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Correia, Alice Anne. "Questions of identity in contemporary British art." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426230.
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Silpasart, Chayanoot. "Contemporary Thai art : globalisation and cultural identity." Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617061.
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The drastic changes in Thai life since the 1980s, led by the impact of globalisation and economic growth, has made the Thai people to become more aware of the concepts of nationhood and cultural/national identity or "Thai-ness", especially through the form of cultural activities including visual art. The fear of losing national identity has led to the revival of traditional art, namely "neo-traditional Thai Art". This style is strongly supported by the government and is regarded as the mainstream of the Thai art scene since it has been the most effective catalyst for arousing patriotism and creating a sense of Thai unity. - Thai-centrism is promoted by artists and art instructors as a necessary means to distinguish national characteristics from the influence of Western art styles. Consequently, modern and contemporary Thai art is geared toward the conservative value of national identity. The assumption is that such art should reflect characteristics that are uniquely Thai. Yet, globalisation also gives some Thai artists, who are the subject of this thesis, confidence as the new internationalism opens up a wide range of opportunities. This thesis presents the work of distinctive avantgarde/ contemporary Thai artists, particularly Montien Boonma, Manit . Sriwanichpoom, Michael Shoawanasai, Rirkrit Tiravanija, and Navin Rawanchaikul. They struggle against the dominance of traditional styles and the professional hierarchy, yet are challenged to make distinctive contributions to contemporary Thai art. Thai-ness is defined and redefined in many contemporary contexts, despite the government's favouring neo-traditional art. While neo-traditional Thai art is favoured at home, neo-traditional artists have not really succeeded on the international art scene, even though they have exhibited in major museums around Asia. On . the other hand, avantgarde/ contemporary Thai artists, who always struggle to survive at home, have been selected by foreign curators, who had • developed an appreciation for cutting-edge/ experimental Thai artistic expression to participate in many prestigious international platforms.
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Heathfield, Adrian. "Representation and identity in contemporary performance." Thesis, University of Bristol, 1998. http://hdl.handle.net/1983/3bfedf40-4124-4ca5-b729-355c0601d71a.
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Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.
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Bahauddin, Azizi Bin. "Contemporary Malaysian art : an exploration of the Songket motifs." Thesis, Sheffield Hallam University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287587.
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This thesis explores the Malay songket motifs in relation to Malaysia's cultural identity and the transformations of these motifs within the context of the researcher's own art works. An examination of Malaysian government's fixed National Culture policy on identity is contrasted with the reality of identity as dynamic. The identity policy was created and asserted on a multi-racial population based on concept of MalaylBumiputera with no recognition of the 'Other', the nonBumiputera culture. Divisions among the populace were created by the privileges of political, economic and social adjustments given only to the Bumiputera. The lack of addressing the concerns of recognition and acknowledgement of the 'Other' and existence of 'difference' and stereotyping becomes the main interest of this research. In this thesis, the Malay songket motifs were used as a vehicle to demonstrate the Malay's strong association with traditional customs and rituals, a culture that became the focus of the National Culture policy. The motifs symbolises the dominance of the Malays clinging on to power to control the nation, echOing the height of the Malacca Malay Sultanate Empire eight centuries ago. The sense of growth, unity and human spirituality associated with animism was expressed in the songket motifs. However, evidence of the motifs assimilation with Hindu-Buddhist and Islamic influences proved that there is no Malay 'purity' in this art form. The researcher's practice transforms the flat images of the songket motifs into installative art works. Foods, light, shadow, images and sound become the media which express the research findings drawn from documentary, visual and oral sources concerning the songket motifs. His practice differs from the normal practice of Malaysian artists, who literally translate Malay culture into art work. The researcher's practice employs specific references to Malaysian sources free from didactic, cultural-political content. Above all, as a Malaysian working in the UK, the researcher not only engages his theoretical findings to inform his practice, he becomes part of the research. He is both a Malaysian artist himself and a contributor to that part of Malay culture that is examined in this thesis. He contributes to the compilation of the songket motifs information into CD-ROM.
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Xue, Grace H. "Space Between: Asian-American Women Identity, Culture and Contemporary Art." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/765.
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An exploration and analysis on the connections between identity, culture and contemporary art. A number of critical race theories are examined as possible constructions of Asian-American women identities. This paper seeks to understand how Asian-American women reconcile with these strivings and limitations and how they maintain their native racial identities despite their conflicting desire to conform to the mainstream culture. This paper also examines two contemporary women artists who promote a dialogue regarding transcultural identities.
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Perkins, Zalika. "Embracing Identity And Narrative In Art For Self-empowerment." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/art_design_theses/138.
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This arts-based thesis will explore ethnic identity and narrative in symbolic self-portraiture as themes for a body of work. This paper will discuss how identity and narrative play an important role in the empowerment of the artist and viewer. It will also show how this can be incorporated into an art classroom engaged in multicultural learning and the study of visual culture to empower students and give them opportunities to narrate their life stories.
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Cohn, Susan Art College of Fine Arts UNSW. "Recoding jewellery: identity, body, survival." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43809.
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RECODING JEWELLERY: identity, body, survival addresses a central problem facing contemporary jewellery practice: through the course of the Contemporary Jewellery Movement, the potential of the jewellery-object to mediate intricate social relationships has become constrained. This is in part due to a singular focus of ideas in the field, and in part due to the developmental trajectory of contemporary jewellery networks. Caught up in the art-craft debate, contemporary jewellery missed the potentials in theory for developing a critical voice. This was not helped by the fact that academic discourse (philosophical, social, sexual, political) has largely neglected the significances of jewellery. The aim in this thesis is to negotiate this mutual neglect - or 'double gap' - by finding connections between theory and jewellery in practice. Jewellery involves complex interactions between makers, objects, wearers and audiences within social networks. Possessing a distinct set of codes enlivened by its relationship to the body, jewellery is a way of thinking and connecting which is strongly embedded in the activities of managing identity that define cultures and epochs. In the process, the instinct for adornment becomes an integral means of survival. This thesis draws on modern and postmodern theory, as well as art and jewellery practices, to examine contemporary shifts in thinking about identity, the body and reproduction. Through the three main chapters of this thesis I endeavour to: (i) provide an informed interpretation of the internal and external pressures that have defined contemporary jewellery practice over time; (ii) introduce relevant examples of my own work, and seek ways to move beyond the limitations of my own practice; and (iii) advocate new ways of thinking about contemporary jewellery that might lead it to a different voice. Reflected in this approach are three fundamental influences to my practice: the Contemporary Jewellery Movement; non-jewellery practices such as art, architecture, street culture, technology and performance; and academic writing across a number of fields. The thesis concludes with a discussion of how these interests came together in a single show, Black Intentions. However, the span of work covered extends through my career in jewellery to provide a basis for future directions.
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Gomez, Elizabeth. "Voice and identity in contemporary Canadian art: perspectives on vocality and representation." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66664.
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This thesis argues that voice is defined through both its material and representational status and is fully integrated within the construction of gendered and raced identities, as well as the process of identification itself. At the centre of each chapter is the notion that voice can be an alternate mode of encountering and experiencing the other. As an examination into the issues of contemporary Canadian art, this discussion is initiated from context of art practices but is not limited to this field. Using the works of Janet Cardiff, Geneviève Cadieux, Ken Lum and Rebecca Belmore, this dissertation connects artistic practices to the distinct themes of narrative, embodiment, representation, and place. All of these artists and themes are integral in explaining the connectivity of voice to identity and how this topic is relevant to and reflective of current issues of race and gender within Canadian society. The use of non-visual artistic practices is also evidence of how constructions of identity, when restricted to the visual field are regimented and informed by the ideological structures of the term 'visibility'. 'Visibility' and its metonymic link with overt politicized terminology such as 'visible minority' is a limiting factor in daily existence for many citizens who face discrimination based on regimes of viewing. This dissertation makes a case not only for expanding the critical terms from which to discuss contemporary Canadian art that falls outside of visual parameters, but it is also an examination of existing critical theories of identity. Aside from critiquing aspects of visuality, the following chapters will consider voice as an aspect of the material body and the represented body that is ever present, but rarely considered critically. Through the use of interdisciplinary feminist and postcolonial texts, this thesis constructs a critical framework from which 'voice' can be applied not only toCette thèse soutient l'idée que la voix est définie tant par son corps matériel que par son statut de représentation et qu'elle est inhérente à la construction des identités, de genre et de race, ainsi qu'au processus d'identification lui-même. Chaque chapitre se construit autour de la notion de voix comme constituant une modalité alternative de rencontre et d'expérimentation de l'autre. Dans le cadre d'un examen de l'art contemporain canadien, mon propos s'enracine dans un contexte de pratiques d'art, mais ne se limite pas à ce seul champ. Se référant aux oeuvres de Janet Cardiff, Geneviève Cadieux, Ken Lum et Rebecca Belmore, cette discussion propose la mise en relation étroite entre pratiques artistiques et thèmes du récit, de l'incarnation, de la représentation et du lieu. Artistes et thèmes viennent soutenir l'explication de la connectivité entre voix et identité, et confirment que ce propos est le reflet - autant que le produit - des problèmes actuels de race et de genre existants au sein de la société canadienne. L'utilisation de pratiques artistiques non-visuelles montre également comment les constructions de l'identité, lorsqu'elles sont confinées au champ du visuel, sont régies et nourries par les structures idéologiques du terme « visibilité ». La « visibilité », et son lien métonymique avec la terminologie surpolitisée de « minorité visible », est un facteur limitant dans la vie quotidienne de nombreux citoyens, qui subissent des discriminations basées sur la loi du visible. Cette dissertation propose non seulement d'élargir le vocabulaire critique permettant de discuter de l 'art contemporain canadien sortant des paramètres visuels, mais fait aussi l'examen des théories critiques existantes sur la notion d'identité. En plus d'une critique des aspects de la visualité, les chapitres suivants traiteront de la voix comme aspect du corps matériel
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Cheetham, April. "A veiling of identity : anamorphosis as double vision in contemporary art practice." Thesis, Liverpool John Moores University, 2012. http://researchonline.ljmu.ac.uk/6127/.
