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Dissertations / Theses on the topic 'Found objects (Art)'
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Schrader, Sally. "The search: art, life and found objects." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322067629.
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Moyer, Matthew E. Clarke Bede. "Monuments to water and air systems." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6576.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 19, 2009). Thesis advisor: Bede Clarke. Vita. Includes bibliographical references.
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Hedman, Angela M. "What is the significance of functional found object art? : found object purses inspired by 1970's and 1980's design." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1345341.
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The central focus for this creative project was to explore the possibilities of found object and recycled art with emphasis on function and design. After researching the art and the artists who made/make it, a collection of functional art was created. The project resulted in a body of work that consisted of thirteen bags and purses that were made from gift cards and gameboards. The design of 1970's and 1980's art was used as inspiration. Traditional metalsmithing techniques were required for the completion of each work. Copper wire was used as both a structural and ornamental element. The awareness of recycled art will be heightened. Found object and recycled art is significant, purposeful, and important in both the history and future of art.Department of Art
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Massaro, Vincent Peter. "Transmogrification /." Online version of thesis, 1990. http://hdl.handle.net/1850/11190.
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Akpang, Clement Emeka. "Nigerian modernism(s) 1900-1960 and the cultural ramifications of the found object in art." Thesis, University of Bedfordshire, 2016. http://hdl.handle.net/10547/621830.
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This thesis explored the phenomenon of Modernism in Twentieth Century Nigerian art and the cultural ramifications of the Found Object in European and African art. Adopting the analytical tools of postcolonial theory and Modernism, modern Nigerian art was subjected to stylistic, conceptual and contextual analysis. The avant-gardist context of the form was explored for two reasons; first in an attempt to distinguish the approaches of named artists and secondly, to address the Eurocentric exclusion of the ‘Other’ in Modernist discourse. The works of Nigerian modernists - Aina Onabolu, Ben Enwonwu and Uche Okeke whose practices flourished from 1900 - 1960, were interrogated and findings from detailed artists case studies proved that during the period of European Modernism, a parallel bifurcated Modernism (1900-1930 / 1930 -1960) occurred in Nigeria characterised by the interlacing of modern art with nationalist political advocacies to subvert colonialism, imperialism and European cultural imposition. This radical formulation of modern Nigerian art, constituted a unique parallel but distinct avant-gardism to Euro-American Modernism, thus proving that Modernism is a pluralistic phenomenon. To valorise the argument that Modernism had multiple avant-garde centres, this thesis analysed the variations in philosophies, ideologies and formalism of the works of Nigerian Modernists and contrasted them from Euro-American avant-gardes. The resultant cultural and contextual differences proved the plurality of Modernism not accounted for in Western art history. Furthermore, by adopting comparative analysis of the Found Object in European and African art, this thesis proved that, the appropriation of mundane objects in art differ from culture to culture, in context, philosophies and ramifications. This finding contributes to knowledge by addressing the ambiguity in Found Object art discourse and problematic attempts to subsume this genre into a mainstream framework. The uncovering/theorisation of this parallel bifurcated Nigerian Modernism, contributes to expanding understanding of Modernism as a pluralistic phenomenon thus, contributing to debates for the recognition of the different Modernisms which cultures outside Europe gave rise to. The recognition and situation of Nigerian avant-gardism and modernism and interpretation of the Found Object as being culturally specific will subsequently contribute to the reconstruction of modernist discourse and Nigerian/African art histories.
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Guagliumi, Arthur Robert. "Assemblage art: origins and sources /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10910244.
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Thesis (Ed.D)--Teachers College, Columbia University, 1990.Includes appendices. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: David S. Nateman. Bibliography: leaves 162-186.
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Moode, Michelle C. "Pieces of the universe." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5198.
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Thesis (M.F.A.)--West Virginia University, 2007.Title from document title page. Document formatted into pages; contains vi, 57 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 53-54).
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Campbell, Holly Cristin. "Contents." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/h_campbell_060110.pdf.
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Linton, Jerry. "Chance images." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9862.
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Amoda, Olu Moulton Marc. "Seeds of passage." Diss., Statesboro, Ga.: Georgia Southern University, 2009. http://www.georgiasouthern.edu/etd/archive/fall2009/olu_amoda/Amoda_Olu_200908_mfa.pdf.
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"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Art." Title from PDF of title page (Georgia Southern University, viewed on February 10, 2010). Marc Moulton, committee chair; Bruce Little, Julie McGuire, Gary Dartt, committee members. Electronic version approved: December 2009. Includes bibliographical references (p. 119-121).
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George, Peneria Venessa Ansley. "The found object : documenting the artistic journey from decay to sustainable life through design thinking." Thesis, Cape Peninsula University of Technology, 2015. http://hdl.handle.net/20.500.11838/2607.
