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1
Williams, Court. "Sensitive skin." Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
Full textAbstract:
The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
2
Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
3
McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
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This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.
4
Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
5
Horton, Mary Therese. "The cultural status of objects." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35867/1/35867_Horton_1996.pdf.
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This paper addresses the cultural status of objects. The
discussion focuses on domestic objects. It is proposed that functional domestic objects are cultural artefacts which have significance beyond that of useful commodity. Their cultural status is explored by considering the nature and influence of the Marxist critique; examining
the 'aesthetic dimension' of useful objects; and by experimenting with a range of written forms which draw upon three sources: i) concepts investigated through the first two chapters; ii) ideas being cultivated through my studio practice; and iii) issues raised through the exploration of a particular site - the Rocklea Flea Markets.
6
Wang, Xuning. "Realist painting and its relationship to my creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.
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This thesis examines the realist art movement from its origins in France in the 1840s to its development in China in the 20th century and its impact on the author as an artist. The thesis reviews the development of realism in France, and traces its impact on Chinese conceptions of realism in the 20th century. The contemporary debates surrounding realism in China are examined and contextualised within the recent history of realism in China. Finally the thesis looks at the impact of realism on the author’s creative practice and a case is argued for the development of realist ideas in a globalised culture and its value as a cross- cultural visual language.
7
Mauchan, Fiona. "The African Biennale : envisioning ‘authentic’ African contemporaneity." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2596.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009.This thesis aims to assess the extent to which the African curated exhibition, Dak’Art: Biennale de l’art africain contemporain , succeeds in subverting hegemonic Western representations of African art as necessarily ‘exotic’ and ‘Other.’ My investigation of the Dak’Art biennale in this thesis is informed and preceded by a study of evolutionist assumptions towards African art and the continuing struggle for command over the African voice. I outline the trajectory of African art from primitive artifact to artwork, highlighting the prejudices that have kept Africans from being valued as equals and unique artists in their own right. I then look at exhibiting techniques employed to move beyond perceptions of the tribal, to subvert the exoticising tendency of the West and remedy the marginalised position of the larger African artistic community.
8
Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
9
Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
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Webb, Mark. "Inscriptions : marks in the web of space and time." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35877/1/35877_Webb_1996.pdf.
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The theory, criticism and practice of contemporary art are
subject to an increasingly intertextual, interdiscursive
environment. Traditional notions of being and
representation, history and language, space and time are
challenged by structuralist and post-structuralist concepts. Possibilities for the meaningful production of art are developed from these concepts.
11
Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence." Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.
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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
12
Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
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Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
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This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
15
Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.
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Nasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.
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The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
17
Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.
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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).
18
Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
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Collins, Anne Marie. "Changes in pictorial construction and types of representation which formed the basis of modern art." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1010579.
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The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.
20
Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.
Full textAbstract:
Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
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Matthews, Elaine Katherine Simone. "Environmental art and its contribution to establishing an awareness of the sacred in nature." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002209.
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The introduction establishes the goal of the research, which is to discover that art concerned with re-evaluating the relationship to the environment and spirituality can serve to connect people to one another, and to the environment. The context of the research is the contemporary ecological and spiritual crisis of the postmodern world. The background places the discussion within the contexts of modernism and postmodernism. The historical background focuses on the period from the 1960s to the present day. Land and Environmental artists who work in a manner that is conscious of environmental issues and who suggest a sacred and creative attitude to ecology are discussed. My own creative work which is a response to both ancient and contemporary sites as well as to contemporary theories of art and spirituality is discussed. The four projects, are discussed in chronological order, they are: Quest - A journey into Sacred Space; Gaika's Kop - Sacred Mountain; Labyrinth - Journeys to the Centre; and Transforming the Centre. The conclusion shows that the multi-faceted, intertextual and relativistic philosophy of postmodernism has brought about a significant change in the attitude of humanity towards the environment. Artists who reject the modernist aesthetic and philosophy are making art that emphasises relationship to, rather than separation from the natural world.
22
Fletcher, Lauren Jean. "Adaptive realities : effects of merging physical and virtual entities." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.
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In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.
