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Dissertations / Theses on the topic 'Land-art'
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Sleeman, Alison Joy. "Landscape and land art." Thesis, University of Leeds, 1995. http://etheses.whiterose.ac.uk/15211/.
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Landscape and Land Art focuses on so-called ‘Land Art' in Britain in the period from the mid-1960s to the present day. The dissertation concentrates particularly on Richard Long who, it is argued, functions as the definitive index of British Land Art. Land Art Beginning investigates how Land Art's earliest instances have shaped its subsequent discourse and introduces the methodological approaches employed in the dissertation. Land Art is then studied through a series of frames or milieus in the following chapters. Land Art Sculpture defends the necessity of viewing Land Art in the context of the practice and theory of sculpture. Land Art Repetition examines repetition as one of the most prevalent and informing strategies of Land Art practice and theory. Land Art Body focuses on one of the most overlooked and yet crucial components of Land Art, the body. Through identifying and delineating the different kinds of bodies and representations of bodies included in (and excluded from) Land Art discourse and practice, this chapter considers the ways in which the body has been suppressed in Land Art and the possibilities for a bodily re-engagement. Land Art Landscape views critically the landscape aspect of British Land Art which serves to link it to past art and particularly to a British 'Landscape Tradition'. The final chapter considers Land Art in relation to gardening and laughter through the construct of the ha-ha. The dissertation thus ends on a humorous note, but also an intensely serious one. Laughter and humour are powerful strategies against the most resistant orthodoxy, and British Land Art is perhaps best characterised in that way, as an orthodoxy, a dogma or an institution. This study aims to uncover and reveal the ways in which that orthodoxy has been constructed and is sustained, offering along the way some suggestions as to how it might be construed otherwise.
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Amizlev, Iris. "Land Art, layers of memory : the use of prehistoric references in Land Art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0022/NQ52135.pdf.
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Dante, Fabrizio <1988>. "Arte Sella e land art." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9756.
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La tesi prende in considerazione il contesto storico all'interno del quale è nata la land art in America ed in Europa durante gli anni Sessanta.
Focus su Arte Sella, gli artisti, le opere più significative e la relativa analisi.
In conclusione si ricercano le attuali tendenze nell'arte contemporanea e nella società di oggi affini alla filosofia e al pensiero naturalistico.
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Brun, Jean-Paul. "Paysage, art contemporain et société : le cas du land art /." Besançon : J.-P. Brun, 1996. http://catalogue.bnf.fr/ark:/12148/cb376500085.
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Brašeňová, Kristina. "Land art v zahradně-architektonickém umění." Master's thesis, Česká zemědělská univerzita v Praze, 2016. http://www.nusl.cz/ntk/nusl-259979.
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My thesis Land art in garden-architectural design deals about land art as artistic movement which was born in the twentieth century. In the historical literature review, namely the theoretical section are an informations about the origin of this art, also presented are the creations of the most important land artists known worldwide and also in Czechoslovakia together with their works as well as the alternative of using these works in different types of places in landscape gardening and landscape architecture. Practical part (chapter Results and suggestions) contains, on the basis of knowledge, designs and studies of my own land art installations in selected localities of Slovakia and Czech republic together with the characteristics of the locality, analysis of the locality, main idea, inspiration and material used for implementation.
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PRINCELLE, PHILIPPE. "Spectre et fantome. L'ephemere et le photographique dans le land art." Strasbourg 2, 2000. http://www.theses.fr/2000STR20004.
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Les oeuvres monumentales des annees 70 ont cede le pas a des oeuvres douees et ephemeres. Et devant l'importance grandissante du travail paraphotographique, la trace de l'oeuvre disparue est trop souvent prise (a tors) pour l'oeuvre elle-meme. Bien des contradictions sont issues de l'utilisation meme de la photographie, mais l'idee mise en avant est que la trace est indipensable et fait partie integrante de l'oeuvre disparue. La question est : comment et pourquoi ? la trace n'est pas toujours un accident ou un dechet residuel. Les analyses revelent une trace balise, qui est aussi chemin de l'emotion, ou encore instrument de mise a distance. La trace est bien plus qu'une compensation au vide laisse par la disparition de l'oeuvre. La trace apparait successivement comme l'agent de la disparition, de l'oubli et donc du vide et de la desacralisation qui en resultent. Outil de production, la trace insuffle la vie a l'oeuvre, la tue, la limite et la critique. Deja responsable de l'artialisation et << pontifex >>, entre la preuve et l'indice, la trace photographique est maintenant reconnue << fibule >>, venant sceller l'experience, entreprise par l'artiste, de mise a distance et de liaison. Malgre cela, l'oeuvre basee sur la notion d'instant, jouant avec << l'encore vif et le deja mort >>, persiste a nous echapper. Seuls subsistent le spectre de l'ephemere et ses fantomes.
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land art comme analyseur du social /." Danjoutin (6 rue de Verdun, 90400) : J.-P. Brun, 2002. http://catalogue.bnf.fr/ark:/12148/cb390766694.
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land Art comme analyseur du social." Besançon, 2002. http://www.theses.fr/2002BESA1026.
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Il s'agit de comprendre la nature des forces sociales à l'œuvre dans l'Amérique des Sixties, qui mènent, entre 1969 et 1973, De Maria, Heizer, Holt, Ross, Smithson, Turell, à construire ou à projeter des œuvres-sites-monuments (œuvres de terre, dont la Planète est le socle, de dimensions monumentales) dans les déserts du Sud-ouest. Qu'expriment ces œuvres du social de leur époque, nommées par la suite Land Art ? Sont-elles un art de rupture enraciné dans la culture américaine et portant ses traits identitaires ? La thèse retrace la construction de l'identité culturelle de l'Amérique, les fondements et l'histoire de la contestation. Elle présente le " bricolage " conceptuel articulé autour des notions de réseaux et de cliques et la méthode d'enquête mobilisant monographies et journal de bord. C'est la lecture des pratiques sociales de création alliées aux intentions des artistes révélées par la forme des œuvres qui montre les traits identitaires qu'elles portent.
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land art comme analyseur du social." Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2005. http://catalogue.bnf.fr/ark:/12148/cb40092117t.
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Brun, Jean-Paul. "Nature, art contemporain et société : le Land art comme analyseur du social." Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2006. http://catalogue.bnf.fr/ark:/12148/cb409277393.
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Brun, Jean-Paul Minary Jean-Pierre. "Nature, art contemporain et société : le Land art comme analyseur du social." Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb411109683.
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Reques, Gabriel Sebastián. "Greenways planning and Land Art in Sjöbo, Sweden." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/15552.
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Este projecto representa um processo teórico e prático de planeamento que integra uma rede de corredores verdes e possível localização para a instalação de obras de Land Art. O projecto obedece a uma escala Municipal. O principal objetivo é realizar um plano baseado na síntese das características do território e do caráter do lugar, tratando os dados através de um sistema de informação geográfica.
O caso de estudo localiza-se no município de Sjöbo, Suécia. A Câmara Municipal está interessada no crescimento do turismo da região, tendo em vista o desenvolvimento do município. Este projecto procura ser parte de um turismo ecológico e sustentável aplicando a combinação perfeita de Corredores Verdes e Land Art; ABSTRACT:This project presents a theoretical and a practical process of planning integration of a greenway network and a possible location for land art works of a municipality level in Sweden. The main aim is to reach a plan which is made following the characteristic of the territory, the character of the places and sites as prerequisites analysed by a geographic information system.
