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Watrous, Shawn. "Undersound: An Investigation of Painting as a form of Expression." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366359903.
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Degges, Douglas Ross. "Master of fine arts thesis." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2854.
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In the course of studying painting for the past three years at the University of Iowa, I have found collaborating with other artists to be a great way for me to try on different hats. Two of these collaborations in particular, The Old Man Study Group with Hamlett Dobbins (Memphis, TN) and The Coracle Drawing Club with David Dunlap (Iowa City, IA), have given me the license and opportunity to pretend to be someone else. These collaborative projects have asked me to consider, and at times adopt, even if only for a moment, the interests and concerns of another maker. A few months into these two projects, I noticed that the work I was making on my own, in the isolation of my own studio, was suddenly open to the world's innovations, and not just my own.
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Simons, Bridget Anne. "An irreal realm: painting as a means of reflecting on oneirism." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13995.
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My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. I thus touch on the work of some of these artists, in addition to Tuymans and Morandi.
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McMorran, Susan Mary. "Interactive painting : an investigation of interactive art and its introduction into a traditional art practice." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/3125/.
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This practice-based study investigates the application of an individual studio practice, grounded in Painting, to notions of interactive art, and seeks to establish how the interactivity might impact upon the meaning and the affective power of the work. It investigates the current state of interactive art, its ancestry, development and contextualisation, leading up to its presumed current location within New Media. The thesis examines a range of both theoretical and practical artistic research outputs. It investigates interaction models and taxonomies from New Media, and a range of other interactive disciplines, in order to inform the development of successful paradigms for interactivity as a parameter of an emotionally engaging and communicative art. A number of problems are identified in conflicting conceptual models; an emphasis on the technical and behavioural over the visual, and on human- human over viewer-work interaction; an emphasis on the open meaning and the dispersed author undermining notions of intrinsic meaning; and a foregrounding of play, of pleasure, rather than a deep emotional engagement. The practice, supported by comparisons with related practices, peer discussion and viewer feedback, develops a language of small gestures, textures, layers, sounds and behaviours. It develops away from New Media towards an exploration of the specific nature of the computer as painting medium, and identifies specific models which are useful in informing the development of screen-based painting as interactive. It identifies the model of Interactive Painting as a way of conceptualising the work, which is informed by several key models. Firstly, it identifies Elemental Interactivity; intrinsic, related to both the form and the content, an integrated element, in which the work and its behaviour are one. This is supported by models of Intuitive Interaction and Real-World Models, supporting viewer perception of real-world activities, and informed by characteristics of Simplicity (of interaction and process), and by a small scale and intimate kinaesthetic or Gestural Interactivity. The study identifies a successful model in Open-Ended Exploratory Interaction within a Navigable Space, which is informed by the concept of Wholeness, of the interactive artwork as a holistic or integrated object, which behaves. It identifies Interpretive Interaction as a means of building layers into the work and including a model of Making Cognitive Interaction Concrete. This Interpretive Interaction is contrasted by elements of goal-driven or creative interactivity, providing a shifting dynamic and dramaturgy. It identifies this dramaturgy, the use of humour, pace, mood and elements of and surprise as means of producing the important shift between Immersion and Reflection. Finally, the study examines the visual qualities of the medium. Through comparisons between this medium and Painting, it identifies a specificity for a genre of Interactive Painting, as expressive, immersive, rich, imaginative - a dynamic, controllable and Human re-interpretation of old and new media.
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Labuschagne, Emily. "Masters, master, masturbate (a master's debate) - relooking at the home, body and self through seventeenth century Dutch still life painting." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32716.
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The still life genre has been, and arguably still is, regarded as the lowest form of painting in Western fine art history. The absence of the human figure in still life painting means that the artist does not require knowledge of either human anatomy or history for the production of the work. Given seventeenth century female painters' exclusion from the academies where anatomy was taught, it was thus a genre regarded as appropriate for female painters in Europe prior to the nineteenth century. Such dictates of propriety were indicative of gender constructs that relegated women to the private sphere of society and the domestic environment. As an accompaniment to my Masters in Fine Art exhibition titled Masters, Master, Masturbate (A master's debate), this text explores what still life painting may reveal about the relationship between the home, the body and the self in the present day. Produced from my position as a contemporary, white, female painter of Dutch descent raised within an Afrikaner culture in the context of South Africa, I suggest that a critical reconsideration of this apparently constrictive genre offers potentially liberating perspectives of gender constructs and the female painter.