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Cromer, Bob E. "An analysis of the critical factors affecting the continued development of fiber as an art form." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/520473.
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The purpose of the study was to examine the status of contemporary fiber as an art form and to identify critical factors affecting its continued development.An extensive search of available literature was conducted. From this search, coupled with the researcher's extensive personal involvement with fiber, populations were identified and questionnaires were designed.Three pertinent but different populations, consisting of fiber artists, college/university and art school heads, and museum, gallery, and textile directors/curators were selected to receive the questionnaires. The questionnaires were designed to reflect the similarities and differences of the population.Data were treated to comparative percentages, valid percentages, cumulative percentages, frequencies, and Chi-Squares. Four major concerns were identified and discussed. They are:1. Fiber as Fine Art2. The Importance of Content and Message Orientation in Fiber3. The Problem of Plurality and Fiber4. The Need for a Critical Language Relative to FiberFindings and Conclusions1. The division between fine art and crafts still exists. Therefore, the division also exists for fiber art, which is part of the crafts discipline.2. Most individuals are not in favor of limiting the parameters of what constitutes fiber art in order to help gain a clearer understanding of what fiber art really is.3. There does not appear to be a critical language for fiber art except that which is technique, method, or materials based.4. The opinion of whether fiber art should be message or statement oriented is divided. Some were in agreement while others were not. In addition, some of the respondents answered with "sometimes."
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Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.
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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
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Lacy, Stephen W. "The sandbox line." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1045636.
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This Creative Project documents and explains the significance of the exhibition space known as the Sandbox and its members. The goal was to bring together a cohesive body of work that commemorated the people and events related to the Sandbox gallery. This was accomplished by using a variety of materials and tools including video tape, slides, bronze, paint, silk-screens, and super 8 film, to name a few.Department of Art
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Abdullah, Sarena. "Postmodernism in Malaysian art." Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/9457.
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Lloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.
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Gawronski, Alex. "No new Utopia? : the crisis of art as critique under globalisation." Phd thesis, Sydney College of the Arts, 2005. http://hdl.handle.net/2123/3967.
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Bonilla-Puig, Alicia I. "Printmaking, Politics, and the Art of Protest in Modern Mexico." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/310769.
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Art HistoryM.A.
My thesis seeks to establish a fuller, more nuanced historical account of socially and politically oriented printmaking during the long 20th century in Mexico. In order to remedy what is currently a fragmented and incomplete narrative composed of canonical artists, my project integrates recent studies that acknowledge the role of lesser-known artists from various moments of the 20th and 21st centuries. The broader approach of this thesis reveals that the history of politically oriented Mexican prints spans a longer period of time and a larger geographic area than previously thought. Mexico experienced several waves of political turmoil and social upheaval throughout the 20th century, beginning with the Mexican Revolution (1910-1920), including the 1968 student movement, and extending to present day clashes between citizens and their government leaders. In this context, art and printmaking in particular served as persistent vehicles for Mexican artists to engage in social and political activism. Integrating the critical analysis of earlier research along with newer studies that recognize the impact of Mexican printmakers often overlooked in broad survey texts and exhibitions allows for further conclusions to be drawn regarding the multifaceted relationship between the print medium and the art of protest. My thesis introduces the notion that educational institutions in Mexico played an active part in this historical narrative, highlights the significance of Mexican artists' choice to work in collaborative environments versus individually, and notes modern activist printmakers' strong preference for the woodblock print.
Temple University--Theses
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Victor, Suzann, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "The Image Stammers." THESIS_FPFAD_SD_Victor_S.xml, 1999. http://handle.uws.edu.au:8081/1959.7/454.