The case study is done in Sjöbo Municipality. The Municipality is trying to improve the touristic attraction, indeed, help to achieve a better development. This project is a perfect combination to be part of an ecological and sustainable tourism development.
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Zoppe', Chiara <1978>. "L'EVOLUZIONE DELLA LAND ART. IL CASO HUMUS PARK." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/5883.
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Con questo studio si è voluto dimostrare come si sia evoluto il movimento che con il nome Land Art nacque negli Stati Uniti alla fine degli anni Sessanta.
Partendo dal concetto di cosa fosse natura per l'arte e più in particolare come venisse rappresentata nelle opere, è stato fatto un excursus delle correnti artistiche principali che si sono succedute nel corso dei secoli e per ciascuna di esse è stato illustrato come l'elemento naturalistico fosse descritto e quale poetica lo sostenesse.
L'indagine entra nel suo vivo con l'analisi del movimento di Land Art e dei suoi protagonisti principali in cuila natura diviene materia prima delle opere d'arte ma anche come soggetto vivo
Nell'ambito dell'Arte Ambientale quindi si è assistito alla nascita di esperienze nuove e diverse: dai parchi d'arte contemporanea all'architettura in verde, dai centri di ricerca artistica che realizzano opere con occhio attento all sostenibilità ambientale fino al porre in essere eventi temporanei d'arte ambientali, vere e proprie mostre temporanee en plein air, fatte di materiali reperiti in natura e destinati a scomparire per sempre.
Proprio uno di questi ultimi è oggetto di studio di questo lavoro di tesi: l'esperienza di Humus Park a Pordenone.
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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2010.Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.
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Hladová, Anežka. "Land art jako prostředek k vytvoření iluze ideálního prostoru." Master's thesis, Česká zemědělská univerzita v Praze, 2017. http://www.nusl.cz/ntk/nusl-315967.
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This diploma thesis is based on a project emphasizing the land art principle that creates an illusion and intervenes thus into space on grounds of a historical event or an object missing in a certain area. The practical part consists of seven land art schemes with an introduction of the concept itself and the last key concept is in addition realized on Vitkov Hill. The overall design of Vitkov area suggests park changes and ground shaping of the park itself that is also supplemented by land art enhancing historical aspects of the place.
The concept focuses mainly on an oversized asphalt lane that is nowadays, with its flat shape, considered as the top of such prominent hill, the real peak is therefore missing. Having said that, the project attempts to restore its natural and imperfect appearance of the complex. Furthermore, the scorched pathway becomes due to summer season an unfriendly place to stay. As a result, the project provides a solution in form of a return to a slightly narrowed sunken lane placed under the ground level and paved with stones. Alongside the main holloway there are sand pathways for walkers and a running track so far spontaneously created in the lawn by passing runners. Asphalt lane therefore stays only one, designated especially for inline skaters. Around the aforementioned routes there are suggested both elevated and deepened spots that offer even more magnificent view. All proposed terrain changes are supposed to evoke a false impression that Vitkov hill has never been flattened, as it in present day, and one is a mere visitor passing through paths that allow visitors to embrace sense of reaching the top. Despite the fact that Vitkov hill monument is a public area having its indisputable significance, it seems to be often forgotten. Apart from the recreational purposes of the park, this green hill is also a prominent feature in Prague´s city views and, last but not least, a memorial of one of the most important battles related to the Czech history. This land art project has been involved into International Landscape Festival 2018 held in Prague and foreshadows thus the event from early stages. The project then becomes a real work of art placed in public area with an intention to accentuate the suffering in the historical battle as a painful event that should be remembered by the nation. Simultaneously, it points out at a missing tree that symbolizes ephemerality of values. Land art thus emphasizes an abstract image of growing Lilacs and Acacia trees standing against each other in the battlefield as the soldiers in Vitkov or from the present day point of view, Karlín and Žižkov. Defeated Acacia trees epitomize Crusaders fleeting away from victorious Hussites (Lilacs) down the Karlín Hill and the only thing that remains is only one fallen soldier (Accia tree) and a lot of pikes sunken in the ground.
Other land art projects have much in common. For instance, they are located in cities and their surroundings known well by the author. Apart from visible aspects, they lay emphasis especially on inner connectedness expressed through an illusion. A passerby should be able to notice that there is an imperfection, in particular area, he has not spotted before. He therefore intentionally finds himself in a position where he should open his fantasy because the place is speaking to him through shades and silhouettes of an absent reality. This thesis also demonstrates how popular initiative can change the city and bring interesting ideas as in case of High Line in New York.
Lastly, land art literary research provides insight not just into land art as artistic movement but also as a feature in public area commonly discussed due to its inappropriate composition. The diploma thesis focuses mainly on Czech authors.
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Lucas, Isabel Jesus Basilio. "A Land Art como recurso pedagógico: a Land Art como recurso pedagógico para que os alunos adquiram competências a nível da gramática visual." Master's thesis, Escola Superior de Educação, Instituto Politécnico de Setúbal, 2011. http://hdl.handle.net/10400.26/6131.
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Lussac, Olivier. "Land art. Sens et non-sens de la sculpture contemporaine." Paris 3, 1995. http://www.theses.fr/1996PA030036.
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Le land art est un mouvement artistique qui concerne differentes formes de sculpture dans la nature et dans le paysage, durant les annees soixante et soixante-dix. Cette etude propose une analyse historique et esthetique. Particulierement, nous essaierons de comprendre ce qu'est la dialectique du site et du non-site, ainsi que le sublime et le pittoresque dans les jardins et dans le land art, les dimensions photographiques et cinematographiques de la sculpture. Pionniers du earth art et du land art, touchant la pratique de l'art et de la theorie, r. Smithson, r. Morris, m. Heizer, w. De maria (et de r. Long en angleterre) developperent une oeuvre multiple qui se nourrit et qui defie les traditions artistiques fixees dans le champ de la sculpture. Les investigations de ces artistes toucherent un large choix de formes: objet, photographie, texte, performance, installation, carte. . . Le land art tente de depasser le champ limite de la sculpture grace a un questionnement d'ordre historique et philosophiqueLand art is an artistic movement, concerning different forms of sculpture in nature and landscape, during the 60s and 70s. This study propose historical and aesthetical analysis. Particularly we should try to understand what are the dialectic of sight and nonsight, the sublime and the picturesque in the gardens and land art, the photographic and cinematographic dimensions of sculpture. Having pionnered of earth art and land proving themselves in the pratice of both art and theory, r. Smithson, r. Morris, m. Heizer, w. De maria (and r. Long in england) developped a multiofaceded oeuvre that has nourished and challenged artistic traditions fixed in the field of the sculpture. The investigations of these artists took on a wide of range of forms from the very beginnings: object, photography, text, performance, installation, map. . . Land art attempts to go beyond the narrow sphere of sculpture, philosophical and historical questions of the day
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Haley, Rochelle Denise Art College of Fine Arts UNSW. "Land incorporated: moving through landscape." Awarded by:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43796.