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The thesis examines the trope of anamorphosis as a formal dimension of art practice and as a critical tool for exploring subjective vision. Anamorphosis is a technique of perspective that produces a distorted image that may only be corrected and made coherent when viewed from a specific angle. In order to re-form an oblique anamorph, it is necessary to view the image from a position that is markedly different from the conventional, frontal viewpoint. This process of eccentric viewing relies on the observer of the work to actively locate the viewing position that will re-form the image and confer meaning. The beholder of anamorphic images becomes aware of herself as a viewing subject and consequently, this act of viewing affirms the construction of vision as reflexive and self-critical. The thesis takes as its point of departure the claim of the influential art critic and theorist, Rosalind E. Krauss that the art practice of the German-American artist Eva Hesse, specifically the work, Contingent, 1969, represented a reinvention for its own time of an anamorphic condition through a mutual eclipse of form and matter. Krauss deploys the device of anamorphosis as a means of addressing the problematic of the relationship between the categories of painting and sculpture, and the debates into which Hesse's work intervened during the late 1960s. The thesis outlines the history of anamorphosis and its relation to geometric perspective from its genesis in the Renaissance to contemporary artists' engagement with anamorphic strategies of disruption. The psychoanalytical model of vision proposed by Jacques Lacan deploys anamorphosis as an exemplary structure in the elaboration of the gaze. The thesis discusses various dimensions of the anamorphic in art practice since 1970, with reference to works by Hannah Wilke, Richard Hamilton, Rachel Whiteread, Christine Borland and Shirazeh Houshiary.
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Stratico, Jose Fernando Amaral. "The articulation of concepts of identity in discourses of contemporary performance art." Thesis, Birmingham City University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369117.
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Thisthesis arose from a concern with the construction and manifestation of identity in performance art, particularly the articulation ofconcepts of identity within the realm of discourses, e.g. scripts, verbal and writtendiscourses by artists as wellas actual performances. Identity in performance is understood mainly as an ideological construction which is typical ofrecent political performances. The thrust of this research is that concepts of identity in performance have other not so explicit articulations andin somecasesthey are unconscious constructions. Theories and histories of performance haveneglected the occurrence of more subtle processes of identity conception in performance discourses andare unable to explain andinclude those constructions. By means of discourse analysis, this thesis presents two interconnected strands. The first is a review of early 20th century performative works as well as 1960's and 1970's performance art works, in an attemptto showthat these workswere also engaged in identity construction. The second approach is empirical and comprises interviews with performance artists, as well as analyses ofpieces ofperformance. The findings haverevealed that works of the past were engaged in identity conceptualisation as much as current pieces. This conceptualisation is made throughpatterns of specific conceptual frameworks and characterise political, carnivalesque, spontaneous, unconscious, standardised, celebratory and educational identities. In the kernel ofidentity conceptualisation in performance, liesconcepts that relateto an idea of essentiality, authenticity, authority, access and revelations about the self. Theunderstanding of performance's identity concepts presented here contribute to a moreinclusive theoryand history of performance. It calls attention to the fact that in performance art an intense exercise of identity construction is possible, because in this art genrethe physicality of the artist.is more emphasised than in other art forms
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DiTillio, Jessica. "Perverse Fascination: Medium, Identity, and Performativity in the Art of Kara Walker." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12970.
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Kara Walker is one of the most successful and widely known contemporary African-American artists today--remarkable for her radical engagement with issues of race, gender, and sexuality. Walker is best known for her provocative installations, composed of cut-paper silhouettes depicting fantastic and grotesque scenes of the antebellum South. This thesis examines Walker's work in silhouettes, text, and video in order to establish the unifying logic that unites her media. Walker's use of racist stereotypes has incited vehement criticism, and the debate over the political meaning of her work has been worked and reworked in the voluminous literature on her artistic practice. This thesis focuses on how Walker's defense and explanation of her own work functions as a performative and political component of the art itself. Walker's construction and performance of an artistic identity is an integral and intentional part of her overall practice and a key component to the interpretation of her work.
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Perkins, Gillian Hugman. "Issues in the construction of identity of some contemporary women artists." Thesis, University of Northampton, 1999. http://nectar.northampton.ac.uk/2979/.
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This thesis is based on an empirical study of forty-three contemporary women artists. The aim of this research was to explore how a number of factors impact on these women’s construction of their identity as artists. The women were selected through the East Midlands Arts register of artists, and therefore targeted women who had already identified themselves as practitioners. Although they all registered themselves as painters, their use of such terms as painter and artist, as my research revealed, was fluid, being dependent on changing perceptions of self. The research was conducted in line with feminist theories, which privilege gender as a defining characteristic of people’s experience. This is not to sanction notions of essentialism and therefore the research does not seek to universalise the position “woman”, but rather attempts to gain an understanding of the diversity of women’s experiences. To that end, the research data were collected through the use of both questionnaires and in-depth, semi-structured interviews. Five main categories emerged from the interviews, which formed the basis of the data analysis and interpretation. These were: issues concerning the conventional image of the artist and the limited availability of role models this provides for women artists; the relationship between women’s sense of their identity as females and its impact on their ability to combine that with an artist identity; the role of higher art education in constructing images of the artist; the part played by women artists’ social relations, including their relationships and roles within the family; and the models and realities of working practices, including the implications of the site of production and forms of dissemination. Two patterns emerged in my sample group regarding the various ways of constructing an artist identity. They largely reflected the impact of socialisation which, it would appear, requires women to adopt either a traditional female role around which the artist identity somehow has to be worked, or a traditional artist role which still challenges the adoption of a certain kind of female identity. The women in my sample group, however, showed signs of attempting to negotiate their own pathways towards complex and multiple identities; a process made more intricate for women with an additional identity of mother
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Neutre, Lila. "Sculpter le soi : le corps social comme dispositif de résistance, l'apparence comme poétique de survie." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0418.
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Dans nos sociétés occidentales contemporaines, esthétiques et spectaculaires, le corps est un objet de fétichisme social de même qu'un écran sur lequel il est possible de projeter une identité maniable et changeante. Considéré comme le support de l’individualité, il est l'objet de toutes les métamorphoses. De simple parti pris vestimentaire, le style peut parfois se faire l’expression d’un véritable mode de vie, d’une existence qui s'établit à l'encontre des normes imposées par une société. L’apparence devenant la manifestation ostentatoire (parfois caricaturale) d’une prise de position politique, philosophique ou sexuelle.Quels liens unissent la pratique du cabaret New-Burlesque, du Cosplay, de la Sape ou du Voguing ?En apparence dissemblables, voire peut-être antagonistes ; regroupant des membres d'âges, de sexes, d'origines différentes et s'ignorant la plupart du temps l'une l'autre ; ces communautés sous-culturelles partagent néanmoins des symboles, une idéologie, une organisation structurelle et sociale comparables. Dans une forme maîtrisée de l’artifice et du théâtre, tous utilisent leur apparence comme dispositif de résistance et interrogent la validité et les limites des impératifs sociétaux. C'est du moins ce que cette thèse tente de mettre en lumière, par la photographie et sur le terrain de la sociologieIn our contemporary societies, the body has become not only an object of social fetishism but also a screen where we can take on any kind of identity. Apperance can be transformed in a playground and used as a tool to resist society's standards. From a simple choice of clothing, a look can in fact express a global lifestyle. Even if seemingly light, style can show the choice of a certain way of life and be an exit from social constraints. It can reveal existential choices, whether political, philosophical or sexual.This researches are involving different groups of people and communities. What could possibly link Congolese Sapers, Voguers, Cosplayers, Roller derby and New-Burlesque performers? A priori different, most likely antagonistic and gathering a large range of people from various ages, social classes or origins, these subcultures still share a lot of similarities. From a comparable ideology to the use of similar symbols and compatible social organizations, they all seek to re-enchant our world in a critique of cast societies and question the limits of their social imperatives.In both photography and sociology, this PhD aims at forming a kaleidoscope of various facets of self-presentation in our contemporary society, with all its hopes and disappointments
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Gharsalli, Awatef. "L'art contemporain en Tunisie : les enjeux sociaux et internationaux." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100031/document.