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Thesis (MTech (Design))--Cape Peninsula University of Technology, 2015.This mini-thesis aims at exploring the process of design thinking in the transformation of a decayed found object into an artwork, with a narrative of sustainability and life, thus creating awareness around the role and function of decayed objects by repurposing them to give them new life. The scope of this study will be limited to the use of art to create awareness around repurposing found objects. However, these repurposed found objects will not become physical utility products. Rather, this study aims to discuss and explore ways in which art can be used to generate an ethos of 'redesigning' into a work of art which gives it an aesthestic value. An undertone of this study is the dilemma encountered in attempting to establish clear delineations between art and design in both pedagogic and professional practice domains. ABSTRACT This mini-thesis aims at exploring the process of design thinking in the transformation of a decayed found object into an artwork, with a narrative of sustainability and life, thus creating awareness around the role and function of decayed objects by repurposing them to give them new life. Key topics discussed in this mini-thesis are the noticing of and engagement with decayed found objects and sustainability. Other topics explored are repurposing and design for repurposing. Debates around the concept of 'design thinking' are ever current. Design thinking was employed in the study, which resulted in a process that examined the richness of my individual artistic journeys. My ontological stance is that all chosen found objects should have a life. This study is epistemologically situated within the interpretive paradigm since the study makes meaning of my experiences as I interact with found objects. The study drew on a qualitative design paradigm of embodied experience, phenomenological research and employed qualitative methodologies of reflective journaling, lived experience and a process-orientated art approach. The research method adopted a convenience or accidental sample, which is not representative of a population of found objects as the objects were presented by accident. All artworks created for the purpose of the study incorporated found objects that were selected randomly. The design analysis and findings verified the likelihood of a thematic approach by using comparisons of the choice of collected found objects. The general contribution(s) of this mini-thesis to the knowledge toward the direction design needs to take is three-fold: firstly, the study confirmed an awareness of using discarded banal found objects and giving these objects new life through design thinking; secondly, it emphasises the awareness around the critical concerns of sustainability and social responsibility; and, lastly it engages curricula development in robust dialogue that advances the sustainability agenda in a multi-disciplinary context in the Faculty of Informatics and Design, at the Cape Peninsula University of Technology, Cape Town, South Africa. In order to initiate further dialogue, this study argues and proposes that student learning can be enhanced through using a found object as catalyst to ignite creative expression and as a result positively contribute to the sustainability agenda. Typically the study could also propose through means of arguments in literature that creative practical activities structured around found objects and design thinking will allow students to adopt a deep approach to learning. These educational arguments will exceed the objectives of this mini-thesis. They are, nevertheless, considered a worthwhile theme for further research or a doctoral thesis.
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Cleveland, Chad L. "The music of art /." Online version of thesis, 2009. http://hdl.handle.net/1850/11203.
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Kovac, Amber M. "Sculpture & practice finding a way here and now /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/A_Kovac_041410.pdf.
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Shukuroglou, Vicky, and winepony@gmail com. "Origins, procedure and artefact." RMIT University. Art, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100329.154248.
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Found and collected natural (organic) and industrial materials are conducive to Vicky Shukuroglou's making of artefacts. They have particular properties of materiality and origin for engagement, interpretation and intervention. Materials are sourced, selected and collected from such diverse environments as urban industries and remote coastal environs. They are chosen for their working properties, personal associations, and qualities such as colour, form, texture, weight, structure and material composition. Her observations of and responses to these diverse environments and their local materials become the influence in the process of making. Objects - such as hair and bone - are investigated and reflected upon as they hold certain qualities that appeal and intrigue, and inspire creative responses. Materials are significantly altered from their original form and utilised for the construction of works, or engaged with as 'objects' for inclusion that remain largely as they were found. They are built onto, extended, reconstructed, enclosed or joined with the constructed elements. Visual energy and ambiguity created from common and opposing qualities is considered and utilised in the interpretation of found forms. In the building of these objects or assemblages, they take on a detailed and intimate identity, whose scale expands beyond the hand held object. The process and activity of making is a vehicle for further observation and learning, generating an understanding and insight into the relationships of place, structure, form, movement, space, and personal methodologies.
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Bennett, Julie. "Where the sun has fallen to earth : A studio investigation of the nature of place, and the place of nature in visual art practice." Thesis, University of Ballarat, 2008. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/44694.
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My work involves the insertion of a structure into a landscape - a particular landscape, one I have contemplated for many years. In my landscape, 'my place', time is seen through the change of farming and weather seasons. We think we know and understand the landscape that immediately surrounds us, the place in which we live, but in the event of even a small change within that familiar place, our understanding and perceptions are called into question and our sense of time and space are rearranged.Master of Arts (Visual Arts)
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Thompson, Lindon J. "Trace and the makers of meaning." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1074.
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One of the greatest accessible records of trace and the past is the landscape, which over time acts as a repository of evidence from natural forces and things that humans have created or changed. This thesis considers trace as material and nonmaterial evidence, remnants, marks, vestiges of events past and forgotten or remembered. How can a past that is evidenced only by its traces be read within a landscape context by disciplines of knowledge production? The subsequent interpretation, generation of meaning and understanding of traces contributes to the knowledge, mythology and perceptions of reality for differing groups in different places. At the same time this research considers my own arts practice, paintings which are derived from a unique process of casting various found surfaces (wood, metal, brick, etc) and extracting the ‘traces’ in acrylic paint, removing and transferring a thin layer of the original surface material which may or may not be reworked further. The paintings, from the environment of a bygone time, remind us of what we see and yet often may not notice. They invite us to consider our relationship to a past from which we may have become alienated. ‘Trace’ connects ‘lived’ time, the past, with ‘physical’ time, the present. Traces invite us to contemplate the ephemeral quality of time and consider the synergy of time continuum – the connection of past and present – and in so doing compel us to consider the question of the future.