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Land Incorporated is a practice-based investigation into the relation between the land, the body and its representation. The textural and haptic nature of light, philosophical notions of reflection and the embodied and phenomenological experience of movement through the landscape are explored via mediums of incised paper, etched mirror and line drawing. Studies in philosophy, film theory and anthropology into the structure of vision in space, the touch of the eye upon an object and the haptic nature of the mark that in-scribes a surface, have illuminated bodily perceptual relationships to the land and informed an understanding of 'inscription' that incorporates mobile narratives of the artist and the viewer.
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Bianchi, Marilda. "Arte e meio ambiente nas poéticas contemporâneas." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-05052015-191223/.
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Este é um estudo sobre o desenvolvimento e a prática de arte voltada para questões ambientais, cujo objeto de arte possa ser o próprio ambiente, por meio de ações ou intervenções em espaços públicos ou privados, construções de objetos de arte com utilização de materiais não convencionais, com proposta de foco ou crítica a questões ambientais. A pesquisa estabeleceu investir em um levantamento de artistas cuja poética se envolva com o meio ambiente, como um exercício de crítica de arte. Escolhi os artistas Brígida Baltar, Andy Goldsworthy e Carlos Vergara pelas poéticas. A análise da pesquisa caracterizou-se por um levantamento das principais características das obras escolhidas, as analogias estabelecidas entre a proximidade e as singularidades da poética de cada artista/obra analisadas com o meio ambiente. Considero que a crise ambiental pela qual passa o planeta pede uma nova postura dos artistas, uma necessidade de estar aberto às possibilidades de um fazer artístico junto ao meio ambiente natural, um fazer crítico, consoante com os novos tempos, reafirmando-se na função social da arte.This is a study on the development and practice of art focused on environmental issues, whose object of art may be the environment itself, through actions or interventions in public or private spaces, construction of art objects using unconventional materials, including proposals of focus or critical environmental issues. The research established to invest in a survey of artists whose poetic engages with the environment, as an exercise in art criticism. I chose the artists Brígida Baltar, Andy Goldsworthy and Carlos Vergara by poetic. The research analysis was characterized by a survey of the main characteristics of the chosen works, the analogies made between the proximity of the poetic and the singularities of each artist / work analyzed with the environment. I believe that the environmental crisis in which the planet is a new approach calls for artists, one need to be open to the possibilities of an artwork with the natural environment, to do with a criticism way, according to the new times, reinforcing its position in the function social of art.
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Carroll, Peter J. "The old people told us: verbal art in Western Arnhem Land." Phd thesis, University of Queensland, 2022. http://hdl.handle.net/1885/268560.
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AIM
This thesis is based on a collection of stories (most of which relate to bark paintings), that were told to me by speakers of the Kunwinjku language of the Northern Territory of Australia. My objective is to show that these particular stories have an important role in the transmission of Kunwinjku culture. I do this by seeking to understand the stories and how they are used by Kunwinjku people. I first consider the stories in the original
Kunwinjku language; secondly I relate the stories to the western Arnhem Land artistic traditions; and thirdly I examine their social context. The important role of such stories in cultural transmission is reflected in the phrases daborrabolk kandimarneyolyolmeng "the old people told us stories" and kandimarneyolyolmi "they used to tell us stories" which occur in many stories. I have included one of these phrases as part of my thesis title.
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Fujie, Atsushi. "Le land art américain et les notions de pittoresque et de sublime." Paris 1, 1993. http://www.theses.fr/1993PA010577.
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Nous montrons le parallélisme des concepts et des images entre le land art américain, mouvement de l'avant-garde artistique de la seconde moitié du XXe siècle, et les notions de pittoresque et de sublime, concepts polysémiques développés par la philosophie du XVIIIe siècleWe have shown the parallelism of the concepts and the images between american land art, the avant-garde movement of the XXth century, and the notions of the picturesque and the sublime, polysemiotical concepts of the XVIIIth century philosophy
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Hogarth, Jan. "'Dislocated landscapes' : a sculptors response to contemporary issues within the British landscape." Thesis, University of Sunderland, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268041.
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Riado, Benjamin. ""Parergon" : une herméneutique documentaire dans l'art contemporain : le cas du Land Art." Paris 1, 2013. http://www.theses.fr/2013PA010518.
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L'objet de ce travail est la façon dont se pensent les œuvres qui, à l'image des sculptures de l'art contemporain ou du Land Art, ne se suffisent pas à elles-mêmes mais réclament des enregistrements ou d'autres documents venant les compléter. Quoique tangibles, ces œuvres restent en effet difficiles à exposer, parce qu'elles sont solidaires d'un lieu reculé auquel on ne peut les soustraire, parfois éphémères ; les documents qui les accompagnent permettent alors de rendre compte de leur forme auprès de l'institution. Nous appelons du mot grec « parergon » (« accessoire ») le document par lequel l'oeuvre apparaît sous la forme d'un enregistrement qui engage le spectateur sur la voie de la réception esthétique. Le paradoxe est alors que ce qui permet cette expérience esthétique n'est pas l'oeuvre elle-même mais bien un élément hors d'oeuvre. Pour justifier l'application de ce terme antique à une situation contemporaine, ce travail s'est d'abord attaché à ses usages anciens afin de mettre en évidence que le « parergon » ne se rencontre que dans des cas de malentendu entre ce qui est essentiel et accessoire sans un œuvre d'art – la méprise dans ce cas ne peut être dissipée que par l'interprétation. Philosophiquement, ce problème est ressaisi par la question des limites de l'oeuvre d'art : où commence et finit une oeuvre qui se présente sous plusieurs formes ? L'étude montre que c'est au prix d'un travail de déconstruction de la présence immédiate de l'oeuvre dans les musées que se sont engagées les pratiques Land Art. Cependant la photographie n'est pas seulement le prolongement de la sculpture dans l'institution : c'est aussi un mode d'apparaître de l'oeuvre qui réduit parfois celle-ci à être un lieu reconnu par l'artiste comme digne d'être artificiellement exposé. L'analyse d'exemples précis permet finalement de montrer que le « parergon » ne consiste pas seulement dans la photographie d'oeuvres sculpturales, mais est aussi une façon documentaire de faire œuvre photographique.
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Van, Toorn Tai Amida. "On site, out of sight: viewing devices in Canadian land art, 1969-1980." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=122970.