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L’art contemporain en Tunisie est resté à la marge de l’art contemporain. Quelles sont les raisons qui ont empêché sa reconnaissance ? Voulant rompre avec toutes les représentations dites coloniales et orientalistes, les artistes de la jeune génération qui viennent après l’indépendance, cherchent à s’ouvrir sur l’international et à se moderniser tout en préservant leurs identités et leurs appartenances. Ils se sont retournés vers le patrimoine et la calligraphie pour ainsi « tunisifier » leurs peintures abstraites. L’art abstrait, au départ était une aventure libératrice. Plus tard, avec une critique presque absente, peu curieuse ou censurée, voire corrompue, une commission nationale d’achat qui sélectionne arbitrairement les œuvres et les artistes, les artistes tunisiens ont pu se réfugier dans l’art abstrait pour fuir la réalité. Sinon pour profiter du consentement de la commission d’achat. A force de répéter et de se répéter ils sont tombés dans le suivisme et l’anarchisme qui ont engendré une médiocrité de style et une stagnation picturale. Pendant que les uns tombent dans une léthargie sans fin, d’autres vont chercher à communiquer implicitement leur désarroi et leur malaise. Les enjeux sociaux ont fait que ces artistes restent à la marge d’une reconnaissance artistique nationale. À l’échelle international, il y a deux ou trois décennies il était inimaginable de porter un regard autre qu’ethnographique sur la production artistique non occidental et plus tard quand les frontières ont été aboulies, ceux qui passent à la visibilité le font à travers des règles imposés de l’extérieur. Les artistes ont été soulagés par la Révolution et ont rompu le mur du silence, de la crainte, de l’interdit et de la peur. Mais la libération de l’art qui correspond au devenir démocratique pourrait aussi s’accompagner du retour à une censure symbolique d’une nature moins démocratique. C’est sans doute le défi de l’art tunisien d’aujourd’hui. Cette thèse d’histoire de l’art aborde le sujet avec les méthodes de l’historien et le regard du critiqueContemporary art in Tunisia was seen at the margin of contemporary art. What are the reasons that hide its recognition? In order to break with all the colonial and Orientalist representations, the artists of the youth generation who come after the independence, tried to be known all over the world and stick into modernity while preserving their identities and affiliations. They turned, as a result, to the patrimony and calligraphy in order to « tunisify » their abstract paintings. At the beginning, the Abstract art was defined as a liberating adventure. Later on the absence of critique which was not curious, or even corrupted, the commission of purchase selects arbitrarily the works and artists; Tunisian artists have taken refuge in abstract art to bury its reality, or to get the consent of the buying commission. By dint of repeating and re-repeating they fell into the conformism and anarchism which generate a mediocrity of style and pictorial stagnation. While some fall into lethargy endless lethargy, others will attempt to communicate implicitly their distress and discomfort. Besides, artists remain at the margin of a national artistic recognition due to many social issues. On the international scale, two or three decades ago, it was unimaginable to look back on non-occidental artistic production with ethnographic point of view and later when the borders were abolished, those who moved to the visibility did it with rules imposed from the outside. Artists was relieved by the revolution, after breaking the wall of silence, of fear, of the forbidden. But the liberation of art as the fate of democracy could also be accompanied by a back to the symbolic censorship of a narrow democratic landscape. It is probably the challenge of Tunisian art today. This thesis discusses, then, the topic of art history through historian’s approaches and critics view
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St-Onge, Colette G. "Symbols of Authenticity: Challenging the Static Imposition of Minority Identities through the Case Study of Contemporary Inuit Art." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20491.
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This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.
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Evjenth, Vilde. "The Art of Not Belonging – A Textual Analysis of Identity Construction in Contemporary Norwegian Literature." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21473.
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The aim of this thesis is to investigate how identity construction is expressed in contemporary Norwegian literature written by the offspring of migrants, and thus contribute to the existing body of research on identity construction in academic literature. This is done by exploring which processes are important in the process of identity construction and through the application of a theoretical framework. The framework both makes use of the concepts of ‘othering’, identity, ethnicity, and ‘culture’, as well as it raises a discussion of how intersectionality theory functions as a broader analytical frame in this study.The analysis examines how identity construction is seen in two anthology books, making use of textual analysis supported by the theoretical framework. What the analysis shows is that ‘othering’, the grouping of ‘us’ and ‘them’, as well as ethnicity play a large role in howidentities are constructed. The empirical material provides us with a representation of theseidentity constructions, and leads to a debate on whether the processes of ‘othering’ and social categorisation work in one way only, or if it is a more complex process – as well as what this ‘othering’ might lead to concerning the question of finding belonging or community in being ‘other’.
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Turner, Charlotte. "Exploring Social Issues and Value Systems in Contemporary Art Education." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/16.
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The purpose of the study was to field test a unit of lessons in which students explore how a variety of social issues and value systems impact the meaning expressed in their artwork. By exposing students to different systems of belief, their historical contexts, and providing opportunities for students to discuss, research and symbolically express meaning I hope to develop critical thinking skills; promote increase in the social conscience of teenagers; help students develop critical thinking skills; promote student active involvement in their community at large; encourage social activism; and help students become part of the larger global community. The study utilized pre and post written tests, student artwork, student written responses and an auto-ethnographic approach to document student outcomes. Although evidence of progress was observed there is a need for additional research about ways art education might be used to assist students in the development of a social conscience and awareness of the global community.
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Metcalfe, Jessica RheAnn. "Native Designers of High Fashion: Expressing Identity, Creativity, and Tradition in Contemporary Customary Clothing Design." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194057.
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American Indian traditional art forms have been reincarnated by contemporary Native designers and placed on human bodies in the form of haute couture. This project examines culture and identity through a historical and sociocultural analysis of contemporary Native American clothing design. This project focuses on the use of clothing design and adornment to promote cultural traditions and maintain a `Native' identity. I equate this communicative use of design with the traditional role of storytelling: it allows Native designers to express, interrogate and subvert notions of Indianness; to create and perpetuate cultural traditions; to enhance aesthetic aspects of dress design; and to build and maintain community.This project explores the world of Native high fashion, and provides a cultural contextualization and analysis pertaining to identity, creativity, and tradition. I hypothesize that these contemporary designers continue the long practice of incorporating the new with the old, and, in effect, creatively carry on their cultural traditions. Whether they update Native clothing styles of the 1800s, or Indianize contemporary fashion, these designers explore how modern cuts and materials can be blended with traditional cultural design concepts and symbols to create unique, expertly constructed, artistic, and highly valued garments. These artists have taken up new materials to display their traditional art forms in innovative ways to uphold and maintain their unique cultures, and to celebrate their heritage by educating a non-Indian buying public.Using an interdisciplinary approach, I attempt to gain an insider's understanding of Native fashion by interviewing principle actors in the industry, by observing and participating in cultural and trade events, and by researching its history in archived records, stories and garments. The goal of this research is to add to the sparse literature on Native clothing, art, creativity, and identity by providing the only comprehensive critical scholarship on contemporary Native American fashion design.
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Blanc, Emilie. "Art Power : tactiques artistiques et politiques de l’identité en Californie (1966-1990)." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20040/document.
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En 1966, le Black Power Movement, qui influence de nombreux mouvements sociaux de libération, signale un changement de paradigme dans l’activisme aux États-Unis désigné par la terminologie de « politiques de l’identité ». Si, en affirmant la nécessité d’une analyse politique des discriminations, celles-ci en appellent à de profonds changements dans la société, elles imprègnent aussi les arts visuels et génèrent des mutations importantes quant à la définition de l’art et au rôle de l’artiste aux États-Unis. En s’emparant des politiques de l’identité, les artistes incorporent leurs engagements dans leurs pratiques, créent des formes d’expression originales et remettent en cause la validité du canon. Par une étude de cas sur la Californie entre 1966 et 1990, combinée à une approche chronologique et comparative, ce travail de recherche explore les rencontres entre les arts visuels et les politiques de l’identité, et plus largement la relation entre art et politique dans un contexte culturel moins exploré que la scène artistique de New York, afin d’analyser en quoi elles s’avèrent essentielles pour saisir les pratiques artistiques postérieures et les discours sur les identités. Cette thèse en histoire de l’art, pour laquelle les études culturelles et les théories féministes ont constitué des apports fondamentaux, propose ainsi d’établir des convergences artistiques autour de thématiques liées à des problématiques centrales des politiques de l’identité et, dans le même temps, à souligner de nouvelles approches dans le domaine de l’art, de la politique et de la théorieIn 1966, the Black Power Movement, which influenced numerous other social liberation movements, signaled a paradigm shift in American activism designated by the term “identity politics.” By affirming the necessity for a political analysis of discrimination, identity politics called for profound changes in society, which also influenced the visual arts, resulting in important changes regarding the definition of art and the role of the artist in American society. By drawing on this new politics of identity, these artists incorporated activism into practice, creating original forms of expression and challenging the validity of the canon. This research project explores the encounters between visual arts and identity politics, as well as the broader relationship between art and politics, through a chronological and comparative case study of California from 1966 to 1990—a cultural context much less studied than the New York scene—in order to determine its importance for later artistic practices and discourses on identity. This thesis in Art History, to which cultural studies and feminism have made fundamental contributions, therefore proposes to establish artistic convergences around themes linked to the central premises of identity politics while at the same time highlighting new approaches in the fields of art, politics and theory
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Khosravi, Mojgan. "Shirin Neshat: A Contemporary Orientalist." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/73.