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Ryan, Kathryn Mary. "Pieces of practice | avian spaces." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/12008.
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This research paper is written in a first-person narrative style. The style mirrors the practice-led research methodology I have used which privileges process over resolution and acknowledges that making can be both generative and interrogative. More traditional research methods rely on distancing the researcher from production and placing them within an external framework. Practice-led researchers “construct experiential starting points from which practice follows. They tend to ‘dive in’, to commence practising to see what emerges. They acknowledge that what emerges is individualistic and idiosyncratic.” In this paper the reader is taken on a journey from the spaces of the future, present and past in search of the ‘unfound’. The ‘unfound’ is also to some extent ‘unknown’, but occasionally reveals itself in the text through accidents of poetic association between objects, art and literary moments. The space of the paper is also an avian one. It doesn’t interrogate the material egg and bird object motifs in my practical work, but occupies the air to which these forms owe their qualities of transience, agility and fragility. It is this element that exemplifies the space of my works production. Instead of dissecting and pinning down this element (which would be antithetical), I have tried to occupy its spirit. A substantial part of the paper is made up of footnotes and references to exterior sites, elements that in this paper are far from peripheral. They are employed here as literary devices that enable a visual and conceptual illustration of the distance between process and analysis. Alberto Manguel wrote that “all writing depends on the generosity of the reader.” This paper requires a ‘generous reader’ willing to follow an experimental journey. 1. Brad Haseman, ‘Tightrope Writing: Creative Writing Programs in the RQF Environment’ http://www.textjournal.com.au/april07/haseman.htm 2. Alberto Manguel, A History of Reading (London: Flamingo, 1997), 179.
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Labuschagne, Elizabeth Jacomina. "Speelse plastiek : kontemporere juweliersware as bricolage : ’n praktyk-gebaseerde ondersoek." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86664.
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Thesis (MA(VA))--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates adults who play. Through my investigation, I discovered that play for adults is not distraction or a waste of time as is generally accepted. It is a basic need and necessary for survival. Although there are different forms of play, such as sport matches, hobbies and gambling, I specifically focus on play where objects can be created. This type of play is inherently more creative and stimulates lateral thinking. In play there is a freedom and safe environment which is not necessarily tied to reality. At the same time it is a self-reflective discovery process which stimulates brain activity. In my practice I use plastic bags as an accessible and malleable material to design and make contemporary jewellery. It is a way to act as an active agent in the world, rather than a passive consumer. The discussion of my art pieces forms the primary research of the thesis and is supported by theoretical research. In the process of making a deeper understanding and knowledge is extracted, which can be established through ritual play. New connections are formed in the brain and contrasting ideas can be linked which would otherwise not have happened. Play has value because it does not only stay in ‘play state’. It can spill over to the confrontation, questioning and uniting of the sociological, economical, cultural and political contrasts in my immediate South African environment. Consequently play contributes to our ability to adapt, process everyday contradictions (such as social inequality) and find creative solutions. Furthermore, it possesses the potential to contribute to our social wellbeing, happiness, trust, the will to share and to live empathetically.
AFRIKAANSE OPSOMMING: Hierdie tesis handel oor volwassenes wat speel. Deur my ondersoek ontdek ek dat spel vir volwassenes nie afleiding of ʼn mors van tyd is soos algemeen aanvaar word nie. Dit is ʼn behoefte en noodsaaklik vir oorlewing. Alhoewel daar verskillende vorme van spel is, soos byvoorbeeld sportkragmetings, stokperdjies, dobbelary, fokus ek spesifiek op spel waar objekte gemaak word. Dié tipe spel is inherent kreatief en stimuleer laterale denke. In spel is daar is ʼn vryheid en veilige ruimte wat nie met die werklikheid verenig hoef te word nie, maar terselfdertyd is dit ʼn self-refleksiewe ontdekkingsproses wat breinaktiwiteite verhoog. In my praktyk maak ek gebruik van plastieksakke as toeganklike en vervormbare materiaal om kontemporêre juweliersware te ontwerp en te maak. Dit is ’n manier om as ʼn aktiewe agent in die wêreld op te tree, eerder as ’n passiewe verbruiker. Die bespreking van my kunswerke vorm die primêre navorsing van die tesis en word ondersteun deur teoretiese navorsing. In die maakproses word daar ʼn dieper begrip en kennis ontgin wat vasgelê kan word deur rituele spel. Nuwe konneksies word in die brein gevorm en kontrasterende idees kan verbind word wat nie andersins sou plaasvind nie. Spel is waardevol omdat dit nie net in die ‘spel toestand’ bly nie. Dit kan oorspoel na die konfrontasie, bevraagtekening en vereniging van sosiologiese, ekonomiese, kulturele en politiese kontraste in my onmiddellike Suid-Afrikaanse omgewing. Gevolglik dra spel by tot ons vermoë om aan te pas, alledaagse teenstrydighede (soos sosiale ongelykheid) te verwerk en kreatiewe oplossings te vind. Dit besit verder die potensiaal om by te dra tot ons sosiale welstand, gelukkigheid, vertroue, die wil om te deel en empaties te lewe.
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Metz, Brittany. "The memory of forgotten things." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4984.