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Goodyear, Alison. "Privileged, unique and temporary : interpreting aesthetic experiences of the painter-painting relationship through an address to and from practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12456/.
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This practice led research examines the art historical hypotheses of Denis Diderot and Michael Fried on the role of aesthetic absorption in painting practice. It engages with these hypotheses through collaboration with six contemporary abstract painters in an address to and from painting practice. The collaboration was conducted in order to examine aesthetic absorption from the perspective of studio practice in order to develop greater understanding of its relevance to contemporary abstract painting. This was achieved by completing six objectives. First, a lexicon of the terms surrounding aesthetic absorption was developed along with a brief account of the history of engagement with the concept of aesthetic absorption. This was followed by individually interviewing each collaborator, then gathering them together for two round table discussions. All dialogue produced was transcribed, and along with the research material was made available to the collaborators through a wiki site. This material was then reflected upon through painting practice and thesis writing, to be presented finally as a written thesis and viva presentation. By opening up this in-depth dialogue on the practicalities behind Diderot and Fried’s art historical theories, this research has highlighted the concerns and hesitancies of a specific group of artists in their engagement with absorption. It bridges the gap between theory and practice by examining how painters have negotiated aesthetic absorption and the associated positions of painter-beholder and painting-beholder. This research has redefined those positions and relationships by mapping and analyzing the experiences described in the dialogues. As such, the contribution to knowledge of this research lies in its finding a new understanding of how painters can negotiate those positions. This is relevant to painting practice for two important reasons. First, it allows us, in a more structured way, to better understand the differences in the register of experience from banal or pathological types of absorption to aesthetic absorption in painting practice. Secondly, this understanding provides a framework to enable more coherent and focused programmatic modes of address from the studio in negotiating painter-beholder and painting-beholder relationships, thus providing greater conviction from the position of practice.
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Ambron, Michael. "Painting as Becoming." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343739050.
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Nichol, Catherine. "Claiming process : a strategy of production in approaching notions of self, biography and community in painting." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/25921.
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My project is an exploration of process within the painting medium, themed round my experiences of 'self' and community, as located in my past and present circumstances. Throughout my work, my intention has been to explore my social, personal and political 'beliefs' in order to create a body of paintings that both reflects and challenges my 'belief' structures. In my work there are contradictory desires for change and stability, and an ongoing struggle between location and dislocation.
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Kruger, Maria. "Growing Things: An Investigation in the ways that plant-growth may inform the process of painting." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30513.
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My project interrogates traditional Western landscape painting in light of the contemporary understanding that ‘nature’ has been rearticulated, even plasticised and hence rendered malleable, through human action. The idea of a plasticised natural environment is concomitant with the age of the Anthropocene which has brought with it a tremendous rise in the use of plastic since the 1950s, and the consequent polluting effect it has had on the ‘natural’ environment. In recent years evidence indicates that traces of plastic are now in the earth, which suggests a need to rethink what exactly the ‘natural’ environment is comprised of. With reference to traditional Western landscape painting, my work explores the idea of a socially and materially constructed landscape. Utilising the medium of acrylic paint, I reimagine the landscape by using a material that embodies plastic. Removing the dried and solidified acrylic paint from its ground, the landscape painting is liberated from its supporting canvas and frame in an attempt to deconstruct traditional Western landscape painting. My project aims to rearticulate the language and meaning that is associated with landscapes and the natural environment.
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Threapleton, James E. "The corroded surface : portrait of the sublime." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9193/.