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This thesis analyzes Shirin Neshat’s Women of Allah photographs by exploring key socio-political events that have shaped Iranian history since the reign of Cyrus the Great, ca. 600 B.C. Since Neshat’s photographs have been largely intended for a Western audience, it is important to explore the concept of colonialism that has created East/West polarities and so greatly influenced our modern era. This paper intends to demonstrate that Neshat’s images perpetuate Edward Said’s concept of Orientalism, which allocates the Oriental to an inferior position vis-à-vis his Occidental counterpart. For a Western audience, Neshat’s consistent use of the Muslim veil, illegible Persian calligraphy, and guns symbolizes Islam’s violence and degeneracy; additionally, these elements position the Muslim woman as a subaltern entity in an archaic society. As a result, the Iranian Muslim woman remains restricted by her social, cultural, and religious praxis, as well as by Neshat’s formal and contextual depiction of her.
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Holloway, Amanda. "Photographic memory : performativity, identity and the anxieties of aftermath in contemporary photographic art from Northern Ireland." Thesis, Ulster University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.625475.
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This study hinges on photography's intrinsic dialogue with memory to explore recent developments within photographic art practice in Northern Ireland. I argue that it is possible to trace in artworks which interrogate the contested past, a formulation of cultural identity in which memory plays a key role. Furthermore, I suggest that they frame an analytical understanding of this identity as operating performatively. Familiar perceptions of the conflict open up problematic territory, often betraying an over-simplified understanding of polarised communities which is based on crude binaries. This has the effect of perpetuating the constitution of identity in oppositional terms. As a result, the artists featured exploit the narrative properties of the medium to scrutinise and subvert common predispositions about the nature of the conflict. I assert that they complicate a prescriptive account of belonging in Northern Ireland, and create an alternative space in which to represent the many transgressions and contradictions which characterise everyday experience here. The various techniques and compositional strategies employed by the artist often assume a form which is in itself performative; I therefore discuss also the capacity of the photograph to function performatively. As a 'post-conflict' setting Northern Ireland has undergone monumental change in recent years, however, what are the dilemmas it faces as it attempts to emerge from the shadows of the past? I borrow largely from recent studies in the interdisciplinary field of cultural memory to theoretically underpin my research. I debate its methodological scope in supplementing an understanding of both the public and private claims made on memory, as well as addressing the intricate workings of the past in the present. In short, I question how changing subjectivities are being articulated in contemporary lens-based practice in Northern Ireland, and my structural framework engages themes of place and landscape, tradition and ritual, portraits, trauma and the archives.
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Pabedinskas, Tomas. "Relationship between the image and the identity of a person in contemporary Lithuanian photography." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20091204_132210-08996.
Full textAbstract:
At the end of the 20th century, significant changes occurred in Lithuanian photography: a certain part of photography relinquished earlier traditions of Lithuanian photography and did not conform to the conventional criteria of artistry of photography altogether. Photographers and other artists abandoned expressive visual form and humanist content, which had dominated Lithuanian photography since 1960s, and came up with featureless photography suggesting a reflective approach towards a person and his or her environment. Such photography transcended relatively narrow boundaries of artistic photography and became a part of the Lithuanian and international contemporary art scene.
At the same time the theme of personal identity gained importance in Lithuanian photography. The works of Lithuanian photographers and artists of the young generation encouraged critical look at the stereotypes of personal identity as well as the role of photography itself in the shaping of such stereotypes. Authors of contemporary photography began to treat personal identity not as a natural feature recorded in pictures, but as a problematic phenomenon.
The dissertation analyses the works of Lithuanian authors, created from the second half of the 1980s to this day. The goal of the thesis is to define different creative tactics used by Lithuanian authors as well as to reveal different versions of the relationship between the image and the identity of a person in photography. This goal is achieved by... [to full text]Baigiantis XX amžiui, Lietuvos fotografijos mene išryškėjo svarbūs pokyčiai: dalis tuomet sukurtos fotografijos netęsė ankstesnių Lietuvos fotografijos tradicijų ir apskritai neatitiko įprastų fotografijos meniškumo kriterijų. Fotografai ir kiti menininkai, atsiriboję nuo ekspresyvios vaizdinės formos ir humanistinio turinio, dominavusių lietuviškoje fotografijoje nuo XX a. septintojo dešimtmečio, ėmė kurti neišraiškingos formos, refleksyvų požiūrį į žmogų ir jo aplinką skatinančią fotografiją. Tokia fotografija, peržengus sąlyginai siauras meninės fotografijos ribas, tapo Lietuvos ir tarptautinės šiuolaikinio meno scenos dalimi. Tuo pačiu metu Lietuvos fotografijoje tapo svarbi asmens tapatybės tema. Jaunosios kartos lietuvių fotografai ir menininkai savo darbais provokavo kritišką žvilgsnį tiek į asmens identiteto stereotipus, tiek į pačios fotografijos vaidmenį jų formavime. Šiuolaikinės fotografijos kūrėjai žmogaus identitetą ėmė traktuoti ne kaip nuotraukose užfiksuotą duotybę, bet kaip problemišką reiškinį. Disertacijoje analizuojamos nuo XX a. devinto dešimtmečio antros pusės iki šių dienų sukurtos lietuvių autorių fotografijos. Vadovaujantis nauju teoriniu požiūriu, pagrįstu šiuolaikinės fotografijos sampratos ir performatyvumo teorijos sinteze, siekiama apibūdinti skirtingas lietuvių autorių kūrybinės taktikas ir tuo pačiu atskleisti skirtingus žmogaus atvaizdo ir identiteto santykio fotografijoje variantus. Disertacijoje taip pat apibrėžiama Lietuvos šiuolaikinės... [toliau žr. visą tekstą]
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Van, Patterson Cameron. "A Black Presence Disclosed in Absence: The Politics of Difference in Contemporary Art." Thesis, Harvard University, 2011. http://dissertations.umi.com/gsas.harvard:10050.
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As an interdisciplinary project that integrates African and African American Studies, critical race theory, and Art History, this dissertation attempts to enrich our understanding of the politics of difference in contemporary art by interrogating the formal practices of artists and the social significance of their work. The artwork discussed reflects a pattern of creative engagement with archival institutions and documents that is characteristic of contemporary artists who are concerned with questions of consumption and the body; representation and erasure; the social construction of race and space; and the relationship between history, memory, and identity. Taken together, these themes constitute a discursive landscape within contemporary art that is central to the principle question raised here—namely, how do social genres of difference and relations of power influence artistic practices of representation, curatorial display, and reception? In an attempt to both answer and reverse the direction of this question, this text presents insightful perspectives from different artists on the complex relationship between art and society. Using the politics of difference as a lens through which to examine the aforementioned themes in contemporary art, I argue that the artists under consideration are transforming the meaning of race in post-slavery societies throughout the black diaspora. Through various creative practices, these artists are shifting the terms, coordinates, and representations of difference seen in the archive in order to reimagine the language of identity in the twenty-first century. Fundamentally, their work challenges the way certain bodies are recognized—compelling us, as viewers, to reinterpret the past from alternative and critical perspectives. Moreover, by focusing on the disclosure of a black presence in western cultures through the comparative formal and historical analysis of contemporary works of art that call our attention to misrepresentation, commodification, invisibility, and displacement, this dissertation contributes to developing conversations about how contemporary artists challenge dominant narratives and representational aesthetics. Through their work, these artists expand our conception of the archive—disclosing the overlapping ways in which objects, images, words, signs, ideas, ads, bodies, and spaces register social and historical meaning through the demarcation of racialized difference. Ultimately, this project demonstrates how art can transform the way we see and represent ideas of difference, and therein, the way we see and represent ourselves.African and African American Studies
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Takht, Keshian Fatemeh. "Reviving identity : an investigation of identity in Iranian artworks in the period 1958-1966 in relation to a contemporary fine art practice." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/86312/.