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Bodies, burdened with narratives and inscribed by laws, function as signifiers of the State propaganda and nationalisms that supercede the Individual. The Image Stammers discredits the seamless fusion of the body-politic of the Singapore state with that of the Individual. This paper looks at the State as its singular source of artistic stimulation and seeks to dislodge the ventriloquised voice of that State acting upon the art object and its producer, so as to liberate the image from the singular meaning the State imposes. To do this, the analysis in this paper intervenes in the State and its organ, the media, in their attempt to imprison the reality of the performance image so as to reverse the silence that has been demanded of the artist. By reinstating this voice into the visual work the author has produced in this text, based on theories of 'internalised' Orientalism discussed by Geraldine Heng and Janadas Devan, as well as notions of abjections in the work of Elizabeth Grosz anfd Julia Kristeva, this paper attempts to strip the State of its veneer of 'purity' to expose an underside that subjects female bodies to forms of nationalism which are now more codified than ever. This paper foregrounds textual and visual embodiment as a testimony of lived experience which may further entrench, notions of Singapore as an authoritarian state. The Image Stammers bears no pretension of objectivity nor a 'politically safe and correct' one within the context of this paper, but instead, strewns fragments of subjectivity throughout its textual landscape. It seeks to overturn the 'impurity' of the abject (signified by performance art and contemporary artists) as defined, loathed and expelled by the State, into the power of resistance and maintenance of the integrity of the Individual. The Image Stammers retrieves the abject as markers of the limits of State power to become signifiers of resistance for its reconstitution into allies of the artistFaculty of Performance, Fine Arts and Design
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Piva, Márcia Helena Girardi. "Anselm Kiefer = paisagem, memória e ruínas nas megalópolis." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283948.
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Orientador: Maria Jose de Azevedo MarcondesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por objetivo analisar a série de obras do artista plástico Anselm Kiefer, produzidas a partir da visita ao Brasil no ano de 1987, na qual as vistas aéreas da paisagem urbana de São Paulo tornaram-se elemento propulsor. O registro em fotos, sobre a metrópole brasileira, transformou-se em material para o desenvolvimento de uma nova série de criação que marca mudanças nos temas e nos procedimentos pictóricos dentro do conjunto de sua produção artística. A pesquisa desenvolveu-se através da análise dos registros sobre a obra de Kiefer em arquivos e bibliotecas de Instituições artísticas brasileiras como Museu de Arte Moderna de São Paulo, Fundação Bienal de São Paulo, Pinacoteca do Estado e Instituto Goethe, além da análise de uma obra original da série citada, disponibilizada por uma colecionadora brasileira. O trabalho foi fundamentado através de publicações de autores como Walter Benjamin, Daniel Arasse, Andrea Lauterwein, Andreas Huyssen, Brissac Peixoto, Sérgio Paulo Rouanet, Alberto Tassinari, Márcio Seligmann-Silva, W.J.Mitchell, Mieke Ball, Hans Belting entre outros. Através do material pesquisado, foram desenvolvidas reflexões no âmbito da arte contemporânea, utilizando-se conceitos desenvolvidos pelos teóricos e críticos da arte. Houve a necessidade de retomar a produção do artista desde suas primeiras obras, em que os temas concentravam se na história alemã e na origem do povo germânico. A influência da poesia de Paul Celan reflete uma mudança de temas na produção do artista que passa a explorar a cultura judaica. Estas questões tornaram-se necessárias para a compreensão dos motivos que levaram Kiefer a dedicar-se a uma série de obras sobre a paisagem brasileira. A situação do artista alemão no pós-guerra e a necessidade de mudança na concepção tradicional da representação a partir do Holocausto, a memória e a paisagem em ruínas, são temas transferidos para diversos contextos e passaram a funcionar como metáfora no desenvolvimento de sua produção artística. Assim, no período analisado concluiu-se que há um deslocamento, que parte da problemática gerada pela catástrofe histórica, vivenciada por Kiefer, para a compreensão de vários questionamentos que aludem à paisagem urbana contemporânea. A percepção da transitoriedade é sentida através dos materiais utilizados pelo artista em questão, que guardam as marcas do tempo e abrem um campo complexo de discursos. Relações traçadas através da paisagem de São Paulo partirão do lugar específico da megalópole brasileira, para questões que se colocam em âmbito global
Mestrado
Artes Visuais
Mestre em Artes
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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.
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Wish, Cyndi. "It's the way it shatters that matters." Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/27840.
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The following dissertation is an investigation of print, language, political rhetoric, and use of the multiple in identifying and evolving culture. It is also a description of American culture over the last century, and the figureheads in the arts, from Duchamp to G. G. Allin, who were crucial in creating the confusing entity that is contemporary American culture.