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Derived from the Latin corrodere, meaning to ‘gnaw to pieces’, corrosion as a transformative physical process is nature at its most sublime, engendering fear and power, producing the obscure and reducing form to the darkness ‘beneath all beauty as promise of its ultimate annihilation’ (Beckley, 2001: p. 72). The thesis considers corrosion as subtraction, erasure and negation in relation to the painting process. Through experimentation with the ruination of both content and painting’s plastic, material properties the thesis reflects upon how the disruption or destruction of image and surface might relate to the un- representable. Within the history of twentieth century art negation has been cited as the defining spirit of the Modernism (TJ Clark: 1986). Jean François Lyotard suggests that it is the sublime that has provoked this destructive, nihilistic tendency and given Modern and postmodern art its ‘impetus and axioms’ (Lyotard: 1979). As the 2010 Tate research project, The Sublime Object attests, the sublime is once again ‘now’. Painting was conspicuous in its absence from the project, perhaps because as Simon Morley states ‘most sublime artworks these days tend to be installations. It is certainly getting harder for painting, the traditional vessel for evoking visual sublimity, to elicit such effects’ (2010, p. 74). This thesis will examine Morley’s position by considering how the composition of the un-presentable may be alluded to through de-composition and corrosion in painting. An expressionist enquiry into the tension between figure and ground the thesis investigates a relationship between mark, surface and the sublime.(1) Notoriously difficult to capture, the sublime is intrinsically contradictory, making an effective, overarching theory on the subject all but impossible to sustain (Forsey: 2007). Highlighting some of the problems surrounding the theory of the sublime James Elkins, in his essay ‘Against the Sublime’ (2009), suggests that the term has been mistaken for a trans-historical category and that it has been used and abused to smuggle religious content into contemporary critical writing. Further more, he describes the post-Kantian postmodern sublime as so intricate and linguistically complex as to render it effectively redundant without substantial qualification. Elkins has called for a moratorium on the term sublime and a redress of language in favor of new, direct terms (2009). This project asks if painting can facilitate this redress and provide these terms. Note (1): An enquiry that applies a necessarily heuristic approach to a project engaged with subjective, felt experience in painting characterized by and articulated through the primacy of gestural abstraction.
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Phipps, Kristen Renee. "'Till the Cows Come Home." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618747544530061.
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Griffiths, Harriet Celia. "The jury of the Paris Fine Art Salon, 1831-1852." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/12221.
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This thesis provides the first detailed study of the jury of the Paris Fine Art Salon under the July Monarchy and Second Republic. In 1831, Louis-Philippe delegated the role of jury to the members of the first four sections of the Académie des Beaux-Arts. This thesis analyses the diverse composition of the July Monarchy jury and offers the first account of its procedures and decisions based on a rigorous examination of archival sources. It also examines the nature and extent of the growing opposition to the jury, its eventual abolition in 1848 and the decisions taken in forming a new jury under the Second Republic. In so doing it reveals the failure of the king and his arts administration to respond to the aspirations and expectations of the artistic community under the post-revolution constitutional monarchy. It also shows how the jury’s diverse membership sparked conflict, notably between a conservative group of architects and certain more open-minded members of the painting section, as it sought to adjust its academic values and expectations in response to the artistic developments of the period. My examination of the opposition to the jury among artists and art journalists during this period brings to light the key issues surrounding admission to the Salon at the time. Finally, the analysis of the Second Republic reveals the ways in which this opposition was temporarily satisfied by reforms to the jury, examining the significance of changes not only to its composition, but also to its procedures. At each stage the thesis challenges the simplistic misrepresentations of the Salon jury’s procedures and decisions prevalent during the July Monarchy itself and subsequently in the history of the emergence of modern art in France during the nineteenth century.
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Peterson, Philmore V. "The Art of Bringing Things Together." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308259431.
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Han, Jane. "Passing through time : the intersection of painting and cinema in the works of Julian Schnabel." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:82ffb3f5-02da-4f37-8315-5ba74c33b139.