Full textAbstract:
This practice-based research explores the notion of Iranian cultural identity as reflected in artworks exhibited in the Tehran Biennials (1958- 1966) and in a particular individual practice. This research uses the five Tehran Biennales and their national and international context as a tool to reveal the development of their influence on the construction of new images of Iranian identity. The research frames these national exhibitions within the influence of Western modernism and Western critique of orientalism. It frames its enquiry in historical and theoretical research and my studio practice as a contemporary Iranian artist. It constructs a methodology appropriate for visual analysis across the five events and for examination and comparison of individual artists and artworks. A core aim of the enquiry is gaining better understanding of the tensions between Iranian-Islamic and pre-Islamic traditions and of the changing national sentiment and the influence of Western modernism in the arts. My method includes ‘action research’ that juxtaposes the theoretic, historic, and artistic aspects based on a ‘self-observer’ and ‘observer of others’. By its cycling of studio production and reflection through critical and visual analysis, this method has enabled me to explore theoretical and historical contexts in my works. The research also examines the motivations and influence of Iranian state ideology on the formation and discontinuation of the biennales as instruments for cultural innovation and internationalisation. As all biennales by their nature seek to survey a field of activity, the research has remained sensitive to a wide range of artists engaged across a spectrum of practices between 1958 and 1966. For some, the period marked a return to their traditions and heritage to recognise and distinguish their national identity from Western art. For others, the new challenges enabled new representations relevant to Iran in the twentieth century. Between these poles, there were many types of ‘return’ and re-emergence, some to Iranian and Islamic heritage, others to an earlier hospitality for international influence. This ten-year period holds the key to my own understanding of my studio practice and the emergence of collage as a technique central to my work. Collage and mixing media have become powerfully associated with the challenges I face in negotiating between East and West, old and new values, and my changing perceptions of myself. The different layers in collage and its variety of media metaphorically suggest the concept of Iranian identity as a layered and collective identity. While my practice comprises autobiographical elements, it is nonetheless analytical in that it draws on the history of the Biennial period. The Tehran Biennials and their attempts to form a new Iranian art provide the background against which I project my conceptions of identity and memory. They are part of the legacy that enables me, a contemporary Iranian woman artist, to explore the various perspectives regarding Iranian identity and the means by which artists visualise it. Moreover, the practice-based method adapted in this research has enabled me to combine historical overview, visual analysis of modern art in Iran, and contemporary insights to offer new an understanding of how art reflects changing identities. This study defines identity, in a personal level, as a multi-layered identity, including fragmented and fragile layers that form within socio-cultural and individual values.
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Thorn, Sophie Alexandra. "“The Abuse of Power and Indiscretion": Identity, Mourning and Control in the Work of Sophie Calle." Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/4831.
Full textAbstract:
At the 52nd Venice Biennale in 2007, French artist, Sophie Calle presented for public consumption a
starkly simple yet elegant work entitled Pas Pu Saisir La Mort. The work was not only a comprehensive
investigation of the Biennale theme for that year of capturing a fleeting moment in life but was also an
ethically challenging and confrontational piece. Calle chose to display a video loop from the final moments
of her mother Monique Sindler's life. As the title in a childlike manner informs the viewer, the subject of the
work is Calle's inability to physically comprehend this moment. She, to add in the poignantly missing
referent to the English translation of the title, “couldn't capture death”. Calle prompts the audience not only
to watch but to actively look for the universally ungraspable moment of Monique's passing.
Pas Pu Saisir La Mort is unique piece which both characterises Calle's work while also marking a
departure from her normal style of working. It raises challenging issues of the ethical responsibilities of the
contemporary art Biennale and of a more moral nature for the audience by placing them in the intimate role
of voyeur. At the centre of aesthetic theory and within contemporary art writing the idea of a connection to
universal concepts or notions of an underlying humanity within art is referenced, debated and negated. I
believe in Pas Pu Saisir La Mort Calle engages with this discussion through foregrounding the idea of the
contemporary sublime and re-evaluates art's connection to modernist universals as illuminated though the
recent work of Thierry De Duve in particular his concept of 'nous voici' or work with speaks to the 'we' of
humanity.
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Adendorff, Delaida Adéle. "The princess in the veld : curating liminality in contemporary South African female art production." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63007.
Full textAbstract:
I aim to showcase post-African female identity through the exhibition, The princess in
the veld. The exhibition displays selected works produced by South African women
artists, underpinned by the proposed curatorial framework. This curatorial approach
is feminist, and may allow for a liminal reading of local female identity. I premise my
theorised curatorial framework liminally, in-between binary oppositions. This position
allows for a feminist position and/or reading of female identities that simultaneously
allude to, and reject a so-called local (essentialised) women’s art production within
the ambit of global, Western dominated feminism. I argue that, for such a display to
be successful, an alternative curatorial space is needed. For this purpose, I introduce
the notion of heterotopia, a counter-space, to renegotiate binaries and to render
identity formations temporarily in-between prevailing norms. This heterotopic
counter-curatorial space is realised through an exhibition that employs the medium of
video, rather than conventional exhibition media installed in real space.
An exploration of specified key local and international survey exhibitions
foregrounding women’s concerns from the 1980s onwards, serves to inform my
theorised curatorial framework. The research embarks on an investigation of a recent
large-scale exhibition hosted in France, to gain an understanding of the pitfalls
prevalent in curating an exhibition of artwork produced by women. From a feminist
standpoint, I critically analyse this display to suggest more inclusive alternative
curatorial strategies to shift the conventionally Western approach followed by this
curator.
The revisionist, feminist, re-reading of certain South African curated exhibitions from
both the apartheid and post-apartheid periods proposes a feminist trajectory that
follows the shaping of local women’s identities, which remain deeply inscribed in this
country’s politics and histories. This section of the survey underlines local post-
African female identity as liminal and in flux, through the investigation of seminal
exhibitions and artworks produced by South African women. I argue that this liminal
account allows for an inclusive and extended understanding of women, while
explicating the South African multicultural dispensation wherein the post-African
woman operates.Thesis (DPhil)--University of Pretoria, 2017.
National Research Foundation
University of Pretoria
Visual Arts
DPhil
Unrestricted
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Godfrey, Keith Paul. "Pots of gold? : the representation of identity in contemporary South African art at the end of the 'rainbow' nation." Thesis, SOAS, University of London, 2005. http://eprints.soas.ac.uk/29333/.
Full textAbstract:
South Africa faced a major challenge to produce an inclusive national identity from the ruins of common community that apartheid had left in its wake. Achieving a new national identity involved a massive project of nationalist reinvention, the 'rainbow' nation. Existence of a national consciousness was limited to the imagined anti-apartheid state 'reverse' nation. South Africans, including artists, initially supported the dynamic process of the formation of the new inclusive state and national community. However, disenchantment with the 'rainbowist' vision has led South Africans to recongregate around apartheid constituencies and tensions between competing nationalisms. Johannesburg and Cape Town act as catalyzers in the development of a post-apartheid society. Art produced there, and its (re-)presentation, provides an empirical base on which to analyze the negotiation of identities and the contested 'location of culture' in the societal architecture of the 'new' South Africa. Artists were a vital component in the construction of nationalism in the post-apartheid state. Tensions between the competing nationalist visions of how South Africa should culturally represent itself, both domestically and abroad, manifested themselves in the major exhibitions held since 1994. Internally, tensions between nationalisms clearly manifested themselves in the Johannesburg biennales. Outside the country, exhibitions played on the euphoria of transformation to propose a cultural unity that was illusory, but that fulfilled audience expectations and supported a national 'rainbowist' branding. Representation of the post-apartheid nation has divided artists between those identifying with the project to promote a South African nationalism and those preferring to be considered solely on the basis on their own artistic output. The framing of artistic debates in identity terms has led to an exodus of some artists to Europe. Other artists have remained to engage with the quest to achieve a post-apartheid national identity.
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Hannan, Holis. "Transcendence." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1316.
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This thesis is a description and critical analysis of the processes, concepts and imagery of my artwork. I am interested in creating visual narratives, often figurative, in the form of sculpture, collage, and installation. In my work I attempt to call attention to the human condition, specifically addressing sexuality, mortality, psychological issues and power struggles. I incorporate both cultural and personal references and use traditional and non traditional materials and processes that are intended to conceptually inform the viewer further. My intention is to create distinct embodiments that provoke contemplative emotion and in which the object and the aesthetic experience allow us to consider and reconsider who we are and how we progress as a culture.
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Strungaru, Stoiciu Ilinca-Sorana. "L'imago artistique contemporain du corps : entre fluctuation identitaire et dissolution." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010527.
Full textAbstract:
Le corps, trouvé dans un état d'oscillation structurelle et identitaire devient une matière qu'on manipule à travers des gestes routiniers, qu'on soumet aux actions invasives qui altèrent parfois de manière radicale l'apparence, allant jusqu'à la perte de toute ressemblance. L'imago, concept issu de la psychanalyse, introduit par Jung, traite la question de la construction de l'image de soi et par la suite de l'identité, dans un rapport du soi à l'autre, d'ego face à l'alter. C'est une relation qui agence des tensions, où le corps se multiplie, se fragmente, devient déchet, vieillesse, mort. Sa présence est amplifiée visuellement, mais son caractère individuel s'efface, devenant le signe d'une absence. Ayant comme point de départ ma propre pratique artistique, je mets en question la pratique de la récupération des restes pelliculaires du corps (organiques ou synthétiques) à la manière qu'on cherche, par l'accumulation d'objets personnels, à combattre l'oubli. J'interroge la capacité dont les restes (empreintes, traces, poils) issus des pratiques corporelles, ayant donc un caractère répulsif, ont de redonner un sens de la forme initiale et peut-être aussi une histoire. Reposant sur les principes de la collection, la conservation du corps traitée dans mes œuvres (installations, vidéos et objets) interpelle le regardeur en tant que conscientisation de sa propre fluctuation et dissolution formelle et identitaire, et et fait ressortir ses attitudes face à la disparition. Les notions de temps et de mémoire interviennent dans le discours, analysant les prises de position des artistes contemporains par rapport au corps, à l'objet, à l'identité et à la mémoireThe body, existing in a state of structural and identity oscillation becomes a substance to be manipulated through routine gestures, subjected to invasive actions that may alter its appearance as radical as losing all resemblance. The imago, a concept from psychoanalysis introduced by Jung, addresses the issue of the construction of self-image and consequently of identity in the way the self exists in relationship with the other, the ego in relation to the alter. This sort of relation creates a tension, and the body is thus multiplied or fragmented, it becomes waste, it ages, it dies. Its presence is visually amplified, but its individuality is erased, becoming a sign of absence. Having as a starting point my own artistic practice, I discuss the manner in which recuperating thin layers of the body's surface (be they organic or synthetic) may act in the same way in fighting oblivion as does accumulating personal objects. I debate the capacity in which the bodily remains (such as hair, fingerprints, traces) resulted from aggressive actions towards the body, that have a repulsive appearance, can give a sense of the original shape and maybe even a history. Founded on the principals of the collection, the issue of body preservation as dealt with in my works (varying from installations, videos and objects) challenges the audience both by making it aware of its own structural and identity fluctuation, and by and emphasizing its attitudes towards disappearance. The concepts of time and memory enter this topic, analyzing the positions taken by contemporary artists in relation with the body, the object, identity and memory
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Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.