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This doctoral dissertation addresses land art—ephemeral, site-specific works created from found materials, such as plants, stones, logs, earth, and water, in public and private outdoor locales—by Canadian artists from 1969 to 1980. I examine lesser-known artworks and writings by, and archival materials pertaining to, the N.E. Thing Co. (Iain and Ingrid Baxter), Dean Ellis, Robin Mackenzie, Reinhard Reitzenstein, and Bill Vazan. Despite the diversity of materials and settings chosen by artists, the artworks of interest to this study are united by their operation as viewing devices that transformatively mediate the beholder's view of the sites in which the works are located. My central argument is that three viewing devices featured in Canadian land art—frames, viewfinders, and apertures—deliberately destabilize the conception of site. These devices undermine the commonly assumed stability, visual coherence, fixity, and boundaries of sites by producing new, visually experienced sites displaying unstable, mutable, even contradictory appearances. I further underscore that these views respond critically to issues in Canadian culture, history, and regional politics in the post-Centenary era. To develop this argument, the Introduction situates Canadian land art in relation to existing scholarship on theories of visual perception and site specificity in 20th-century outdoor art (predominantly devoted to American and European art). The Introduction specifies this study's original contributions to previous scholarship before mapping the structure of the dissertation. Chapter One defines essential terms, concepts, and debates, and proposes a contextual definition of visually oriented land art in Canada. Each of the subsequent four chapters, chronologically and thematically ordered, analyzes a particular type of viewing device and model of site in an artwork by a Canadian artist discussed in connection with contemporaneous works by international artists. The Conclusion reprises the central argument, expands on the contextual definition, and extricates the principal characteristics defining land art's manipulation of site through sight.Cette thèse analyse le « land art » canadien produit entre 1969 et 1980. Cet art comprend des œuvres éphémères installées dans des lieux publiques et privés et fabriquées d'objets et de matériaux trouvés, incluant des plantes, des pierres, des bûches, de la terre, et de l'eau. J'examine des œuvres d'art moins connues, des textes, et des documents d'archives des artistes N.E. Thing Co. (Iain et Ingrid Baxter), Dean Ellis, Robin Mackenzie, Reinhard Reitzenstein, et Bill Vazan. Malgré la diversité des matériaux et des lieux sélectionnés par ces artistes, leurs œuvres partagent la fonction d'agir comme « dispositifs visuels » qui médiatisent la perception visuelle du sujet face aux sites où se trouvent les œuvres. Mon argument central propose que les trois catégories de dispositifs visuels caractérisant le land art canadien—cadres, viseurs, et ouvertures—déstabilisent le concept du site. Ces œuvres sapent la stabilité, la cohérence, la fixité, et les limites conventionnellement attribuées aux sites en produisant des nouvelles vues dotées d'apparences instables, changeantes, et parfois paradoxales. Je souligne aussi que les vues produites par ces œuvres répondent de façon critique à la culture et l'histoire canadiennes post- centenaires ainsi qu'aux politiques régionales. Pour développer cet argument, l'introduction situe le land art canadien par rapport aux publications scientifiques (dont la majorité traite de l'art américain et européen) concernant les théories de la vision et du lieu dans l'art in situ contemporain du vingtième siècle. L'introduction identifie les contributions originales de cette étude à la littérature scientifique et décrit la structure de la thèse. Le premier chapitre définit les termes, les concepts et les débats essentiels au développement du land art. Il propose également une définition contextuelle du land art canadien orienté visuellement. Chacun des quatre chapitres suivants, organisés chronologiquement et thématiquement, examine un dispositif visuel et un type de site dans une œuvre spécifique d'un artiste canadien en tissant des liens avec des œuvres d'artistes internationaux. La conclusion reprend l'argument, développe la définition contextuelle, et démontre les caractéristiques principales de la manipulation des sites à travers une diversité de stratégies visuelles.
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Lausson, Adeline. "Le Land Reclamation Art : idées artistes projets des années 1960 aux années 2000." Paris 1, 2006. http://www.theses.fr/2006PA010655.
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. Dans les années soixante, certains artistes ont commencé à réfléchir à des œuvres d'art qui participeraient à la réhabilitation de sites industriels abandonnées, de terrains vague et de zones polluées. Au début des années 1980, des artistes comme Alan Sonfist, Patricia Johanson et Nancy Hoit, ont commencé à réaliser des œuvres monumentales avec ce but à l'esprit. Dans les années 1990, ils étaient rejoints par une nouvelle génération. Parmi eux, Mel Chin et Agnes Denes qui s'intéressaient déjà depuis quelques temps aux problèmes politiques et écologiques. Même s'ils ne se connaissaient pas les uns les autres, ces artistes partagent certains concepts et certaines convictions. Leurs œuvres participent non seulement à la réhabilitation écologique, mais aident également à reconstruire le lien manquant entre les hommes et leur environnement naturel. En développant des designs spécifiques, ces artistes veulent mettre en présence, plus ou moins naturellement, les hommes, la flore et la faune.
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Sánchez, Contreras Marcela. "Cuerpo textual : poesìa, performance y land art en la obra de Raúl Zurita." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/145170.
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Magíster en artes con mención en teoría e historia del arteEl objetivo de esta tesis es desentrañar cómo un soporte escritural, performático o land art, se puede interpretar como un cuerpo escritural, con su propia hermenéutica. Para lo anterior reseñaré entrevistas, revisión de textos, revistas, diarios y ensayos online como forma de acercarme más a una revisión holística de lo que podría denominarse una estética de cuerpo escritural. La definición de cuerpo, arte y escritura va cambiando a lo largo de la historia, así como también lo hacen la relación que se sostienen entre sí. Esta diferencia es radical, y podemos notarla principalmente, tanto en la Época Clásica, la Edad Media como en el Renacimiento y, más aún, durante la época Contemporánea. Las obras que se analizaron son escriturales, performáticas y land art, todas ellas tienen en común su constitución subrepticia hacia la dictadura militar, es decir, se utilizaron subterfugios para no caer en la censura institucional. Zurita tiene referentes extranjeros, como el “accionismo vienés”, y correlatos en la escena local: “Diamela Eltit” y “Las Yeguas del Apocalipsis”, que se corresponden en una suerte de subversión política violenta sobre el cuerpo y su constitución textual. La relación arte y vida, es una verdadera propuesta política contrainstitucional, desde la cual se puede entender el vuelco escritura -obras performática y land art en la obra de Zurita. A su vez, existe un imaginario, cuerpo violentado, que podemos leer de forma transversal en la obra de Zurita, así como un imaginario judeocristianismo, que, a través del lenguaje, postula una reflexión tanto mística como mesiánica, sobre todo en sus textos escriturales propiamente tales. En síntesis, el cuerpo se interpreta como escritura, desde la producción, tanto, escritural como aquella propiamente artística de Raúl Zurita, siempre bajo el legado de una experiencia arte/vida en un contexto sociopolítico específico de la historia de Chile.
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Harnois, Richard D. "Gone to a Better Land: A Study of Gravestone Forms, Art and Symbolism." W&M ScholarWorks, 2000. https://scholarworks.wm.edu/etd/1539720293.
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Jones, Charlotte. ""THIS SACRED LAND IS OUR SHIELD": Deploying the Sacred in Indigenous Art and Activism." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1206.
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My art historical and sociological thesis will take Cheyenne-Arapaho artist Edgar Heap of Birds’ Defend Sacred Mountains print series as the point of departure for examining the interventions of Native artists and grassroots activists in their decolonizing campaigns. Heap of Birds’ exhibition of sixty-four mono-prints, to be exhibited at Pitzer College Art Galleries in January 2018, calls attention to the ongoing injustices committed against four indigenous sacred sites across the United States: Bear Butte, South Dakota; Bear’s Lodge, Wyoming; San Francisco Peaks, Arizona; and Mauna Kea, Hawaii. Heap of Birds’ monoprints address and allude to indigenous struggles to undermine insensitive development, non-Native encroachment, and environmental despoliation on their sacred mountains. Consequently, one chapter will pay special focus to the case studies of contemporary legal and social battles occurring at these sites to counter land dispossession and reinforce tribal sovereignty. How tribal leaders and grassroots activists employ claims to these lands based on their sacred value and/or based on treaty rights will be explored on a case-to-case basis and guided by the theories of decolonization, survivance, and tribal sovereignty. Two other chapters will address Heap of Birds as a decolonial actor, one grounding his career in the theories of spatial politics and historical remembrance explored by other American Indian Movement era (AIM) indigenous artists such as George Longfish, Kay WalkingStick, Rebecca Belmore, and Demian DinéYazhi´; the second will consider the implications of Defend Sacred Mountains in relation to his wider oeuvre. In highlighting both grassroots and artistic responses to indigenous claims to these four sacred sites, this thesis hopes to explore the concrete and diverse interventions made in decolonial campaigns to reclaim tribal sovereignty and support cultural survivance.
