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Plodeck, Judith. "Bruce Nauman und Olafur Eliasson Strategien performativer Installationen." Potsdam Univ.-Verl, 2009. http://d-nb.info/1001019628/04.
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Plodeck, Judith. "Bruce Nauman und Olafur Eliasson : Strategien performativer Installationen." Phd thesis, Potsdam : Univ.-Verl, 2010. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018999025&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Sjöwall, Elina. "Mellan konst och arkitektur : En komparativ studie av Frank Gehrys och Olafur Eliassons konstnärskap." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29553.
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In this thesis I am studying the phenomenon of contemporary architecture evolving into art and, similarly, how contemporary art seems to evolve towards architecture. The aim of the study is to examine the blurred line between art and architecture that is significant for our century. Besides overall attempting to explain the relation of art and architecture in past, present and prospective, the particular method in my investigation is a comparative study of two main examples. One of these is in the field of artistic architecture (Frank Gehry’s Fondation Louis Vuitton), followed by one from the field of architectural art (Olafur Eliasson’s Inside the Horizon). By using text- and image-based analysis, I am pointing out both similarities and differences in the examples to determine if and where the fading line still appears. By aiming to understand the phenomenon from several viewpoints, I have been able to conclude that the fusion of art and architecture in most cases is a sign of intrinsic artistic progression. Yet the Art-Architecture Complex as an ongoing event seems to be subject to an infinite debate.
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Ringborg, Theodor. "Spatial works : Jason Dodge, Olafur Eliasson, Alicja Kwade, Tris Vonna-Michell." Thesis, Konstfack, Institutionen för Interdisciplinära Studier (IS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2863.
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The remarks on this subject stem from the conditions spatial works engender in the encounter with the viewer. The aim has been to provide the reader with a framework within which to place individual experiences of the works. The exhibition Spatial Works, to which this research paper is connected, exemplifies variations within spatial work. By organizing an exhibition around this context, the variations presented is fleshed out. The research preceding the exhibition has resulted in the development of a specific terminology; an articulation of different practices in installation art. Psychodramatic, Thespian, Temporal and Permutation are here seen as mannerisms of spatial works of art. The expanded significance presented in this paper is a feature of composition, as the dramatic condition characterizes the encounter between object and subject. The polyphony of information encountered by the viewer is not only created by the art work itself, but also by its signifying composition, so to say `al fresco´ of the work, of which the observer gains certainty of the pieces spatiality as well as understands of the work of art.WIRE, Critical Writing and Curatorial Practice
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Marinus, Jensen Lene. "Sensing Space : En undersökning av rum och perception utifrån ett verk av Olafur Eliasson." Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-115797.
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Uppsatsen behandlar relationen rum, verk och betraktare utifrån et verk av konstnären Olafur Eliasson. Undersökningen styrs av frågan om vilka fysiska faktorer som påverkar betraktaren i mötet med rummet och genom att studera verket Beauty (1993). Dessutom diskuteras Olafur Eliasson relation till betraktaren som en del av verket. Metoden har varit en kombination av litteraturstudier och fallstudie av verket Beauty som visades på AroS 2005. Grundläggande för hela undersökningen är ett receptionsteoretiskt perspektiv, där fokus är flyttat från verket till betraktaren. De fysiska faktorer som anses påverka vår visuella perception är ljus, färg, form, rum och rörelse. När parametern ljus tas bort ökar uppmärksamheten av andra sinnen. En förhöjt uppmärksamhet i situationen verkar öppna för en blick utåt mot andra deltagare i rummet. Olafur Eliasson relaterar till betraktaren mera som en aktiv deltagare och en fysisk del av verket. Deltagaren blir betydelseskapande för verket.
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Tucker, Ashton. "Virtual and Physical Environments in the work of Pipilotti Rist, Doug Aitken, and Olafur Eliasson." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337084536.
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Phillips, Jessica. "The art of perception." This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Handran, Christopher. "Looking into the light : reinventing the apparatus in contemporary art." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63634/1/Christopher_Handran_Thesis.pdf.
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Technical images such as photography, film and video, are dependent on apparatuses for their production and dissemination, yet the apparatus itself is often hidden or obscured in the experience of the work and the discourse that surrounds it. This practice-led research identifies key practice strategies to foreground the apparatus both in the production of work and in its presentation. It therefore develops critical and generative strategies to explore and interrogate the workings of the 'apparatus-audience complex,' and the particular modes of spectatorship that this entails.