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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.
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Meno, Michelle Elizabeth. "THE TRANSFORMATION OF TIBETAN ARTISTS' IDENTITIES FROM 1959-PRESENT DAY." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1355338370.
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Pasquale, Taylor Dennis. "Reflections on Aloneness." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent14937362181136.
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D\'Agostino, Adriana. "A criança e o autorretrato: uma análise da relação da criança de seis anos com o autorretrato." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-24042015-191420/.
Full textAbstract:
A presente pesquisa deu-se a partir do material de arte da Rede Salesiana de Escolas, Galeria de retratos, para alunos do 1º ano do Ensino Fundamental, no ano de 2012. Tem como objeto de investigação a relação entre autorretratos e crianças de seis anos, inserida numa educação contemporânea em Arte. A partir de uma abordagem autobiográfica, apresentam-se as diferentes situações de investigações vivenciadas nas aulas com os alunos, buscando entender como acontecem seus processos expressivos. O trabalho é desenvolvido em três capítulos: o primeiro trata do autorretrato e a relação com a criança. O segundo apresenta o relato das aulas realizado através de registros. Já no terceiro são apresentadas as questões relacionadas ao processo de identificação e de identidade cultural.This research aims to research the relationship between the self-portraits in the identity formation of students six years, set in contemporary education in Art. The issue occurred after receipt the art material of Rede Salesiana de Escolas in 2007, \"Gallery of portraits,\" for students in the 1st year of elementary school. The object of investigation the relationship between self-portraits and six year olds, set in contemporary art education. From an autobiographical approach, present the different situations experienced investigations in classes with students, seeking to understand how their expressive processes happen. This work is developed in three chapters: the first deals with the self-portrait and the relationship with the child. The second presents an account of lessons conducted through records. In the third the issues relating to identification and cultural identity process.
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Gumbi, Bandile. "What do the videos of Thando Mama Communicate? - As a Black Contemporary Artist in South Africa." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23348.
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This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.
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Schwartz, Erin M. "Spheres of Ambivalence: The Art of Berni Searle and the Body Politics of South AfricanColoured Identity." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1399305465.
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Lu, Jenny. "Between homes : examining the notion of the uncanny in art practice and its relationship to post-colonial identity and contemporary society in Taiwan." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/5251/.
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My research focuses on the notion of 'not being at home' in relation to identity issues, post-colonial society and art practice, focusing in particular on Taiwan. I explore Sigmund Freud's theory of the 'uncanny' (unheimlich) and argue that in contemporary society, experiencing the 'uncanny' is common, while it is nearly impossible to obtain the feeling of 'being at home'. This phenomenon is, shown to be present in art, film and literature. My research asks how artists deliver a sense of the 'uncanny' within their artwork, and how they create feelings of unease in the viewer. I will examine work produced by contemporary artists, focusing especially those in Taiwan, such as Chen Chieh-jen and Wu Mah. I will argue that artists living in a post-colonial society such as Taiwan experience the feeling of 'not being at home' to a greater extent, due to their country's unique history and the ongoing contentious political situation. Re-reading Freud's concept of the 'uncanny' in relation to post-colonial theories and the attempt to construct personal identity, notions such as the 'return of the repressed', 'thedouble' and 'death drive' will be applied to explore identity confusions. I base my argument on issues of confusion about personal and cultural identity, which originate in contrasting ideals and beliefs about 'home' (ideas that are formed by the divergent return of repressed memories that evoke the 'uncanny' social experience). I also present a body of art-work that explores these issues. Intertwined with psychoanalytic theory, the work informs and contextualises the earlier arguments, and creates new insights into the theory of the 'uncanny' and its origins. While allowing me to draw new interpretations of my own art practice, it reinforces my earlier conclusions about the sensation of 'not being at home'.
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Pycroft, Hayley. "Beyond Afrocentricism and Orientalism contemporary representations of transnational identities in the works of Nontsikelelo "Lolo" Veleko and Tracy Payne." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002216.
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South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.
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Bertolossi, Leonardo Carvalho. "Arte enquadrada e gambiarra: identidade, circuito e mercado de arte no Brasil (anos 80 e 90)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-06082015-133310/.
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Essa tese é uma etnografia das ideias, práticas, histórias, memórias, teorias nativas, conflitos, desigualdades, imaginações e experiências de artistas, críticos, curadores, galeristas e colecionadores brasileiros ao longo dos anos 80 e 90. Embora o escopo temporal e espacial oscile, ancoramo-nos nas cidades do Rio de Janeiro e de São Paulo, e na interseção entre o circuito e o mercado primário de arte contemporânea brasileira nestas décadas. O trabalho aborda diversos temas e problemas acessados através do meu campo em galerias, museus, bienais, bibliotecas, arquivos públicos e privados, cursos de história da arte e depoimentos. Dentre os objetos tangenciados, se destacou: o retorno internacional à pintura, a invenção da geração 80 e sua relação com o mercado; as exposições Primitivism in the Twentieth Century no MoMA, em Nova York, em 1984, e Magiciens de la Terre, no Centre Pompidou, na França, em 1989; a redescoberta do corpo, do eu e da narrativa nos anos 90; a arte abjeta e suas principais exposições internacionais; a Bienal de São Paulo Antropofágica de 1998; a internacionalização da arte brasileira na Europa, Estados Unidos e América Latina; a trajetória e as contendas entre diferentes gerações de galeristas no Brasil; a entrada do empresariado e dos bancos na política cultural; e, sobretudo o estatuto da arte brasileira e latino-americana diante da globalização. Desde a Escola Fluminense de Pintura, passando pelo Modernismo, pelo Neoconcretismo, pela Tropicália até o período em destaque neste trabalho, o sistema artístico brasileiro e seus personagens se questionaram sobre uma arte genuinamente brasileira. A antropofagia foi novamente mobilizada como alternativa às hierarquias de poder e imposições euro-americanas, sobretudo na Bienal Antropofágica de 1998. Mas quando todos são canibais, quem canibaliza quem? Oswald de Andrade ou Montaigne? Minha hipótese é a deformação da questão em direção à superação do problema da representação para o da presença, a partir da filosofia deleuziana sobre a experiência barroca. Superar a antropofagia em favor do barroco de modo a imaginar outro conceito de criação que conceba a invenção da diferença através de uma exterioridade em contínua descontinuidade, devires, dobra que se desdobra, antropofagia e regurgitofagia, dentro e fora, figura e fundo, interpretação e contrainterpretação, arte enquadrada e gambiarra.This thesis is an ethnography of the ideias, practices, histories, memories, native theories, conflicts, inequalities, imaginations and experiences of Brazilian artists, critics, curators, art dealers and art collectors throughout the 1980s and 90s. The temporal and spacial breadth covered oscillates; we have, however, decided to focus the cities of Rio de Janeiro and São Paulo, and the intersection between the contemporary art circuit and its market through fieldwork done in galleries, museums, bienals, libraries, public and private archives, courses on art history, and testimonials. Between the many objects described, an emphasis is made on the international return to painting; the invention of the 80s generation and its relations to the market; the exhibitions Primitivism in the Twentieth Century (MoMA, New York, 1984) and Magiciens de la Terre (Centre Pompidou, Paris, 1989); the rediscovery of body, self and narrative during the 1990s; abject art and its main international exhibitions; the Anthropophagic Bienal of São Paulo (1998); the internationalization of Brazilian art in Europe, United States and Latin America; the trajectories and quarrels between different generations of art dealers in Brazil; the introduction of the entreprenurial and financial classes into cultural policies; and, above all, the status of Brazilian and Latin American art in a globalized context. From the Fluminense school of painting, through Brazilian Modernism, Neoconcretism, Tropicália, to the period emphasized in this work, the Brazilian artistic system and its characters have put a genuinely Brazilian art into question. Anthropophagy has been newly engaged as an alternative to euro-american power hierarchies and impositions, especially in the Anthropophagic Bienal of 1998. Nevertheless, when everyone is a cannibal, who cannibalizes whom? Oswald de Andrade or Montaigne? My hypothesis is the deformation of that matter, overcoming the problem of representation towards that of the presence, drawing on the deleuzian philosophy of the baroque experiments. Overcoming anthropophagy in benefit of the baroque is a way of inventing a different concept of creation, one that conceives the invention of difference through an exteriority in continued discontinuity, becomings, foldings that unfold, anthropophagy and regurgitophagy, inside and outside, figure and ground, interpretation and counter interpretation, framed art, and improvisation.