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Stevanin, Federica <1983>. "La fotografia, il film e il video nella Land art tra documentazione e sperimentazione." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/6042/1/Stevanin_Federica_tesi.pdf.
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La tesi affronta il ruolo problematico della documentazione nella Land art, sia per quanto riguarda l’immagine diffusa dai magazine e dalle riviste d’arte, sia affrontando nello specifico il rapporto con i media nella poetica degli artisti, dedicando particolare attenzione a De Maria, Heizer, Oppenheim, Smithson, Holt, Dibbets, Long, Fulton e Christo e Jeanne-Claude.The thesis deals with the problematic role of the documentation in Land art, both with the image of the movement displayed in magazines and art reviews and dealing with the relationship established with the media by the artists, in particular De Maria, heizer, Oppenheim, Smithson, Holt, Dibbets, Long, Fulton and Christo and Jeanne-Claude.
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Stevanin, Federica <1983>. "La fotografia, il film e il video nella Land art tra documentazione e sperimentazione." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/6042/.
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La tesi affronta il ruolo problematico della documentazione nella Land art, sia per quanto riguarda l’immagine diffusa dai magazine e dalle riviste d’arte, sia affrontando nello specifico il rapporto con i media nella poetica degli artisti, dedicando particolare attenzione a De Maria, Heizer, Oppenheim, Smithson, Holt, Dibbets, Long, Fulton e Christo e Jeanne-Claude.The thesis deals with the problematic role of the documentation in Land art, both with the image of the movement displayed in magazines and art reviews and dealing with the relationship established with the media by the artists, in particular De Maria, heizer, Oppenheim, Smithson, Holt, Dibbets, Long, Fulton and Christo and Jeanne-Claude.
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Araujo, Ferreira Gloria. ""L'invisible est réel" sur l'oeuvre de Walter de Maria." Paris 1, 1996. http://www.theses.fr/1996PA010607.
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Cette thèse porte sur l'œuvre de Walter de Maria, né en 1935 en Californie, et s'organise autour de trois grands thèmes : celui des œuvres in situ, relevant du land art, comme the lightning field, où celles conçues pour des espaces intérieurs ; celui des assises de sa démarche esthétique (partagée, au début de sa carrière, entre les arts plastiques et la musique), qui l'amènent à concevoir des œuvres dans la nature (walls in the desert) ; et enfin celui de sa réflexion sur le "mode de vie" d'artiste délivrée dans quelques œuvres (notamment high energy bar, 1965). Son recours au langage - inscriptions sur les œuvres, signature, titres et contrats - met en jeu les rapports entre auteur-objet-spectateur et la circulation des œuvres. Les annexes, volume II, comportent principalement la chronologie des œuvres, la traduction de textes, quatre entretiens avec des conservateurs de musée et la bibliographie spécifique à l'artiste. À travers l'étude d'un corpus d'œuvres emblématiques a été mise en lumière la problématique qui traverse sa production, à savoir celle de la mise en situation comme condition d'une réception active par le spectateur, où la jouissance et la réflexion scientifique, historique ou théorique, ne sont pas opposées et où il n'est pas accordé de primauté à la conceptualisation de l'art. Sont traités également l'attachement de Walter de Maria à une attitude de non-discours, et ses écarts par rapport aux formulations programmatiques de ces dernières décennies. L'invisible, en tant qu'élément opératoire qui articule les différentes significations entre elles, est la façon pour l'œuvre de nouer des relations avec l'environnement et d'évoquer des dimensions spirituelles. Insaisissable par la perception directe, l'invisible crée un contexte de perception, et empêche l'épuisement du sens dans l'objet matériel, renvoyant à la problématique du sublime. L'œuvre de de maria construit, reconstruit et déconstruit, incessamment, toute significationThis thesis on Walter de Maria's work, born in 1935 in California, is organized around three main themes : 1) that of his works in situ, in the interior spaces or related to land art, as the lightning field ; 2) the basis of his aesthetic approach, sharing with plastic arts and music, in the beginging of his career, that leads to his first work in the nature, walls in the desert ; 3) his works concerning the reflexion on the artist's way of life (especially high energy bar, 1965). It is treated as well walter de maria's attitude of no discourse about art, and his distancing, in the last decades, from programmatic formulations. The appendixes primarily consist of his work's chronology, the translation of texts, four interviews with museum curators and a specific bibliography to the artist. This study brings out the question that underlies his production : how to create a work that fited to each situation, and that can be experienced actively by the spectator. His approach relates to the creation of a work depending upon its site, where, the invisible, the danger, and the symbolic elements are the operating principles which prevents using up the meaning in the material object. It points to the sublime. In the work of De Maria there is, incessantly, the construction, the reconstruction and the deconstruction of every signification
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Geiseler, Marie-Louise. "Zeit-Raum-Natur-Erfahrung im Werk von Richard Long." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2004. http://dx.doi.org/10.18452/15157.
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Meine Dissertation stellt den 1945 geborenen britischen Künstler Richard Long nicht nur in den Kontext der Land Art, der Minimal und der Concept Art, sondern zeigt dar-über hinaus Parallelen zur Tradition der englischen Landschaftsgärten und der Land-schaftsmalerei des 18. Jahrhunderts auf. Im Anschluß an eine detaillierte Kategorisie-rung und Analyse der von ihm verwendeten Medien (Photographien, Skulpturen, Kar-tenarbeiten, Textarbeiten) und Materialien (Stein, Holz, Erde/Schlamm, Wasser, Wind) steht Longs Auseinandersetzung mit rahmenden Blicken, mit der Bewegung durch die Natur, mit dem Aufsuchen geschichtsträchtiger Orte und mit Landschaftsphysiognomie, mit der Erfahrung von Raum, Zeit und Natur im Mittelpunkt. Zu Longs Leitgedanken gehört das Moment der Transformation. Long wandelt Natur in Kunst; er stellt Naturmaterialien dahingehend neu zusammen, daß sie durch Anordnung zum Kunstwerk werden. Er thematisiert die Umwandlung von Dingen und von Aggregatzuständen sowie den Wandel der Zeit (Jahreswechsel, aber auch den Tem-powechsel der eigenen Bewegung). Darüber hinaus ist seine eigene Körperbewegung wesentliche Voraussetzung für die skulpturalen Arbeiten, seine Bewegung wird zum Werk. Die Wechselwirkung von persönlichem Empfinden und Natur prägt Longs Werk. Natürliche Gegebenheiten veranlassen ihn zur Erschaffung von Skulpturen oder er ex-pliziert seine Sinneswahrnehmungen auf Wanderungen in Wort-Bildern.In my PhD.-thesis, the oeuvre of the British artist Richard Long (born 1945) is dealt with in the context of Land Art, Minimal Art and Concept Art. Additionally, the tradition of eighteenth-century landscape gardens and landscape painting is discovered as another important influence on his artistic work. After giving a detailed analysis of Long’s artistic media (photography, sculpture, maps, textworks, film) and materials (stone, wood, turf, mud, water, wind), the study concentrates on the artist’s working methods based on his personal experience of space, time and nature. Moving through nature or visiting historic sites, Long not only discovers framed vistas in his surround-ings, but also gets involved with nature’s "physiognomy". Transformation is Long’s main topic: he changes nature into art, his arrangements transforming natural materials into works of art. These visualize the transformation of things or physical states as well as the change of time (e. g. the change of speed of his own movement or astronomical events such as the turn of the year). Generally, the movement of Long’s own body is turned into sculpture when he expresses either the characteristics of certain places or his perceptions during his walks by sculpture or textworks.