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Grossmann, Ralph. "Penser le territoire, sculpter le paysage Robert Smithson, les "Nonsites" au regard des géosciences : un modèle pour les échanges entre Arts et Sciences en résonance avec les démarches de Giuseppe Penone et Olafur Eliasson." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH159.
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Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciencesBased on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science
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Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /." Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.
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Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references.Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.
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Noordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
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Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.
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Pan, Wen Shiuan, and 潘玟箮. "The Viewer's awareness of sensational space Take Olafur Eliasson as an example." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/987nzx.
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碩士國立臺灣藝術大學
美術教學碩士學位班
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The present day, in the twenty-first century, Olafur Eliasson and his studio have interdisciplinary pioneering intergraded the spirit of art and the teamwork to his art projects. This strategy provided an opportunity for artists in this field to discuss the “consciously viewer” in the phenomenology that contributed by their knowledge of science, philosophy, sociology, psychology and architecture etc. In result, by connected the reaction of body and the perception of sensory, the viewers’ original perception of mind and space could be re-cognized and re-created into Eliasson’s art projects. This article will introduce Eliasson and his studio from his first began artworks in 1992 to 2012 recent works. It will discuss the concept of his artworks, the interaction with the contemporary arts, his scope of works and the original thought and the background of his arts. It will also explain the processes of his artistic creation in that time. Therefore, Eliasson’s consciousness of his works summarized including the concept of his contemporary performance in the social production and the phenomenology used to consciously experienced artworks. As the result, to understand oneself is by understanding contemporary people and the concept of the “consciously viewer” in Eliasson’s art projects.
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French, Elysia. "Sights of Desire; Sites of Demise: The Environment in the Works of Edward Burtynsky and Olafur Eliasson." Thesis, 2011. http://hdl.handle.net/1974/6898.
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This thesis argues that the environmental undertones of artists Edward Burtynsky’s and Olafur Eliasson’s work have clearly aligned them; however, the focus of my study is not an evaluation of the artists’ abilities to express environmental concerns, but rather an exploration of the effects of their representations on our understanding of the surrounding environment, and of the artists’ contributions toward a definition of Nature that now includes its own demise as a site of aesthetic pleasure.
This study focuses on Olafur Eliasson’s New York City Waterfalls and on Edward Burtynsky’s Nickel Tailings photographs. Burtynsky’s Nickel Tailings photographs, among them in particular, his well known Nickel Tailings No. 34, depict a barren grey and black landscape centered primarily around an intensely coloured red and orange river of molten metal. Eliasson’s recent New York City Waterfalls consists of four artist-constructed waterfalls, ranging from 90 to 120 feet tall, located within the waters of Lower Manhattan, Governs Island, and beneath the Brooklyn Bridge.
In his monumental New York City Waterfalls, Eliasson has made an intervention into the landscape that effectively works to contaminate the established aesthetic upon which it is based. In his monumental photographs, in contrast, Burtynsky does the opposite; he aestheticizes the contaminated. Here I would add that both artists have carefully called upon the elemental in order to reference the idea of wilderness or a “pure” form of Nature. Reference to the elemental in Nature—to air, water, and fire— has allowed these artists to challenge the viewer’s perception and experience of the nonhuman world. These manufactured landscapes are undeniably owned by humanity, yet is this the type of landscape we are comfortable to claim as our own?Thesis (Master, Art History) -- Queen's University, 2011-12-03 14:03:08.43
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Champagne, Julien. "Vers un cinéma immatériel : réminiscences du cinématographique dans l’œuvre d'Olafur Eliasson." Thèse, 2012. http://hdl.handle.net/1866/8480.