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This thesis investigates my lack of childhood memories and documents how my artwork stands in as a substitute for that lost memory. The first part of the thesis analyzes my early life and influences; the second part analyzes my art making and process. The narrative style of writing is intentionally autobiographical to mimic the narrative style and structure of the thesis installation. My upbringing, interests, creative process, access to materials, and inspiration are fully explored. The impact my early life has on my current work is evident. Real memory is combined with created memory in the thesis multi-media installation. I wish to transport the viewer into the dreamlike space I have constructed with found objects and multi-media materials by offering an immersive experience into my world.ID: 029809878; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 16).
M.F.A.
Masters
Visual Art and Design
Arts and Humanities
Studio Art and the Computer
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Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
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Biederman, Angela L. "Body in the Landscape of the Mind." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461593111.
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Masley, Jennifer Irene. "Transitory Ephemera." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619444631965175.
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Woods, Melissa Marie. "Questioning the Object." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738738.
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Cooke, Christina Elizabeth. "The Second-Hand Society." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/1133.
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The Second-Hand Society tells the stories of people in Portland, Oregon who redefine waste by making use of objects others discard. The author spends time in repair shops watching craftsmen hammer and polish broken typewriters, vacuum cleaners and shoes back to life. She follows book scouts, clothes pickers and liquidators as they gather merchandise to resell and spends hours at nonprofits that collect and redistribute unwanted electronics and building supplies. She watches junk artists and fashion designers assemble found objects into display pieces, accompanies Dumpster divers and "freegans" along their regular collection routes and visits the homeless encampment by the airport to see how an entire community of people survives on nothing but reclaimed materials. The members of the second-hand society challenge the traditional conception of things as "broken" or "unwanted" and assert that forward movement and new-new-new is not always optimal. By examining the motivations and practices of the people who make use of our discards and looking at the contradictions they run up against, this thesis develops a more complete understanding of the reality that's possible if we think differently about our waste.
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Raby, Erica M. "Accumulation." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1240255325.
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Thesis (M.F.A.)--Kent State University, 2009.Title from PDF t.p. (viewed Jan. 22, 2010). Advisor: Darice Polo. Keywords: Installation; assemblage; mixed-media; drawing; playful arrangements; doodling; envrionmental art; intuitive process; mixed-media drawings; environmental concerns; ecological concerns; fragile environment; site-specific; craft-based methods; post-consumer. Includes bibliographical references (p. 28).
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Coombs, Courtney E. "It's complicated: Romancing the [male] modernist canon." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84527/4/Courtney_Coombs_Thesis.pdf.
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This research project proposes a model of dialogue between the [predominantly male] modernist canon and models of feminist resistance. Employing a practice based methodology that utilises humour as a method for ironic deconstruction as well as a feminist methodology of revision, critique, and dialogic exchange; the resulting body of work disrupts and augments the modernist canon. Making intimate relationships explicit, the artworks explor collaborative and faux-llaborative processes to form a series of tentative gestures that refute notions of mastery and control. The accompanying exegesis contextualises this work by placing the research and the outputs amongst the field.
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Pinkney, Valerie J. "Mark Di Suvero's Sculpture: From the Found-Object Sculpture of the Nineteen Sixties to the Monumental Sculpture of the Nineteen Eighties, A Study in Continuity." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500326/.
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This thesis analyzes technical and stylistic aspects of Mark di Suvero's nineteen sixties found-object works, and his monumental I-beam sculptures of the nineteen seventies and eighties to demonstrate their consistency despite the apparent contrasts in form, materials, and process. Primary data, sculpture of Mark di Suvero. Secondary data obtained from major art periodicals, newspapers, and exhibition catalogs. The artist was interviewed by author at the retrospective exhibition in Nice, France, Septermber, 17, 1991. Examination of primary and secondary data reveals a strong continuity by the artist in his approach to his work despite obvious external changes in materials and process.
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Taylor, Luca F. "Intramural: Within Four Walls." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1557366339698542.
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Zeh, Hans-Dieter. "Défence d’afficher: An exhibition -and- From snap-shot photography to digital printmaking via the concept of the flâneur: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2118.
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The aim of this research project was to consider the construction of meaning within visual arts, with a view to possible applications of the concept of the flâneur as method of research. My purpose was to open new insights into the experience of everyday life through a consideration of peripheral phenomena. I formulated this as a concept through my artwork and retraced a history of development via a background of artists who paradoxically create artworks from debris. I focused on the practice of a small group of French, German and Italian artists who called themselves the “Affichistes”, in referral to the torn and shredded posters (“affiche” is the French word for poster) they use to make their art work, in a process called décollage, meaning the reverse of collage. An element of absurdity, embedded in the concept of making art by bringing debris into the gallery and thereby proposing a re-examination of commonly accepted cultural values, refers to a critical evaluation of seemingly absurd socio-economic aspects of mainstream culture that were part of the impulse initiating the wide spread counter-cultural movement associated with the 1960s.
My art practice aims to bring attention to incidental photography, the principle of décollage, as well as the method of the flâneur. Using the methodology of practice-led research, I have enquired into visual aspects of public urban spaces and into the use of these spaces in contemporary visual art.
