light on the problem of working within and developing an effective and dynamic lineage of telepathy in post 60s art as well as early modern art movements. Contemporary developments in science, engineering, biology, psychoanalysis, warfare, popular culture and sociology show the wider relevance of discourse on telepathy. There is much at stake for visual art, aesthetics and visuality in representing, celebrating and interrogating the theme of psi and telepathy in current practice and art history. Artists??? work with telepathy and psi, although not always explicitly psychological, political or aesthetic, is often very psychologically, politically and aesthetically effective.
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Lu, Dawei. "A sociological exploration of cultural distinction in Chinese contemporary art museums and galleries : contemporary art and its visitors." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18187/.
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Based on fieldwork that has been conducted at three contemporary art museums and galleries (National Art Museum of China, Ullens Centre for Contemporary Art, and Shengzhi Space) in the People’s Republic of China (PRC), including both questionnaire surveys (2376 respondents) and interviews (11 interviewees), this thesis elucidates how contemporary art, an internationally sanctioned legitimate art form, configures into the PRC’s national hierarchy of cultural genres. Through the use of a cluster analysis, a multinomial logistic analysis, and a thematic analysis, this current research demonstrates that the flow of the ‘world culture’ between countries does not necessarily contribute to the prevalence of a hegemonic and internationally universal pattern of cultural consumption in diverse cultural contexts. The most obvious finding to emerge from the analyses is that a negotiation has been taking place between cultural forces that represent different cultural and aesthetic ideologies at the borders of the PRC’s social and cultural context. One consequence of this negotiation is that the public art museum and galleries visitors have a lower probability of encountering artworks that overtly challenge the established Chinese aesthetic, ethical, and political norms. By making compromises with the political interests of the Communist Party of China (CPC) mentioned above, the avant-garde characteristics of the public museum-based contemporary artworks have become increasingly blurred (for instance, by taking a less aggressive stance towards the established traditional aesthetic principles). One of the drawbacks of this compromise lies in its negative influence on the development of the public museum-based contemporary Chinese art. The evidence is sufficient to demonstrate that the public museum-based contemporary Chinese artworks were less attractive for both art professionals and the ‘lay’ visitors. Thus, the PRC’s cultural policies, which aim to preserve the national characteristics of contemporary Chinese art, ended up running counter to its stated goal.
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Bydler, Charlotte. "The global art world inc. : on the globalization of contemporary art /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4309.
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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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Davila, Victor. "THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.
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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Valente, Liz Fagundes Oliveira. "Space and art – interrelations between architecture and contemporary art at Inhotim." Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.
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A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.
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Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.
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Thesis (Ed.D)--Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).
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Spilger, Erica L. Spilger. "Expression and Repression: Contemporary Art Censorship in America." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524835404987482.
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Duclos, Rebecca Taylor. "The topology of objecthood and contemporary art." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493687.
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Forty years after the writing of "Art and Objecthood," this thesis presents an alternative idea of objecthood that moves from Michael Fried's original association of the concept with the objects of literalist (minimalist) art to an idea of objecthood as a field (of both vision and action). The potential for objecthood to be separated from Fried's attendant term "theatricality" inspires an intensive re-reading of Fried's short passage concerning Tony Smith's night time drive along the New Jersey Turnpike.
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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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Scragg, Rebbecca Elizabeth. "Consuming Contemporary Art : London c.1914-1923." Thesis, University of Nottingham, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518727.
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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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