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Il est désormais commun de reconnaître que le cinéma, aujourd’hui, s’émancipe de son dispositif médiatique traditionnel, adoptant maintes formes liées aux champs culturels qui l’accueillent : jeux vidéo, web, médias portatifs, etc. Toutefois, c’est peut-être le champ des arts visuels et médiatiques contemporains qui lui aura fait adopter, depuis la fin des années soixante, les formes les plus désincarnées, allant parfois jusqu’à le rendre méconnaissable. À cet effet, certaines œuvres sculpturales et installatives contemporaines uniquement composées de lumière et de vapeur semblent, par leurs moyens propres, bel et bien reprendre, tout en les mettant à l’épreuve, quelques caractéristiques du médium cinématographique. Basé sur ce constat, le présent mémoire vise à analyser, sur le plan esthétique, cette filiation potentielle entre le média-cinéma et ces œuvres au caractère immatériel. Pour ce faire, notre propos sera divisé en trois chapitres s’intéressant respectivement : 1) à l’éclatement médiatique du cinéma et à sa requalification vue par les théories intermédiales, 2) au processus d’évidement du cinéma – à la perte de ses images et de ses matériaux – dans les pratiques en arts visuels depuis une cinquantaine d’années, et 3) au corpus de l’artiste danois Olafur Eliasson, et plus spécialement à son œuvre Din Blinde Passager (2010), qui est intimement liée à notre problématique. Notre réflexion sera finalement, au long de ce parcours, principalement guidée par les approches esthétiques et philosophiques de Georges Didi-Huberman et de Jacques Rançière.It is now common to acknowledge that cinema, today, is emancipated from its traditional media figure, adopting various forms related to the cultural fields that welcome it : video games, web, portable medias, etc. However, it is perhaps the visual and media contemporary arts that have morphed it, since the late sixties, into the most disembodied forms, even sometimes beyond recognition. To this end, some contemporary sculptures and installations only composed of light and steam seem, by their own means, to have adopted, and simultaneously put to the test, some characteristics of the cinematographic medium. Based on this observation, this paper aims to analyze, on an aesthetic level, this relationship between media-cinema and the nature of these immaterial artworks. To do so, our analysis will be divided into three chapters focusing respectively on : 1) the expansion of the cinema and its requalification as seen by intermedial theories, 2) the cinema’s loss of its images and materials in some visual art practices since the last fifty years, and 3) the artistic corpus of Danish artist Olafur Eliasson, and more precisely his work entitled Din Blinde Passenger (2010), which is intimately related to our subject matter. Finally, our reflection will mainly be guided by the aesthetic and philosophical approaches of Georges Didi-Huberman and Jacques Rancière.
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Bakker, Maaike. "An exploration of the re-presentation of intangible and ephemeral art." Thesis, 2014. http://hdl.handle.net/10210/11033.
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M.Tech. (Fine Art)The development of contemporary artistic practice, often termed ‘new media’ art, has bought about new challenges in the re-interpretation of conservational data for the curatorial re-presentation of such artworks. These challenges are intensified in artworks of a non-traditional, transient, intangible and / or ephemeral nature. As such, new media works embrace dynamism and fluidity as part of their intangibility and ephemerality. The conservation of such works now requires consideration of the various elements that make up the work, particularly those where the medium predicates meaning. In this study I investigate the institutions and systems which intervene in this conservation of intangible and ephemeral art for future re-presentation and exhibition. I argue that, by compiling notational data (as a work’s ‘score’) of culturally significant ephemeral and intangible artworks the curator is required to refer to the gathered notational data as a reliable guideline for the re-presentation of a work’s ‘true nature’. This raises questions about which parts of an artwork form its true nature and which components are considered variable allowing them to be altered, replaced or migrated. Any re-presentation of the work is therefore dependent on a thorough investigation of the artwork’s essential elements in terms of the artist’s intent, as well as an in-depth contemplation of external / environmental influences. The dynamic (and thus true) nature of specific ephemeral and intangible art objects in the work of Olafur Eliasson, James Webb as well as my own upon, re-presentation, is the focus of this research study.
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Guedes, Joana Motta 1983. "Em torno da conceção e da receção da arte pública." Master's thesis, 2012. http://hdl.handle.net/10451/7923.