The studio practice was divided into three parts. Fieldwork was conducted in and around the Perth metropolitan area, as well as on various locations in Germany and France, during two short stays in February and November 2017. The printmaking practice was conducted in various studios in Perth, Western Australia. The project also extended to a four-week residency at the University of Western Australia’s ARTLAAB studio, including an exhibition during the month of June 2017. Arising from the ARTLAAB residency, a substantial body of work was developed and produced, including digital prints, a light box, as well as a sculptural installation. An exegesis and exhibition demonstrated the aesthetic as well the conceptual potential of décollage in conjunction with the concept of the flâneur used as a research method. The method of the flâneur was explored in terms of a perambulating manner of gathering data, in form of snap-shot photography as a way of sketching found images relating to the aesthetic of the “Affichistes”. The studio practice developed these images into the artworks exhibited in “Défence d’afficher”.
The perambulating manner also applied to the literature consulted for this research, encompassing, apart from academic texts, a wide variety of haphazardly gathered literary sources, such as novels, daily newspapers and magazines, rock-music lyrics and information gleaned from private conversations and personal observation.
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Quayle, Cian. "Inventory for a reverse journey : photographic image and found object : an investigation of travel and material transformation as a paradigm of artist's practice : Ed Ruscha, Douglas Huebler, Bas jan Ader, Jimmie Durham, Gustav Metzger, Kurt Schwitters & Cian Quayle." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/2308/.
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Inventory for Reverse Journey is the title of a collection of photographic artefacts and found objects, which I have collected over the last twenty years. The title refers to one specific type of artist's journey, which is applicable to the `chronotope' of my archive, as a `metaphorical journey in space and time' (Bakhtin 1981, p. 81). The `city',`provincial town', `road', `threshold' and `interior' are recurrent motifs, which Bakhtin fused together to describe the historical evolution of the novel in relation to its different genres. Bakhtin's motifs are expanded as the basis of an evolutionary nomenclature of the artist's-journey, as a form of spatial mapping and identity formation. Alongside other sources from literature (Alain Robbe-Grillet), cinema (Michelangelo Antonioni), psychoanalysis (Kierkegaard) and critical theory (Walter Benjamin) I have developed a theoretical framework, which initially originated in an empirical process, that is reflected in the antecedents of this project. The research process, as a journey itself, has concretised this approach within a systems-based practice. This is mirrored in the work of the artists under investigation, as their differences and similarities are highlighted within a broad contextual analysis. Accordingly the tone of the writing shifts its register at different points in the thesis. My journey is just one example of several paradigmatic formations of `travel' as a strategy, which investigates the work of six different artists, as a voluntary or involuntary form of exile. A deskilled use of the photographic image is examined in the work of Ed Ruscha, Douglas Huebler and Bas jan Ader in the spatial mapping of their chosen locations. The work of these artists manifests travel, as a strategy, in a benign form of regional and expatriate exile. The investigation shifts its focus from the New World to Europe, where the work of Jimmie Durham, Gustav Metzger and Kurt Schwitters is analysed in relation to their transformation of found objects and materials, and their relationship with a former 'home'. Their position registers different degrees of the `impossibility of return' to a point of origin, which exists in the mind rather than as a physical location. The transience of their work, and use of disparate materials, is counterbalanced by their physical presence in the work. Conversely Ader, Huebler and Ruscha are linked by a scale of decreasing visibility, as they are sublimated within their work in the formation of, what is now construed as, a unique photographic presence. The starting point for which is a return to the formative years of conceptualism in the 1960's, which set the scene for Durham and Metzger from the 1970's onwards. The spectre of Schwitters practice of forming (Formung) and unforming (Entformung) is significant for my analysis of the dematerialisation of the art-work and artist, by processes of series and repetition, distance and proximity, movement and stasis. Although `travel' is a ubiquitous term, I continue to use it as a portmanteau, which carries with it the themes and `salient' features of a typology of artist's journeys. In a moment of perceived obsolescence as digital information systems engender a culture of `selective-amnesia', these thoughts have informed my work, which runs parallel to the artist case-studies, and the material transformation of the photographic image and found object.
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Balard, Lionel. "L'objet, la figure et l'entour : Essai sur l'objet pictural réel à partir des conditions et des modalités de mise en oeuvre de l' entour ; l' entour étant entendu dans différents sens : le fond, l' environnement spatial et le contour : Corpus d'artistes de référence : Pierre Bonnard, Giorgio Morandi, George Segal, Pablo Picasso." Phd thesis, Université Jean Monnet - Saint-Etienne, 2010. http://tel.archives-ouvertes.fr/tel-00685830.
Full textAbstract:
Il s'agit d'une thèse visant à définir un artefact singulier issu de la création plastique : l'objet pictural réel. A près avoir circonscrit, dans une première partie, sa recherche théorique autour d'un objet de culture relevant des problématiques de l'art pictural figuratif moderne, et après avoir défini les concepts et enjeux qui s'y rapportent, l'auteur développe deux autres parties distinctes. La première renvoie à l'artefact artistique et vise à décrire les pratiques de création des artistes de la référence : Giorgio Morandi, Pierre Bonnard et George Segal. La seconde concerne la dimension esthétique de l'artefact et s'appuie sur l'analyse critique d'œuvres. Tout le propos de l'auteur tend à rendre appréhendables les caractéristiques poïétiques et esthétiques de l'objet pictural réel dont la particularité est d'invariablement mettre du jeu dans le regard du spectateur, l'obligeant à reconsidérer ses habitudes de perception, sa façon d'appréhender l'œuvre picturale.
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Brod, Undine. "“C” is for Ceramics – It Also Stands for: Collecting, Community, Content, Confusion, and Clarity." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1309449467.