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Hundevad, Meng Cecilie. "Idiot Diagram : DIS GON BE SHAPED LIKE A MUFFIN at some point." Thesis, Kungl. Konsthögskolan, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-10.
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The essay acts as a blueprint over my artistic practice. It is through the friction caused by th relations between the Keywords mentioned above I strive to achieve a dynamic which will act as an interlocutor between the fields, which are not separated but which fail to understand each others' logic and instead more or less intentionally seek to overwrite each other.[I examensarbetet ingår utställningen: "Taking care of business":] The show was a total installation spanning over 7 days in which Studio Stök (Fredrik Fermelin and I) were constantly keeping the exhibition going: One room was filled with gelatine and lasers, was connected to another room by a tunnel in which a robotic vacuum cleaner constantly active. The other room was filled with +20 office chairs with incense sticks. Fredrik and I were never seen, but for 13 hours a day (07:00am-06:00pm), we mopped up the water from the "melting" gelatin so people could walk, lightning new incense, switching vacuum cleaners and mixing playlists with binaural beats for the tunnel. It was a way of catering an immediate sensation experienced as a viewer, no textualization was presented and enunciated indicating the exhibition was to be read in a certain way, and no artist was present creating a somewhat eerie sensation of a presence or absence. The smells were carried through the exhibition by the draft from the open doors and each room thus pre-empted the other. . Each room had an entrance and people were thus entering from two directions, there was no wrong way of entering and experiencing, the choreography of the exhibition created a sort of moebious strip which ended as quickly as it had lasted. During the week various flash events were held where the backspace which in normal circumstances acts as the entrance was opened. Material: Various Teknik: Installation The exhibition and partially the essays was a completely collaboration between Cecilie Hundevad Meng and Fredrik Fermelin as the artist group Studio Stök. The Exhibition and the essay(s) was only indirectly connected.
The essay was abstractly linked to the exhibition.
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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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Smith, Nicole R. "Wangechi Mutu: Feminist Collage and the Cyborg." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/51.
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Wangechi Mutu is an internationally recognized Kenyan-born artist who lives and works in Brooklyn. She creates collaged female figures composed of human, animal, object, and machine parts. Mutu’s constructions of the female body provide a transcultural critique on the female persona in Western culture. This paper contextualizes Mutu’s work and artistic strategies within feminist, postmodern, and postcolonial narratives on collage, while exploring whether collage strategies are particularly useful for feminist artists. In their fusion of machine and organism, Mutu’s characters are visual metaphors for feminist cyborgs, particularly those outlined by Donna Haraway. In this paper, I examine parallels between collage as an aesthetic strategy and the figure of the cyborg to suggest meaningful ways of approaching differences between women and how they experience life in contemporary Western culture.
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Hunter, Catherine Wood. "Flesh for fantasy : exposing the sexualised and manipulated female persona in contemporary women's media." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21213.
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Thesis (MA)--University of Stellenbosch, 2005.ENGLISH ABSTRACT: This thesis focuses on the representation of women in media aimed at women. A critical examination of visual communication (magazines, advertising and visual story-telling1) will demonstrate that the media may be regarded as highly influential in the way women perceive their bodies, reproduction and sexuality. I begin by examining the presentation of the ‘ideal’ woman as an instance of the Pygmalion complex. This reading of the media’s formulation of the female ideal aims to demonstrate the psychological effects of the Pygmalion complex on women, and illustrates how the resultant striving for perfection drives production and consumption. I shall demonstrate how the image of the ‘ideal’ woman is increasingly more sophisticated and convincingly portrayed through the use of digital manipulation, plastic surgery, excessive dieting and exercise regimes. I propose that the average woman is left feeling inadequate and is undermined by the voice of her own cultural representation. This thesis also investigates the persistence of the virgin / whore binary in the media’s depiction of female sexuality. I propose that this is an essentialist and dualistic presentation of female sexuality as either ‘good’ (surrendered, submissive and conforming – i.e. the virgin); or ‘bad’ (transgressive, explicit, dangerous and destructive – i.e. the whore). I further suggest that this polarised appropriation of women’s sexuality deprives women of ownership of their own sexuality. I also propose that the media’s treatment of female sexuality presents women as being in competition within one another for male attention and approval and that this representation damages female solidarity. Finally I demonstrate that pornography has infiltrated all aspects of popular culture, from magazines to music videos. My hypothesis is that this use of pornographic conventions depicts the rape and abuse of women as normative, commonplace and even entertaining, and that this has a detrimental effect on both women’s and men’s sexual and social wellbeing.
AFRIKAANSE OPSOMMING: Hierdie tesis is gerig op hoe vroue in die media wat op vroue gerig is, verbeeld word. 'n Kritiese ondersoek van visuele kommunikasie (in tydskrifte, reklame en visuele verhaling2) sal toon hoe die media as uiters invloedryk beskou kan word ten opsigte van hoe vroue hul eie liggame, voortplanting en seksualiteit beskou. Ek begin deur die voorstelling van die 'ideale' vrou as 'n voorbeeld van die Pygmalionkompleks te ondersoek. Hierdie beskouing van die media se formulering van die ideaal van vrouwees is daarop gerig om die sielkundige effek van die Pygmalion-kompleks op vroue te demonstreer en illustreer hoe produksie en verbruik deur die strewe na perfeksie wat as gevolg van hierdie formulering ontstaan, aangedryf word. Ek sal toon hoe die beeld van die 'ideale' vrou, as meer en meer gesofistikeerd, oortuigend weergegee word deur middel van digitale manipulasie, plastiese snykunde, oormatige volg van diëte en oefenprogramme. Ek voer aan dat die gemiddelde vrou hierdeur met die gevoel gelaat word dat sy tekortskiet en ondermyn word deur die boodskap van die publikasies wat haar eie kulturele beeld verwoord. Hierdie tesis ondersoek ook die volhardendheid van die tweeledige voorstelling van vroulike seksualiteit in die beelding van maagd en hoer wat in die media aangebied word. Ek voer aan dat dit 'n wesenlike en dualistiese voorstelling van vroulike seksualiteit as óf 'goed' (uitgelewer, gedwee en konformerend – d.w.s. die maagd), óf 'sleg' (oortredend/sondig, eksplisiet, gevaarlik en vernietigend – d.w.s. die hoer) is. Ek stel verder voor dat hierdie gepolariseerde toe-eiening van die vrou se seksualiteit vrouens van eienaarskap van hul eie seksualiteit ontneem. Ek stel ook voor dat die voorstelling van die vrou se seksualiteit soos dit in die media aangebied word, suggereer dat vrouens ter wille van die aandag van 'n man en om goedkeuring te wen met mekaar kompeteer en dat hierdie voorstelling skade doen aan die gevoel van solidariteit tussen vroue. Ten slotte demonstreer ek hoe pornografie reeds alle aspekte van die populêre kultuur vanaf tydskrifte tot musiekvideos binnegedring het. My hipotese is dat hierdie gebruik van pornografiese konvensies die verkragting en mishandeling van vroue as normatief, alledaags en selfs vermaaklik uitbeeld en dat dit 'n nadelige effek het op die seksuele en die sosiale welsyn van mans sowel as vroue.
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Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370/document.
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Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art,études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes maori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation maori. En effet, suite à la colonisation britannique du XIX e siècle, les Maori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde maori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les MaoriAt the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
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Ai, Linda Ho-Yun. "Identity / the deployment of apple light in considering identity in contemporary portrait photography : this thesis is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2004." Full thesis. Abstract, 2004.
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Tapuni, Nooroa. "The return of the Polynesian Phantom." AUT University, 2009. http://hdl.handle.net/10292/914.
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This research project, Return of the Polynesian Phantom, investigates self-portraiture through the mediums of moving image, digital modeling, object making, and installation. It seeks to consider in these media an ambiguous threshold between lightness and darkness, the real and the fabricated. The proposition that it explores is that it is at such ambiguous thresholds that notions of identity are negotiated, and where the perception and interpretation of symbolic meaning renders identity phantom.
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Cartus, Niels. "Olhares brasileiros judaicos: a presença do judaísmo na arte brasileira contemporânea." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-08052007-105116/.