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Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2013Os anexos completos encontram-se em formato digital, apenas consultáveis na Biblioteca da Faculdade de Belas Artes. Os Anexos I a IV dizem respeito aos trabalhos de Maria Keil, Eduardo Nery, Daniel Buren e Olafur Eliasson, respectivamente. Nos anexos V a XIX incluem-se todos os elementos e fases de desenvolvimento do projecto para da intervenção plástica da nossa autoria na Estação de Agualva-Cacém, dos quais fazem parte pesquisas, estudos, fotografias, desenhos realizados, propostas finais, registos fotográficos da produção e da instalação, assim como imagens do resultado final depois do trabalho integrado no local. No conteúdo da tese, realizamos uma selecção e são apresentados apenas uma parte dos anexos que contêm estes elementos
In this paper an approach is made to the subject of public art from the point of view of artistic practice and specific issues it raises, linking it with the theoretical reflection. The "public sphere" is addressed as a privileged mean for interpersonal relationships and hosting public art. Some definitions of public art are reviewed and the difficulty of defining this artistic field is reasoned. Contemporary public art has a hybrid character, integrating multiple discourses and practices, various foundations and motivations. A critical analysis is developed through the work of public art by Eduardo Nery and Mary Keil in Portugal, as well as Daniel Buren and Olafur Eliasson abroad. We explore the question of artistic production in the public space field, exposure and characterization of the concerns, conception and execution stages of my own plastic work with an intervention in the urban space, conducted between 2010 and 2012. For each author’s work we dissect working methods, development of the creative process, motivation, speech, formal and expressive elements, concepts and central ideas of work, possible interpretations and meanings. The public art projects that are designed to treat the installation’s specific place are addressed to the general public and are designed to open a fruition, which causes different readings. We inquire artistic creation in public space as a compromise to several factors, examining their relationship with their spaces and their publics and simultaneously a challenge for the artist and for observers. Several artistic proposals which are developed around the urban and social multiplicity seeking to connect people to places through art are investigated
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Silva, Rita Maria Barracha da 1987. "Demonstração virtual da complementaridade entre as linguagens textual e visual, inerentes a uma dissertação teórico-prática." Master's thesis, 2012. http://hdl.handle.net/10451/5631.
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Tese de mestrado, Arte e multimédia (Audiovisuais), Universidade de Lisboa, Faculdade de Belas Artes, 2012O titulo apresenta-se escrito de forma inversa como se de negativo se tratasse
The human binocular vision results from a stereoscopic phenomenon. This allows one to acquire a three-dimensional image of the perceptual space based on the laws of perspective. The confidence with which one accepts and interacts with this alleged truth is the same that allows one to admit the virtual, a world of illusion. Taking an Art and Multimedia’s theoretical and practical dissertation as a connection between two worlds – the textual and the visual –, one can verify that it’s established accordingly to a cyclic and self-referential system. This articulates the dichotomies: theory/practice and textual/visual. The virtual demonstration of its complementarity generates a hybrid language inherent to it, which shapes a dissertation that presents itself as a symbol of its theoretical and practical condition
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Ribeiro, Jorge Henrique Antunes Vieira. "As viagens de Paulo V : heterotopia, propagação e ubiquidade." Master's thesis, 2017. http://hdl.handle.net/10451/28558.
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As viagens de Paulo V. - Heterotopia, Propagação e Ubiquidade, consists in a theoretical and practical dissertation that has as its starting point the practice of amateur radio developed by Paulo V. - nuclear character of this reflection - activity to which he devoted himself for four decades, resulting in an extensive and diverse collection of elements. The questioning about the motivation of this practice, as well as the relevance
of their relationship in an artistic context, conducted this research to Michel Foucault and his concept of heterotopia in which this reflects about the space and time in contemporary times, an issue that is developed in the chapter dedicated to theoretical framework. Thus, from this concept, the bridge is created for the thought of Jorge Luis Borges, establishing the basis of his recurring themes - eternity and infinity - an idea of propagation and ubiquity of the subject, relating these concepts to the practice of amateur radio. In order to frame the time when this activity had its golden age, it is observed the change that Futurism brought to the art scene at the beginning of the 20th century, setting forth the emerging appetite for progress. Subsequently, is identified the relation that this avant-garde movement had with Russian Constructivism, being visible the influence, at a plastic level, between the graphic and typographic paradigm by the artists linked to this movement, and the elements resulting from the amateur radio activity. This chapter concludes with some examples of artwork, identifying relationships of proximity between these authors and the core concepts of this dissertation. The last part of this document is devoted to the presentation of the authorial practical project, divided into two parts, each containing several pieces of diverse nature, contemplating the practices of photography, video, drawing and installation, called CT1LN