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Penders, Anne-Françoise. "Partir - Revenir: étude des concepts de déplacement et de voyage dans la mouvance du Land Art. De l'espace de création à l'espace de présentation." Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212273.
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Desbordes, Chrystelle. "La notion d’éphémère dans l’art occidental des années 1960-1970 : approches phénoménologiques d’un concept artistique." Toulouse 2, 2005. http://www.theses.fr/2005TOU20102.
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Des artistes des années 1960-1970 rendent l'éphémère tangible au sein de l'oeuvre. Se manifestant diversement (entre immanence et transcendance), l'éphémère appartient au vocabulaire de l'Art Cinétique, du Nouveau Réalisme, de l'Arte Povera, du Land Art, de l'Art Conceptuel, de "l'art d'action", ou à des artistes inclassables (Klein, Beuys). En analysant des oeuvres historiques, la thèse fait un premier "état des lieux" d'une question d'histoire de l'art et d'esthétique essentielle pour la compréhension de l'art contemporain. La méthode est fondée sur une lecture de l'éphémère au sein de trois paradigmes fondamentaux de la création d'alors : l'oeuvre "dans" la vie ; l'oeuvre processuelle ; reproductibilité et irréproductibilité de l'oeuvre. Entre présence, absence et mémoire, l'oeuvre éphémère dépasse les seules données du visible et invite à une phénoménologie de la perception, participant à la redéfinition de l'objet d'art imposée par les révolutions artistiques du vingtième siècleArtists of the sixties and seventies make ephemeral tangible within the work of art. Far from being homogeneous in its modes of demonstration (between immanence and transcendence), the artistic concept of short-lived is then readable in the artistic tendencies of the Kinetic art, Happening, New Realism, Arte Povera, Perfomance Art, Land Art, Conceptual Art. . . , even in works of non classable artistis (Klein or Beuys). On the basis of "historical" works, the method is founded on a reading of transitory framed in three fundamental paradigms of the creation of the studied period : Work "in" the life, Processual work, Reproducibility and irreproducibility of work. More generally, the enumeration of these paradigms is suggesting that time is from now one of the major data of the artistic practice. In the same time, it form a typology of the various modes of demonstration or phenomenologic approaches of the ephemeral in the contemporary art and an observation of its aesthetic stakes
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Jemal, Siala Mouna. "Prise, reprise, surprise : recherche sur l'ombre : trace des temps par une approche photographique." Paris 1, 2002. http://www.theses.fr/2002PA010510.
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Dans "Prise, Reprise, Surprise" j'essaye d'être un peu landa1tist, un peu photographe, ou plutôt entre les deux, et en même temps théoricienne. Toutes les réalisations éphémères que j'ai faites dans le site sont liées d'une part à la nature et aux éléments de la nature, dont moi-même, et d'autre part au temps et à l'ombre. Ces réalisations qui se dégradent et meurent reprennent vie dans le non-site par le biais de leur représentation en photo-installation. L'acte photographique constitue le lien qui maintient le contact entre l'espace de présentation extérieur et l'espace de présentation intérieur. Comme avec la chronophotographie je cherche à montrer le mouvement de la marche de l'ombre et par voie de conséquence, celle du temps. Je cherche, également, à montrer la silhouette longiligne que peut avoir l'ombre et qui va jusqu'à prendre la place du corps ou même le faire disparaître. Mon ombre est à l'origine de mon art ; elle est pour moi une inspiration et c'est un effet de surprise mêlé à la maîtrise qui fait apparaître l'ombre et l'instant vertical de la création. Le temps est intimement lié à l'ombre et à la lumière et la représentation du temps est intimement liée à la conscience de soi. Les photo- installations d'ombres sont des autoportraits qui me font présente tout en étant absente et marquent en plus la trace des temps.
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Bruni, Gilles. "Installations paysagères et land art : la conduite créatrice technique, le projet et le comportement éthique." Rennes 2, 1997. http://www.theses.fr/1997REN20017.
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Il est défendu l'idée qu'un mode de connaissance en art procède de la technique et d'une dimension éthique. Dans l'analyse des productions in situ, à la différence d'un modèle historique et esthétique en usage pour le Land art, les enjeux du travail d'installation paysagère requièrent l'étude des paramètres spécifiques qui en fondent les principes. Le projet artistique utilise le site avec circonspection. L'implication dans le lieu vise une issue technico-plastique 0 chaque situation. Le plasticien créateur exploite ici des processus techniques qui empruntent à des champs hétérogènes de l'agriculture, de l'architecture, de la photographie. La réappropriation de pratiques ordinaires produit alors des figures réglées, transfigurées par un dispositif photographique interne au processus de fabrication de l'oeuvre qui en fixe une image. En considérant inscrites dans la raison du producteur les conditions de la production, s'y trouvent incluses alors son trajet anthropologique et ses préférences. L'artistique, comme science des processus de l'art prend ainsi en compte les paramètres éthiques et sociaux. La mise en oeuvre des procédés techniques relève alors d'une procédure de légitimation des actes et du produit artistique comme visées esthetico-morale et politique. La préférence aux travaux des champs, aux matériaux locaux et le respect du milieu physique et social signale une attitude morale. Dans la mise a l'épreuve, entre tentation de soumission au milieu et ordre imposé, se construit ainsi une démarche de validation de l'expérience du site. La valeur heuristique de l'exercice révèle a terme la dimension anthropologique d'une implication du sujet dans la création comme mode d'existence et par l'évaluation éthique fait advenir une position critique. L'artiste plasticien (ici figure double) apparaît alors comme un sujet conscient, autonome et libre en ce sens qu'il s'attache à réinjecter dans l'oeuvre les conditions de son élaboration, construisant ainsi la figure de l'artiste
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Johnson, Mary Claire. "Art as a weapon land, gender and work in Myra Page's Daughter of the hills /." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=2871.
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Salvail, Reno. "Processus narratifs et modes de l'art-fiction dans une démarche contemporaine en arts visuels : (installations et multi médias) ou l'aventure de la création." Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10082.
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Ilschner, Frank. "Verkörperte Zeiträume : eine Auseinandersetzung mit der Land Art in den Werken von Andy Goldsworthy, Richard Long und Walter De Maria / Building time : a view on the Land Art of Andy Goldsworthy, Richard Long and Walter De Maria." Gerhard-Mercator-Universitaet Duisburg, 2004. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-09152004-222429/.
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An analytical comparing study of Land Art and its national and international aspects, dealing with Andy Goldsworthy in the first place. Material and Form are not the main subject of the discussion but the language in which the artists show their views on nature. The paper gives a translation of the artists' language and makes it readable. Connections are made between several cultural and social aspects such as religion, spirituality, Zeitgeist, science, art, music, theatre, literature, mass media, sport and nature. Description leads to an analysis of the metaphysical level of Land Art.