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Olhares brasileiros judaicos: A presença do judaísmo na arte brasileira contemporânea pretende mostrar vestígios da cultura judaica na arte brasileira contemporânea. Os imigrantes judeus que chegaram ao Brasil no século XX trouxeram consigo, em sua maioria, um pensamento liberal do judaísmo que influenciou a relação com as artes plásticas dentro do judaísmo europeu. O presente trabalho parte da hipótese de que a aproximação do judaísmo e artes plásticas também teve continuidade no Brasil, uma vez que os judeus imigrantes vindos de Europa e as gerações seguintes conseguiram integrar-se com sucesso na sociedade brasileira. A questão central, portanto, é saber em que formas e conteúdos essa influência cultural se articula. É apresentada a primeira geração de artistas judeus no Brasil, que forneceu impulsos importantes para o desenvolvimento da arte moderna, tendo como pano de fundo a evolução cultural e artística do judaísmo e sua compreensão emancipada da proibição bíblica de representação de imagens. Porém, exceto por Lasar Segall, encontram-se marcas judaicas na arte brasileira apenas na segunda metade do século XX. Através da obra de quatro artistas judeus brasileiros escolhidos, cuja análise não pretende ser absolutamente completa e representativa, na parte central desta tese são constatados elementos de cultura judaica na criação artística que se fazem notar tanto sob o aspecto formal e de conteúdo quanto em posições éticas, religiosas dos artistas. Dali resulta uma forma híbrida de cultura ou identidade brasileira e judaica: olhares brasileiros judaicos. Do ponto de vista da metodologia são significativos, além das entrevistas realizadas com os artistas, os tratados científicos sob arte judaica e artistas judeus, que possibilitam uma contextualização global.Brazilian-Judeo Gazes: The presence of Judaism in contemporary Brazilian art attempts to identify vestiges of Hebrew culture in Brazilian contemporary art. Jewish immigrants to Brazil during the 20th century brought with them, largely, a liberal Jewish thinking which influenced the relationship of the plastic arts in European Judaism. This present work stems from the hypothesis that the approximation of Judaism and the plastic arts had continuity in Brazil, once the Jewish immigrants coming from Europe and subsequent generations were able to successfully integrate themselves into Brazilian society. The central question, therefore, is to know the forms and types of content this cultural influence articulated with. Within, we present the first generation of Jewish artists in Brazil who provided important impulses for the development of modern art, and which served as the underlying fabric for the Jewish cultural and artistry evolution with its emancipated understanding from the biblical prohibition on the representation of images. However, except for Lasar Segall, distinct Jewish hallmarks in Brazilian art make their appearance only at the second half of the 20-century. Through the work of four selected Brazilian-Judeo artists, whose analysis does not intend to be absolutely complete and representative, there is in the central part of this thesis, verifiable Jewish elements in the artistic creation which standout as much for their formal aspects and content as their ethical and religious positions of the artists. From there a hybrid form of the culture resulted or, Brazilian-Judeo identity: olhares brasileiros judaicos (Brazilian-Judeo Gazes). The methodological aspects of this study are significant, in addition to interviews conducted with the artists, there are scientific treatises about Jewish art and Jewish artists that allow for a global contextualization of the subject.
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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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Wilkin-Slaney, Katherine. "Becoming - Pakeha questioning the use of native birds in representation as a means of exploring New Zealand post-settler identity in visual art : an exegesis submitted to Auckland University of Technology for the degree of Master of Art and Design, 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/723.
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The depiction of birds by artists such as Don Binney, Bill Hammond, Michael Parekowhai and Grant Whibley has served as metaphors in the conceptual systems of post-settler New Zealanders’ expression of identity. This project investigated unease in New Zealand post-settler identity and its dislocation from the past by considering works depicting native birds. Is depicting native - rather than introduced birds, an incongruous and romantic settler iconography in identity, leading to a re-telling of our place in this land at the expense of not only the rightful indigenous place of Maori, but of our own cultural becoming? By exploring the painting of birds as metaphors of New Zealand post-settler identity, the project aimed to contribute to the complex issues surrounding the entwined and entangled post-settler relationships of both the past and present. This painting project investigated these issues through the medium of oil paint, culminating in a body of artwork presented in an exhibition with an accompanying exegesis representing 20% of the work.
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Da, Rolt Clóvis. "Direções identitárias da arte contemporânea: tensões e intenções do debate pós-moderno." Universidade do Vale do Rio dos Sinos, 2012. http://www.repositorio.jesuita.org.br/handle/UNISINOS/3907.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Fundación Carolina
A proposta desta investigação consiste em compreender de modo mais pontual os processos de constituição da arte contemporânea a partir do fenômeno da crescente interação entre as culturas, o qual, no âmbito cultural da pósmodernidade, avança fortemente matizado por questões de natureza identitária. Em tempos atuais, parece impensável isolar a arte – à maneira moderna – e tratá-la como um organismo autônomo e impermeável ao mundo à sua volta. Desvinculada de um projeto histórico e de princípios universais de assimilação, a arte contemporânea corresponde a um novo modo de processar práticas estéticas no campo da arte, dentro de um âmbito que vem demandando, por parte dos artistas, a incursão por territórios sócio-políticos cada vez mais conflitivos. As críticas destrutivas, os ataques e as tentativas de desqualificar a arte contemporânea refletem um parcialismo preguiçoso e tendencioso. Tais atitudes quase sempre desconsideram as mudanças conjunturais que, pelos menos desde meados da década de 1970, vêm afetando o campo das artes visuais e dele fazem um território privilegiado para a visibilidade de leituras possíveis sobre diversas esferas sociais, como a da identidade cultural. Para realizar este empreendimento investigativo, optou-se por uma abordagem de cunho hermenêutico que tem como ponto de partida a crítica aos valores afirmativos e integralistas da História, combinada com algumas considerações sobre os campos conceituais da cultura e da identidade. Este núcleo estrutural acomoda uma análise sobre a arte contemporânea conduzida por novos agenciamentos presentes na crítica cultural pós-moderna, fortemente baseada na contextualidade da experiência, na narratividade do conhecimento e na inconsistência das explicações sinópticas e teleológicas sobre a realidade. Mediante a aproximação de exploração bibliográfica, elementos etnográficos e vivências no campo da arte, procurou-se construir este trabalho sob o domínio de uma sensibilidade dialógica que repudia a fixação de “fundamentos” e posições axiomáticas acerca da ciência, de modo que o próprio movimento de reconstrução do texto através de sua leitura possa criar possibilidades de enunciar o que não foi dito. O itinerário traçado a partir destes parâmetros produz tensionamentos que não são facilmente resolvidos, tendo em vista o fato de que os produtos gerados pela ciência são também constituídos a partir de um jogo de linguagem próprio que cadencia temporalidades, ritmos e processos de assimilação que não se revelam em sua totalidade. A projeção da cultura como um campo de experimentações políticas trouxe ao cenário atual a necessidade de compreensão dos seus impactos frente a diversas esferas da vida social. Como uma destas esferas, a arte absorveu as possibilidades criativas, desconstrutivas e ressignificantes que estão na base de um projeto que almeja reposicionar o valor da cultura após o desgaste da modernidade e o esvaziamento de suas significações. Sob esta ótica, os rompantes escatológicos e suicidas da arte perdem sua força, pois ela assume a posição de um texto que se enriquece na medida em que se deixa impregnar por outros textos. Posicionando-se desta forma, a arte evita a fixação de limites disciplinares precisos e aventura-se na busca por um sentido capaz de situá-la em espaços sociais que se renovam constantemente.
It is the aim of this investigation work to comprehend in a more thorough way, the making processes of contemporary art in the light of the phenomenon of increased interaction among cultures, which in the sphere of postmodern culture advances strongly tinged with issues of identity nature. Isolating art – in the modern form – and treating it as an autonomous and impervious to the world organism is unthinkable in the present time. Dissociated from a historical project and from universal assimilation principles, contemporary art corresponds to a new form of processing the aesthetic practices in the field of art, within a sphere which is demanding, from the part of the artists, moving about increasingly conflicting territories. Criticism against, confrontation and attempts to discredit contemporary art generally reflect a biased and idle partiality. These attitudes do not consider the set of changes that have been taking place since at least the mid 70’s and which are affecting the field of visual arts although at the same time causing it to be a privileged territory for the possibilities of reading about the different social spheres such as the cultural identity one. In order to realize this research project, a hermeneutic approach was used and the starting point has been the critique of History affirmative values, combined with some considerations about the concept fields of culture and identity. This structural unit brings along an analysis over the contemporary art conducted by new perspectives present in the postmodern culture critique, strongly based on the contextuality of experience, on the narrative of knowledge and on the inconsistency of the synoptical and teleological explanations on reality. This research work has been constructed through the approximation of bibliographic data, ethnographic elements and experiences in the field of art, always under the domain of a dialogic sensitivity which does not advocate the establishment of axiomatic positions and “principles” about science, thus allowing for the movement of text reconstruction itself through its reading to make statement possibilities of the unsaid. The itinerary outlined from these standards creates strains that are not easily managed bearing in mind the fact that the products generated by science are also constructed from a unique language system which regulates temporality, rhythm and assimilation processes not wholly revealed. The projection of culture as a field for political experiment brought into our time the need to understand its impact over the different spheres of social life. As one of such spheres, art absorbed the creative, deconstructive and resignificant possibilities which form part of a project that aims at resetting the value of culture upon the deterioration of modern age. From this view the eschatological and suicidal irruptions of art lose strength as it takes the position of a text which enriches itself as it allows for other texts to impregnate it. It is through this perspective that art avoids the establishment of precise disciplinary limits and ventures into the pursuit of a meaning which will enable it to situate in social scenarios which renew themselves constantly.