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Suescun, Pozas María del Carmen. "Modern femininity, shattered masculinity : the scandal of the female nude during political crisis in Colombia, 1930-1948." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85958.
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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular frames of sense-making and morality. This dissertation argues that the controversies and the female nudes provide a window into the Liberal regime's creation of culture as an autonomous sphere as part of its cultural program, which bridged high and popular culture, as well as on aspects of private life concerned with sexuality and gender. It shows how such changes registered in the lives of the artists and how the artists translated the changes they experienced into modes of pictorial expression. This dissertation argues that the demands of the aesthetic and the demands of politics during this period pressed on each other, resulting in the wide-spread perception of moral breach that came to a head in the "scandals of the female nudes." This dissertation thus sheds light on dimensions of both the political and the private during this period.Because art and politics were thus entangled, this dissertation shows that, in this particular Colombian modernity, society was not polarized, that the private and the private overlapped, that issues of intimacy surfaced in the public realm, and that Catholicism was the idiom shared by men and women who were grappling with change. It shows that the cultural program of the Liberal regime was the immediate referent for criticism in these events and, through it, of the Liberal regime's reforms of education of 1934 and 1936. Finally, it shows that this modernity and its attendant anxieties were played out through the body in the public and the private realms, within, not against, the Catholic tradition, in unprecedented ways. This thesis demonstrates that politics and issues of sexuality and gender were entangled in the public sphere and converged in the female nudes, turning them into a major threat to morality within both religious and secular frameworks. By unpacking the controversies, this dissertation marks a seminal break with historical accounts that describe Colombia's as a failed modernity, its society as polarized, and debates over sexuality and gender as the product of politics. This dissertation also contradicts art historical writings that account for the production of images and the reception of art in this period solely in political terms.
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Uecker, Jeffry Lloyd. "From Promised Lands to Promised Landfill: The Iconography of Oregon's Twentieth-Century Utopian Myth." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5026.
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The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. The visual arts also have responded to Oregon's utopian myth. During the nineteenth century, the landscape was a primary focus for utopian art. In the twentieth century, past human achievements, recreation, agriculture, and industry have joined the environment as themes which inspire utopian imagery. The objective of this study is to demonstrate that twentieth-century art that responds to Oregon's utopian myth has given rise to an iconography which both energizes and reflects the development of that myth and which informs an important component of the state's identity. Using as a criteria that which idealizes Oregon as a place, an inventory of utopian art was compiled. It includes over 300 works of visual art, plus a number of artists for whom utopian subjects served as a consistent element. From this information, dominant themes were identified which demonstrate the existence of iconography, or visual symbolism, that expresses Oregon's utopian myth. Through the themes of natural environment, heroic images of Oregon's human past, and interaction between humans and the environment-plus numerous sub-themes-the artistic evidence demonstrates that visual imagery and symbols play an important role in how Oregonians define themselves and their history. It also suggests what form the state's utopian myth, identity' and the decisions made by its people may take in the next century.
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Symons, Suellen, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Rememories/imagetexts." THESIS_FPFAD_SD_Symons_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/731.
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This research paper places the three Research Projects 2 DIVINE, CARNIVAL, and HER STORIES: THE WENTWORTH WOMEN against the background of memory, remaking history, play, as well as hermeneutics. It is argued that the understanding of a work of art involves participation in its meaning by the audience which is not so much a mere receiver of information as a catalyst of the work's content. This Research Paper also attempts to place the three Research Projects, which when combined are entitled REMEMORIES/IMAGETEXTS, into a feminist remaking of history (in Barbara Kruger's sense), realigning the male-oriented histories with a female presence. Questioning the 'historical document' as the authority on history, and giving alternative versions of the life of Jeanne d'Arc and the life of Sarah Cox Wentworth are some of the concerns in the Research Projects. How these three Research Projects came to be linked is that each was originally exhibited during 1995 for the Twentieth Anniversary of International Women's Year, in venues from Penrith to Paddington. Their making spans many years, and in essence comes down to a fascination with the portrayal of women throughout history.That our images of women originally derived from how women were portrayed in carnival is one of the emerging themes, and that there are a number of different memories of specific events, depending on who is remembering them, and what their (hidden) agenda entails. In moving between time zones, questioning the portrayal of 'woman as sign', and subverting the traditional sign of woman, the artist puts forward the argument that women are the producers of signs and thus not merely objects as represented by signsMaster of Arts (Hons)(Visual Arts)
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Archer, Carol. "Frames, flows, feminist aesthetics: paintingsby Judy Watson, Cai Jin and Marlene Dumas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B3690787X.