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Dix, Samuel S. "Understanding contact, hybridity, conservatism and innovation in archaeological superimposition of rock art. Djulirri, Arnhem Land, Northern Territory, Australia." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/410540.
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The archaeology of contact rock art in Australia is an emerging field exploring Indigenous reactions to encounters with outsiders, which has gained momentum over the past couple of decades. In this research, the impact of contact seen in rock art and archaeology was assessed, with a focus on the Northern Territory, Australia. Specifically, in Arnhem Land, the Djulirri rock shelter was chosen as the key case study because of its excellent and unique collection of contact rock art. To understand contact narratives more broadly, this thesis focuses on how hybridity (merging of cultures), conservatism (reluctance for change) and innovation (innovations coming from contact) impacted on the nature of recent rock art production at Djulirri’s Main Gallery, through the superimposition of rock art. This superimposition was detailed by digitally tracing each motif so that the stratigraphic profile of the motifs could be determined and an understanding of contact could be made. It is through this analysis that the contact narrative is made, exploring what new forms of rock art emerged, and what techniques can be applied to provide a more detailed understanding of contact rock art. I conclude this thesis by arguing that hybridity, conservatism and innovation were all factors in the contact archaeology of Djulirri. I argue that contact was a turbulent time for Indigenous Australians and that the rock art produced at Djulirri was completed to inform people about a changing world. This rock art was not carried out over prolonged periods, but as bursts of activity as a reaction to a particular event or change. Artists created hybrid ways of producing rock art, where they were innovative in their responses to this contact, but still held conservative values of how this information was delivered. Senior Traditional Owner R. Lamilami called Djulirri a library for his people. Through the process of digitally interrogating the stratigraphic profile of the site, placing the motifs in a chronological context, and understanding hybridity, conservatism and innovation, R. Lamilami’s beliefs are reinforced.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Kauff, Rachel. "Not a country at all." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5530.
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Steiner, Barbara Felicitas. "Planting strategies for toxic sites expressed as environmental art." Thesis, Queensland University of Technology, 2001.
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Johnston, Iain Gray. "The Dynamic Figure Art of Jabiluka: A study of ritual in early Australian rock art." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148425.
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This thesis is an investigation of ritual practice in
the Dynamic Figure rock art of Jabiluka in Mirarr Country,
Australia. Painted across western Arnhem Land, Dynamic Figure art
constitutes the earliest easily recognisable body of rock art in
this region of northern Australia. Despite its antiquity, its
most striking attributes are the extremely detailed depictions of
human figures with a plethora of material culture, that are
engaged in a range of narrative scenes. This thesis explores how
the material culture, scenes and other attributes of Dynamic
Figure art are acutely associated with ritual and the insights
this rock art provides into past ritual behaviour. The highly
detailed work of Dynamic Figure artists has enabled the
identification of ritual indicators derived from archaeological
and anthropological investigation of ritual practice. These
ritual indicators provide insights into aspects of the esoteric
and actual performative forms of ritual behaviour. These detailed
depictions also provide further insights into people’s
lifeways, revealing evidence about society, gender, initiation
and material culture during the period of Dynamic Figure art
production. In this thesis, I demonstrate the value of rigorous
analysis and investigation of one type of rock art from a defined
study area, in contrast to previous studies in the region with
broad spatial and temporal boundaries. This focused approach
incorporates the multi-vocal sources available in northern
Australia to consider inquiries not possible of broader studies.
The Dynamic Figure art of Jabiluka demonstrates the significance
of ritual places, headdresses and aspects of both continuity and
discontinuity in art production in northern Australia and further
highlights the significance of rock art to understand ritual
practice and people’s past lifeways.
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Tsai, Hsing-li. "Ch'en Hung-shou's "Elegant Gathering" a late-Ming pictorial manifesto of Pure Land Buddhism /." online access from Digital dissertation consortium, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9827494.
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Morais, Tiago Gualberto. "Lembrança de Nhô Tim." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-05122018-094222/.
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Este trabalho investiga as relações entre a exploração da terra realizada pela prática da mineração e estratégias de produção de memória a partir da proposta de um diálogo artístico na comunidade do bairro Resplendor, na cidade de Igarapé-MG. Esta região de recente urbanização destaca-se, especialmente, pelas transformações da paisagem em decorrência da proximidade com grandes empreendimentos: o centro de arte contemporânea Inhotim; a economia mineradora; a instalação de presídios (Bicas I e II) e a construção de conjuntos habitacionais populares. Partindo de uma série de intervenções nesta localidade realizada em 11 de setembro de 2016, a qual possui no objeto Lembrança de Nhô Tim seu eixo central, propus a elaboração desta publicação impressa de caráter ficcional reunindo registros audiovisuais, documentos, imagens de trabalhos artísticos e depoimentos desta experiência e seus desdobramentos ao longo deste curso de mestrado. Aspira-se ampliar as compreensões artísticas contemporâneas envoltas em práticas capazes de aglutinar aspectos envolvidos com o sistema da arte, o convívio comunitário e com a invenção de memórias.This work studies the connections between the exploitation of land carried out by the practice of mining and strategies of memory production made from the proposal of an artistic dialogue in the community of Resplendor, in the city of Igarapé- -MG. This region of recent urbanization stands out, especially, considering the transformations of the landscape due to the presence of large enterprises: the Center of Contemporary Art Inhotim; mining economy; installation of the prisons (Bicas I and II) and the establishment of popular housing. Starting from a series of interventions in this location, realized on September 11th 2016, which has the object Souvenir of Nhô Tim as it\'s central axis, I proposed the elaboration of this printed publication which has a fictional character and gathers audiovisual records, documentation, images of art works and testimonies of this experience and its unfolding during the course of this Masters degree program. The aim is to broaden the contemporary art comprehension wrapped in practices capable of agglutinating aspects involved in art systems, community living and with the invention of memories.
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Bruvik, Kindestam Maria. "Violation or perfectly legal : Möjliga metoder för skapande i offentlig miljö." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5950.
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I detta arbete har jag undersökt vilka möjligheter och metoder som finns för att skapa konst i utemiljö. Hur kan skapande i offentlig miljö utföras inom skolan? Vad går att göra med hänsyn till olika regler och lagar? Syftet med studien är att synliggöra tillvägagångssätt för skapande i offentlig miljö som kan utföras som platsspecifikt görande tillsammans med elever. Empirin består av flera olika delar; en intervjustudie, litteraturstudie och dokumentation från konstnärlig forskning. Som komplement till detta undersöks telefonsamtal och mejlkorrespondens med olika företag och myndigheter. Den konstnärliga forskningens empiri består av en skriftlig och en visuell dokumentation från när jag prövat olika praktiker som gatukonst eller land art, och undersökt skapandeprocessen genom mitt eget görande. Dessa experiment är gestaltningar i sig själva, men fotodokumentation från dessa försök ligger till grund för gestaltningen som visades på Konstfacks vårutställning. Där sammanställs de olika försöken och sorteras i två olika grupper, lagliga metoder eller olagliga. Resultatet av projektet visar att det trots den juridiska gråzonen kring skapande i utemiljö finns goda möjligheter att genomföra undervisning lämplig att genomföra tillsammans med elever i skolan, med hjälp av flera användbara metoder från land art och gatukonst. Gestaltningen visar fotodokumentation på några av dessa möjliga metoder och kan även användas som diskussionsunderlag tillsammans med elever.