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Caudill, Ross Steven. "Ross Caudill MFA Sculpture 2006." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1407.
Full textAbstract:
This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfer of meaning through casting, and my emotional relationship with the various parts of the sculptures. The three major themes of the work are: divine love and the complex of the apocalypse, the complexities and psychology concerning the relationship between a man and a woman, and the intrigue, potential energy, and beauty of the systems mankind hasinvented to harness the atom. The major artistic influences for this body of work have been: Jasper Johns, Marcel Duchamp, Constantine Brancusi, Alberto Giacommetti, Reg Butler, Henry Moore, Lynn Chadwick, Kenneth Armitage, Jeff Koons, Terry Winters, William DeKooning, Richard Diebenkorn, David Smith and Charles Long. I retain a strongrelationship with the movements of Dada, Surrealism, Futurism, and Assemblage, and amalso currently involved in solidifying the Manifesto of Raubeaux with a small group ofesteemed colleagues.
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Kearney, Alison. "Beyond the readymade: found objects in contemporary South African art." Thesis, 2016. http://hdl.handle.net/10539/20776.
Full textAbstract:
A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of the degree of Doctor of philosophy.
March 2016.The use of found objects is evident in a range of contemporary artmaking practices. The use of found objects can, however, no longer be understood as a rupture from tradition as they were in the early decades of the twentieth century when they were first used by Picasso and later by Duchamp, because found objects have become part of a longer genealogy in art making. A new approach is needed in order to understand the significance of the use of found objects in contemporary art. This study explores the significance of the use of found objects in selected contemporary South African artworks in order to move beyond an understanding of the use of found objects as the anti-art gestures like those of the historical and neo-avant-gardes. I propose that a shift in focus, from the idea of the found objects as anti-art, to an exploration of the changing ontological status of the found object as it moves through different social fields is one such new approach. Chapter one introduces the study, while chapter two outlines the research methods and theoretical frameworks used. Chapter three explores the meanings that objects accrue in everyday practices, while chapter four focussed on the difference between artworks and more quotidian objects. Pursuing the question of the manner in which the ontological status of the object shifts as it enters into and becomes part of the field of exhibition, chapter five considers the ways in which meanings are constructed for objects in the field of exhibition through the conventions of display. I explore the ways in which artists make use of or invert these conventions as a means of challenging the field of exhibition. Acknowledging that the objects are also active agents within this process, in chapter six I explore the manner in which the materiality of found objects contributes to the meaning of the artworks, and by extension, I consider what new possibilities of meaning a focus on the materiality yields. In the final chapter, I use the concept of the everyday to draw the themes that have emerged throughout this study together. I conclude by situating the contemporary South African art practices within the genealogy of the avant-garde.
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Robinson, Denise Ava. "Potency of the invisible : an exploration into urban symbiotics through installation practice." Thesis, 2010. https://eprints.utas.edu.au/21418/1/whole_RobinsonDeniseAva2010_thesis.pdf.
Full textAbstract:
This research project explores the 'invisible' beyond the visible; elements that inform
and affect personal experience within the urban site.
Psychological, physiological and philosophical aspects of the human experience form
the theoretical premise of the project. The human desire to order and find meaning
informs the artistic exploration and processes resulting in a series of installations as a
visual representation of the symbiotic relationships evident within urban space.
Interest in the complex and intricate interchanges between external (environmental)
and internal (personal) elements underpin this investigation. The personal experience
of relocation and dislocation provided impetus to explore the innate desire to connect
or find meaning in a place. The project examines conscious and unconscious
behaviours, and cognitive processes central to the individual's quest to mark territory
or define 'place' in order to embed within them a sense of belonging.
Reference is made to artists who work in reductive abstraction, biographical interplay
between life and art, and divergent material processes - Robert Hunter, Robert Irwin,
Agnes Martin, Kasmir Malevich and Piet Mondrian are discussed for their reductive
use of mark or colour as visual exploration of the inexplicable; Joseph Beuys, Kurt
Schwitters, Robert Rauschenberg and Dieter Roth whose works reflect personal
investigations into the intersection between life and art; and Eva Hesse's work is
examined for her exploration and use of disparate materials and processes.
The philosophical focus for the research includes Henri Lefebvre's writings on
'rhythm-analysis', Maurice Merleau-Ponty's Phenomenology of Perception (2008),
and Gaston Bachelard's The Poetics of Space (1994); providing critical dialogue for
the investigation into body-environment experience. Anne Buttimer and David
Seamon's The Human Experience of Space and Place (1980), together with Irwin
Altman and Setha Low' s Place Attachment, Human Behaviour and Environment
(1992), provided in-depth analysis into the inter-relatedness between person and
place.
My intent is to decode the personal experience of the urban environment, and through
integrated processes of transforming every day banal activity and objects, reflect the
collective experience. The systematic, repetitive ordering and diarising processes
contain a personal narrative of every day activities that lay at the core of our
subjective experience. Personal discarded matter and urban detritus are amalgamated
and fused into various absorbent surfaces reflecting the continual interchanges and
transformations that underpin human experience. The visual outcome of this research
project seeks to reflect, expose, and ultimately reconnect us with, the often 'invisible'
woven into our lives .
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McGowan, SM. "A visual investigation of fetish in contemporary society." Thesis, 2007. https://eprints.utas.edu.au/22286/1/whole_McGowanShaun2011_thesis.pdf.