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Scheibe, Marit 1976. "Thinking being an artist : a lousa como objeto artístico na obra de Joseph Beuys /." São Paulo, 2017. http://hdl.handle.net/11449/153968.
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Orientador(a): José Paiani SpaniolBanca: Sérgio Romagnolo
Banca: Marco Garaude Giannotti
Resumo: Esta dissertação enfoca a Lousa como objeto artístico na obra de Joseph Beuys, procurando uma aproximação com o observador, captando seu interesse na direção dos caminhos sensíveis propostos pelos rabiscos. Pretende conduzir a sensibilidade do espectador para expandir a vivência de valores humanistas. Como suporte, revela-nos o empenho do artista por uma arte viva. A pesquisa se oferece como um fio condutor a quem se interessa pela ampliação do conceito de arte, e, ao mesmo tempo, se propõe a evidenciar, através do mergulho em alguns símbolos, as direções e paisagens do pensamento do artista
Abstract: The present study focuses on the Blackboard as an artistic object in the work of Joseph Beuys and aimes an aproximation with the observer. It wants to capture the interest of the spectator for the sensible paths proposed by the scribbles. It intends to drive the sensitivity of the spectator in order to expand the experience of humanistic values. As a support, the blackboard reveals the artist's commitment to a living art, to life. The research offers itself as a guiding thread to those who are interested in the expansion of the concept of art. At the same time, it aims to evidence, through an immersion in some symbols, the directions and landscapes of the artist's thought
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Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer." Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.
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Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.
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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House." Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.
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D'Alessandro, Eliana Angélica Péres. "Visualidade e história em Guernica /." São Paulo, 2006. http://hdl.handle.net/11449/100274.
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Orientador: Claudete RibeiroResumo: Este trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra.
Abstract: Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.
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Abuhab, Flávio Antonio 1957. "A arte não esquece a arte : aproximação : apropriação e citação em arte /." São Paulo, 2013. http://hdl.handle.net/11449/86973.
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Orientador: José Paiani SpaniolBanca: Agnus Valente
Banca: Marcos Rizolli
Resumo: Este texto é um relato sobre duas experiências realizadas durante minha permanência no Programa de Pós Graduacão do Instituto de Artes da Universida de Estadual Paulista, onde pude desenvolver dois trabalhos práticos e relacionados com disciplina ministrada por meu orientador: Práticas Contemporâneas da Instalação e Site Specific. No primeiro, um projeto de Site Specific tendo como referência as paisagens litorâneas do pintor Benedicto Calixto. Já no outro trabalho, uma Instalação apresentada na Galeria do Instituto de Artes e que homenageia o artista plástico Nelson Leirner. Ambos são resultado de minha pesquisa sobre apropriação, citação e autoria na arte, e estabelecendo conexões poéticas com a História da Arte.
Abstract: This paper is a report on two experiments performed during my stay in the graduate program of the Art Institute of São Paulo State University, where I developed two projects and related subject taught by my mentor: Contemporary Practices Installation and Site Specific. In the first, a draft site specific with reference to the landscapes coastal painter Benedicto Calixto. In the other work, an installation presented at the Institute of Arts Gallery and honors the artist Leirner. Both are the result of my research on ownership, citation and authorship in art, poetry and establishing connection with History of Art.
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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
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Ayers, David Lee. "An architectural expression in the age of video culture." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23435.
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Andrade, Eliana Lobo de [UNESP]. "VT Preparado: AC/JC : a videoarte de Walter Silveira." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127986.