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Isaac, Cristiana Bernardi. "Arte e paisagem: estudo de obras contemporâneas brasileiras." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-13082013-165109/.
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Este trabalho disserta sobre as relações entre a arte contemporânea brasileira e a paisagem, através de algumas obras que nela intervieram diretamente, assim como de projetos que propunham-se a intervir, mas não foram executados. Tais obras, ao incorporarem os elementos naturais e culturais que constituem a paisagem, evidenciam-na e fazem-nos refletir sobre sua formação, transformação e apreciação. Foram escolhidas duas exposições que, a princípio, seriam realizadas em escala nacional, e que propuseram de modo mais efetivo a intervenção da arte brasileira na paisagem, estimulando discussões sobre o tema. São elas: projeto Fronteiras (1998-2001), que abordou as referências geográficas da paisagem, e projeto Margem (2009-2010), cujas referências eram as urbanas. Com Fronteiras, a partir do tema fronteira, abre-se o debate sobre território, região, escala geográfica e modos de ocupação territorial; mas a arte introduz nele a necessidade da paisagem. Já com Margem, vêm à tona questões da paisagem urbana, em específico, como os rios são apropriados e percebidos. Esta é uma amostragem de obras que, abordando referências distintas da paisagem, fazem-nos refletir sobre a produção artística nacional que tem na paisagem mais do que uma inspiração, mas um elemento constitutivo; assim como de que modos a paisagem é, possivelmente, uma influência para estas obras.This research disserts about the relationship between brazilian contemporary art and landscape, regarding some works of art that interfered directly in it, as well as projects that intended to do it, but were not accomplished, eventually. These works, as they incorporate natural and cultural aspects of the landscape, they emphasize it and raise a debate on its development, transformation and appreciation. Two expositions - which were to be taken, at first, in national scale - more effectively proposed the intervention of brazilian contemporary art into the landscape and stimulated discussions on these matters. They are: Fronteiras ( 1998-2001), which approached the geographical landscape references, and Margem (2009-2010), which focused the urban ones. Within Fronteiras, from the boundary theme, the discussion arises on territory, region, geographical scale and models of territorial occupation; nevertheless, art introduces the need of landscape in this debate. In contrast, Margem brings up issues related to the the urban landscape, specifically how rivers are appropriated and apprehended by people. This is a sample of works of art that approach landscape in different ways, which lead us to consider how brazilian contemporary art handles landscape, not only as an inspiration, but as a constitutive component of the work; they also highlight how landscape might be, possibly, an influence on them.
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Moraga, Cires Rodrigo. "Lo que cansa de subir son la ganas de llegar." Tesis, Universidad de Chile, 2006. http://repositorio.uchile.cl/handle/2250/101644.
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Leger, Nina. "Systèmes d’incrédulité : la perspective dans les travaux de Mel Bochner et de Robert Smithson." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080056.
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Cette thèse s’origine dans un étonnement. Il s’agit de comprendre pourquoi, au milieu des années 1960, plusieurs artistes de la nouvelle avant-garde américaine s’emparent d’un objet que la modernité de l’art semblait avoir à jamais abandonné : la perspective linéaire. Pourquoi cette construction, intimement liée à l’héritage artistique de la Renaissance, cristallisa-t-elle les préoccupations d’artistes qui entendaient liquider cet héritage s’inscrire dans une histoire strictement américaine de l’art ? Comment put-elle se concilier avec l’élaboration d’un projet d’avant-garde ? Le but du travail est de passer du constat d’un paradoxe au diagnostic d’un symptôme. Pour cela, il convient de dépasser le sentiment d’un retour incongru et rétrograde du passé de l’art, pour considérer la manière dont la perspective est suscitée à nouveau par un champ contemporain qui la déplace en l’exploitant. Notre étude se concentre sur les cas de Robert Smithson (1938-1973) et de Mel Bochner (1940-), d’abord, parce que leurs usages de la perspective furent les plus concertés et les plus conséquents ; ensuite parce qu’ils occupent deux positions à la fois proches (liés d’amitié, ils réfléchirent et travaillèrent ensemble) et distinctes : là où Smithson, d’abord lié au mouvement minimal, s’orienta vers le Land Art, Bochner se rapprocha du courant conceptuel. Cette diversité de pratiques permet de saisir la manière dont la perspective résonne avec une pluralité de problématiques propres à la période. Trois axes principaux animent notre étude : éclairer ce qui, dans le contexte artistique contemporain, favorisa et accompagna le retour de la perspective ; préciser la spécificité des usages et des pensées de la perspective que développèrent Smithson et Bochner et la manière dont ceux-ci fut souvent la pierre de touche de leurs particularismes ; comprendre comment l’un et l’autre transformèrent l’objet qu’il convoquaient, et réinventèrent la perspective plutôt que de la réhabiliterThis dissertation is born out of astonishment. It aims at understanding how, in the middle of the 1960s, several artists of the American avant-garde seized an object that artistic modernity seemed to have discarded for good: linear perspective.Why did this device, so tightly linked to the legacy of Renaissance art, crystallize the interest of artists whose project was to put an end to this legacy and to write a strictly American history of art? How could it fit into an avant-garde agenda? This work aims at turning what seems to be a paradox into the understanding of a symptom. This means overriding the feeling of an incongruous and reactionary comeback and understanding how perspective is called forth by a specific context that recodes it and transforms it.To do so, we focus on the works of Robert Smithson (1938-1973) and Mel Bochner (b.1940). First of all, because they are the two artists, among the avant-garde, who most engaged with perspective. Secondly, because they were both close (as friends they thought and worked together) and apart in the artistic field: Smithson drifted from Minimalism to Land Art, while Bochner moved toward Conceptual Art. This diversity helps us observe how perspective reflects several questions at stake in the artistic landscape. Three main lines of questioning structure this dissertation: highlighting what features of the artistic context trigger this return of perspective; specifying how Bochner’s and Smithson’s use of and thinking about perspective differ from this general context and reflect their particular positions; and finally, showing how they both transformed the object they conveyed, reinventing perspective rather than simply recalling it, and eluding its usual definitions to produce new ones and reveal others
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Гальчинська, Ольга, Микола Яковлєв, Калина Пашкевич, and Цзянсінь Лю. "Вплив творчості Енді Голдсуорті на творчість митців ленд-арту сьогодення." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17901.
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Надано результати дослідження підходів до створення об’єктів ленд-арту на прикладі авторських проектів: досліджено принципи створення об’єктів ленд-арту; визначено основні концепції творчих задумів інсталяцій митців ленд-арту; проаналізовано основні художні засоби, застосовані для втілення проектів; досліджено матеріали, які використані митцями для створення арт-об’єктів.The results of the research of conceptual approaches of land art objects on the example of copyright projects are presented. To achieve this goal, the following tasks have been identified and solved: research into the creative task of the artists of the land art, definition of the basic concept of the author's idea for the creation of the installation, analysis of the main artistic means used to embody the project, research of materials used to create the object of land art. The scientific novelty of the study lies in the study of contemporary artistic approaches and creative designs that are used by artists of landscape art in their works. The practical significance of the results obtained is to develop your own project.