Full textAbstract:
This project is a visual investigation of fetish in contemporary society, developed through the selection and representation of collected objects, with a particular focus on toys.
Various definitions of fetish are explored through its development in the modem world, from its first use to describe a religious object in the fifteenth century, to the use of the term fetish in an economic sense by Karl Marx, and to the use of fetish in a psychological sense by Sigmund Freud. Contemporary understanding of the term fetish is further developed to explore the role that the readymade object plays in society as described by cultural theorist William Pietz. A context in Fine Art is offered historically through Andy Warhol and his repetitions of popular culture iconography, and in a more contemporaneous sense by the work of Zoe Leonard, Wolfgang Laib and the Chapman Brothers.
This investigation is carried out through the production and presentation of sculpture. Objects are sourced from the everyday world; manipulated, and represented to explore and develop ideas about the role that fetish plays in the contemporary world. Objects that are sourced for this project are chosen to explore the changing and varied definition of fetish. These include objects of mass consumption and advertising such as commercial toys, spiritual or religious objects such as icons or statues, and objects that are regarded as having a more contemporary and personal sense of fetish.
Fetish is shown through the project to be a valid descriptor of certain relationships to objects in the world. Toys were used to drive an investigation of fetish throughout the project, and fulfil the definitions of what fetish might be. The project has shown that fetish is a term that can be widely used in culture to describe relationships to objects.
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Bartley-Clements, Jo-Anne. "Expanding the imaginal space: an exploration of potential sites of imagination through repetition, play and the found object in contemporary art installation practice." 2006. http://arrow.unisa.edu.au:8081/1959.8/29581.
Full textAbstract:
This research project investigates factors contributing to what I consider to be an erosion within the contemporary culture of the imagination- crucial to the very concept of what it is to be human. It has been said that the 'civilising' of art within contemporary culture may have flogged the human imagination into retreat. If so what might be the best way for art to help us visualise more creative ways of living and being? This is the key question I have pursued in this research project, the main outcomes of which are a body of creative art works (presented for examination in the form of a site-specific installation, together with documentary archive of photographs and other interventions) and an exegesis which explores the critical context for these. In proposing site-specific installation art as a vital alternative to the over-commodification evident within much contemporary art, I also see repetition and play as being strategies with particular potential for encouraging active artist-participant dialogue on the subject of the poetico-ethical imagination- along lines suggested by thinkers such as Robert Kearney and Ken Wilbur. The artefacts and installations presented for examination are mostly devoid of textual explanation and commentary, with the aim of emphasising direct sensory experience. However, throughout the written component (exegesis) I have taken the creative liberty of including textual fragments and other visual elements as a means of suggesting that a form of disassociation, meandering or breakdown has occurred. The reader will also notice an absence of capitalisation in the titles of chapters (and certain works). In this I have sought to explore possibilities for undermining academic form through imaginative play.
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White, Shalena Bethany. "Humble alchemy." Thesis, 2014. http://hdl.handle.net/2152/26414.
Full textAbstract:
This master's report addresses the conceptual and material investigations that were explored within my artistic research made at the University of Texas at Austin between 2011 and 2014. These works are a confluence of adornment, sculpture and installation art. These pieces incorporate ancient and contemporary metalworking techniques with raw, organic material. The notion of elegant ornamentation is expanded beyond the body into the adornment of architecture. The potential for transformation and reinvention within found elements is explored within this work. The natural resources I work with have gone through a cycle, which is interrupted when the objects are removed from the earth. I see my process in relationship to alchemical concepts of transmutation. Through manipulation, common matter evolves into precious material. The refined, meticulous craftsmanship conveys a sense of reverence and honor towards the common material. This intervention with the material is an act of preservation and veneration. This work explores my sense of intrigue about the extraordinary potential of mundane materials, and investigates conventional notions of material value.text
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Willemse, Emma Wilhelmina. "The phenomenon of displacement in contemporary society and its manifestation in contemporary visual art." Diss., 2010. http://hdl.handle.net/10500/4343.
Full textAbstract:
As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon.Art History, Visual Arts & Musicology
M.A. (Visual Arts)
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Lavery, Ariel R. "Detritus In Situ." 2013. https://scholarworks.umass.edu/theses/1055.
Full textAbstract:
This thesis paper explores some of the cultural phenomena that influence my conceptual framework and describes the logic behind the formal decision-making that defines my work. Beginning with a description of the nature of the materials and environments I appropriate, this thesis aims to deconstruct the layered system of binaries that build the logic behind my work. The concerns in my work circulate around domestic consumption and the objects detritus, a term coined in the paper, that are produced as a result. However, rather than allow the objects detritus to remain cast-aways of a culture of excess, my work reincorporates these objects as materials in conglomerate sculptures. This thesis depicts the complex of ideas that help delegate how these conglomerate works come into being.
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Bernatchez, Elise. "Art and object-X : things I found while digging a pond." Thesis, 1995. http://spectrum.library.concordia.ca/6202/1/NN05058.pdf.
Full textAbstract:
A study of the nature of art in a postmodern intellectual climate, drawing on texts from the sociology of art and from art theory as well as on artworks. Also describes author's sculptural installation sited in a rock garden.
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Macdonald, Ryan A. "Pale In Comparison." 2011. https://scholarworks.umass.edu/theses/625.