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000849668.pdf: 1903609 bytes, checksum: 8231313fb4e85e981f996294e5732c1e (MD5)A proposta deste trabalho se centra na pesquisa das influências da poesia concreta na videoarte, especialmente no video VT Preparado:AC/JC, de autoria de Walter Silveira e Pedro Vieira. Não se trata, aqui, do vídeo como emissão televisiva ou em suas características técnicas, mas como possibilidade de expressão utilizada pelo artista. Como dois movimentos de vanguarda, a poesia concreta e a videoarte, estão presentes como fundamentos na obra citada, foco desta dissertação.
The proposal of this work is centered in research on the influences of concrete poetry upon video art, particularly in the VT Preparado: AC/JC video, by Walter Silveira and Pedro Vieira. The point here is neither the video as television emission, nor its technical features, but its possibilities of expression chosen by the artist. Concrete poetry and video art, both cutting edge movements are present as fundamentals of the above mentioned work, in which this dissertation is focused.
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Andrade, Eliana Lobo de 1950. "VT Preparado : AC/JC : a videoarte de Walter Silveira /." São Paulo, 2015. http://hdl.handle.net/11449/127986.
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Acompanha DVD com o video VT Preparado:AC/JC, de autoria de Walter Silveira e Pedro VieiraOrientador: Omar Khouri
Banca: José Leonardo do Nascimento
Banca: Neiva Pitta Kadota
Resumo: A proposta deste trabalho se centra na pesquisa das influências da poesia concreta na videoarte, especialmente no video "VT Preparado:AC/JC", de autoria de Walter Silveira e Pedro Vieira. Não se trata, aqui, do vídeo como emissão televisiva ou em suas características técnicas, mas como possibilidade de expressão utilizada pelo artista. Como dois movimentos de vanguarda, a poesia concreta e a videoarte, estão presentes como fundamentos na obra citada, foco desta dissertação.
Abstract: The proposal of this work is centered in research on the influences of concrete poetry upon video art, particularly in the "VT Preparado: AC/JC" video, by Walter Silveira and Pedro Vieira. The point here is neither the video as television emission, nor its technical features, but its possibilities of expression chosen by the artist. Concrete poetry and video art, both cutting edge movements are present as fundamentals of the above mentioned work, in which this dissertation is focused.
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Conceição, Carlos Augusto Ribeiro da. "Koonsland-comércio de duplos." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29838.
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Dias, Fernando Paulo Leitão Simões Rosa. "Ecos expressionistas na pintura portuguesa (1910-1940)." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1996. http://dited.bn.pt:80/29877.
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Pereira, Teresa Matos. "A primitividade do ver ou a renúncia da razão na arte do primeiro modernismo em Portugal." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2001. http://dited.bn.pt:80/30084.
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Nixon, Karla. "Re- an exploration of transience in the work of selected artists." Thesis, 2017. http://hdl.handle.net/10321/2497.
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Submitted in partial fulfilment of the requirements for the Masters of Technology in Fine Art Degree, Durban University of Technology, 2017.The aim of this research is to investigate the exploration of transience in the work of selected artists. This study used qualitative, practice-led research methodology. This research is practice-led as my art making plays an integral part in guiding my research. Process philosophy provides the theoretical underpinning and contextual framework for this dissertation. I focus on both contemporary artists and philosophers who explore the notion of transience. As my selected artists and I use paper as a predominant medium, I look at how paper is an ideal choice of material through which to explore themes of transience. The selected artists that I investigate include Peter Callesen (1967-), Mia Pearlman (1974-), Jodi Carey (1981-) and myself. Through this research I have found that artists expressed similar sentiments to that of process philosophers centuries before these theories existed, and continue to do so today. This validates transience as a relevant form of visual enquiry. Through the exploration of transience by contemporary thinkers and the selected artists, I briefly examine the scope of interpretations and possible meanings of transience. The investigation into paper as an art medium supports its appropriateness as a means to explore themes of transience. The exploration of the selected artists’ work highlights the various aspects of transience as a concept based on both subject matter and medium. This research resulted in a body of work, exhibited in partial fulfilment of the Master of Technology Degree in Fine Art.
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