Full textAbstract:
People maintain histories through memory filtered through language to create fictions. My work involves the recording and incorporation of stories into audio and sculptural and installation, to reveal the structures that make up the fictions we exist within. For this exhibition, it is through a combination of disparate objects: fingers, furniture, potatoes and peach pits, stripped of their colors and humming with life that I am investigating my own fictions and their undeniable relations with others.
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Nelson, Sasha Lee. "Instruments." Thesis, 2010. http://hdl.handle.net/10012/5341.
Full textAbstract:
The Instruments installation represents the superimposition of two systems. The marketed elements that comprise the hegemony exerted by commodity culture are placed on top of the occult qabalistic Tree of Life. This overlaying makes the commentary that the pursuit of identity through commodified objects usurps and drowns out the natural fundamental components of the human psyche. The artist accomplishes this by creating various expressive multimedia sculptures out of actual objects. Each one is given a title that references a particular sphere on the Tree of Life glyph, for each piece is meant to represent that sphere’s aspect of the human entity as it is expressed in the commodity realm.
The artist begins by introducing the reader to the artistic contexts and the various conceptual structures that serve to inform and describe his mode of working and its results. Subsequently, a detailed description of each work is given, simultaneously functioning as a necessarily brief survey of the spheres on the qabalistic glyph.
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Blue, Sarah. "Selfhood and the art of the found object : self-creation in three novels by Margaret Atwood, Colette, and Monique Wittig." 2001. http://purl.galileo.usg.edu/uga%5Fetd/blue%5Fsarah%5F200105%5Fphd.
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McGarry, Llewellyn Ane. "Beyond the Immeasurable." Phd thesis, 2018. http://hdl.handle.net/1885/149566.
Full textAbstract:
My thesis, Beyond the Immeasurable, is a biographical exploration
of my collective: my ex-husband and three children. My method is
based in collecting. The outcomes of my research are works of art
developed from material sourced, classified, and collected in my
domestic environment.
Over the four years of research, I collected specimens, personal
matter, empirical data, and found objects. It ranged from
evidence of the body (hair, teeth, food scraps, and saliva),
soundscapes from within the home (audio recordings of the
collective during interactions), documented performances, and
statistical/empirical data of interactions (dates, times,
durations). My practice engaged with a number of themes and
theories including collecting practices, interpersonal
contamination, domestic space, feminist art and craft, and
identity as well as contextualising my research amongst artists
such as Sophie Calle, Annette Messager, and Louise Bourgeois. In
the end, it became the evidence of our lives and experiences. As
the project progressed, the research evolved to focus on defining
who I was, my role within the collective, and, despite the
collective’s demise, ultimately, the project was about love.
The research outcomes encompass a collection of sculptural,
photographic, performance and video pieces.
I found, in response to my aims, my practice-led research had
become a narrative which gave me a sense of self, place, and
belonging. These collections and the proceeding works resulted in
a demonstration of a metaphorical fusion of identities,
establishment of relationships within the collective,
consolidation of different personas and facets of my life, and
the development and redefinition my visual arts practice. The
most surprising discovery, was the redefining of my role as a
mother and the acceptance of this expressed through feminine
craft with materials I collected from my own domestic space, my
home.
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McMurrich, Donald. "should one react against the laziness of railway tracks between the passage of two trains." Thesis, 2014. http://hdl.handle.net/10012/8461.
Full textAbstract:
should one react against the laziness of railway tracks between the passage of two trains investigates the everyday as experienced in the post-industrial landscape. Through the activities of walking and mapping, fieldwork is conducted during treks that follow the route of the railroad in the Kitchener-Waterloo region. I examine detritus as post-readymade artifacts of the industrial economy that has abandoned the area. Interventions of minimal gestures engage the inherent narratives of these discarded materials. Improvised assembled sculptures mark my route as a form of wayfinding that re-appropriates the neglected urban space of the railroad right of way. Online maps document these treks as open works of art to be completed by participants as self-guided walks. The activity of walking and assembling sculptures in these marginal landscapes is a playful strategy that resists the alienation of immaterial labour in our contemporary economic context.
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MacLeod, Suzanne. "From the "rising tide" to solidarity: disrupting dominant crisis discourses in dementia social policy in neoliberal times." Thesis, 2014. http://hdl.handle.net/1828/5213.
Full textAbstract:
As a social worker practising in long-term residential care for people living with dementia, I am alarmed by discourses in the media and health policy that construct persons living with dementia and their health care needs as a threatening “rising tide” or crisis. I am particularly concerned about the material effects such dominant discourses, and the values they uphold, might have on the collective provision of care and support for our elderly citizens in the present neoliberal economic and political context of health care. To better understand how dominant discourses about dementia work at this time when Canada’s population is aging and the number of persons living with dementia is anticipated to increase, I have rooted my thesis in poststructural methodology. My research method is a discourse analysis, which draws on Foucault’s archaeological and genealogical concepts, to examine two contemporary health policy documents related to dementia care – one national and one provincial. I also incorporate some poetic representation – or found poetry – to write up my findings. While deconstructing and disrupting taken for granted dominant crisis discourses on dementia in health policy, my research also makes space for alternative constructions to support discursive and health policy possibilities in solidarity with persons living with dementia so that they may thrive.Graduate
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macsuz@shaw.ca