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This study examines the intersection of painting and cinema through the oeuvre of American artist Julian Schnabel. A controversial painter who came to prominence in the contemporary art world of the eighties, the study begins by contextualizing Schnabel within the art critical debates of the period. Addressing and revising the perceived reputation of the artist, the first chapter re-positions Schnabel predominantly as an inheritor of various traits of post-war American painting, in particular the somatic, affective and existential treatment of the canvas characteristic of action painting. The body of the study proceeds to compare the ways in which Schnabel’s cinematic practice borrows, extends and thus affirms many of his painterly approaches. Examining his four major film works (Basquiat, Before Night Falls, The Diving Bell and the Butterfly and Miral) in tandem with his paintings, these chapters plot major confluences between the two media, in particular Schnabel’s overall use of a subjective, phenomenological method. Crucially, this aesthetic approach is shown to be in the service of an existential as opposed to epicurean aim, as it is most overtly expressed in his use of the objet trouvé and the dedication. The study ends by changing the vector of analysis to trace how Schnabel’s foray into the cinema may have influenced the aesthetic of his paintings, and subsequently how a reproductive medium such as film is able to push the boundaries of painting, not necessarily to announce its death. Ultimately, the goal of this study, beyond the monographic examination of a single artist, is to propose ways in which the medium of film has contributed to an evolving understanding of visual representation. For, unlike the modernist premise, the assumption is that it is precisely through the interaction and absorption of various formats that a medium can change, evolve and expand.
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Smith, Callie. "Liminal." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1619183772384797.
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Chan, Janet Bick Lai Art College of Fine Arts UNSW. "Mounting evidence: Traces of things to come." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/42058.
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This thesis documents a project that investigates the nature of painting in the digital age. Accounts of ??what painting is?? have focused on the quality of its product, its production process, and its relationship with the artworld. This thesis describes how the student has developed a form of digital painting practice that consciously engages with and reconstructs the aesthetic space once occupied by Chinese landscape painting. The works combine both realist and surrealist techniques in a way that transgresses the processes and conventions of traditional Chinese painting while at the same time appropriates its presentation format. Drawing on popular culture??s fascination with forensic science, the artist plays with physical evidence and literally generates mountains out of molehills. In manipulating proofs of where things have been, she creates a fantasy of how things can become when taken out of context. Focusing on the legal system as a symbol of the superiority of Western civilisation, the project explores the ??majesty?? of justice as it is manifested in the everyday administration of criminal cases, where the prosecution builds its argument out of the fragments of evidence collected, analysed and presented as a coherent story of actions and intentions. Mountains are evocative symbols for the justice system. Lofty mountains depicted in Chinese painting are, like Western justice, fascinating, awe-inspiring and spiritual realms that are beyond the reach of most ordinary people. Mountains are often sacred places where believers pay pilgrimage to seek health and longevity and where scholars and intellectuals seek self-improvement and enlightenment. If drawing is a way of making marks, this project turns the act of drawing upside down. Just like the forensic scientist, the artist makes visible the traces created by objects by ??dusting?? objects with powder and ??lifting?? the traces on sticky tapes. These traces are then converted into digital images using a computer scanner. In the same way that a prosecutor puts together a criminal case, the artist builds cases from the evidence that has been made visible. Instead of making a direct mark, the artist ??paints?? the image using the palettes of physical traces as pigments.
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Taylor, B. D. "After constructivism." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:a09edf30-cdad-40a1-aa3e-03ce482a478c.
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This thesis examines the legacy and consequences of Constructivism in art, from the early days of the Russian avant-garde to recent times and today. The Introduction explains how the concept of faktura, first theorised around 1912 by David Burliuk and others, came to designate the material qualities rather than the subject-matter of art. Chapter 1: Towards A Constructive Ideal, traces the progress of faktura in the reliefs of V.Tatlin from 1913. The ancestry of faktura in the Eastern icon tradition is emphasised, where a close relation between sight and touch already suggested a new type of encounter between the viewer and the object of art. The chapter further examines the importance of faktura to Suprematism, and examines A.Rodchenko’s appeal to line as a rational element of construction and as a weapon against ‘composition’ in art. Chapter 2: Time and the Viewer presents evidence of the importance to artists in the period 1940-70 of the real-time encounter between viewer and the art-object, first in American and British ‘Constructionism’, and then in the Minimal art of Judd, Morris and others. The chapter ends with a discussion of temporality in relation to abstract paintings of Rothko and de Kooning. Chapter 3: Irregular Curves: Science and ‘The Organic’ reprises the minority Constructivism of Mikhail Matyushin and Pyotr Miturich that claimed organic structures were superior to technicist ones. Evidence is presented that the rectilinear grid was always subject to challenge, initially in the art of Emma Kunz, Jean Arp and other pre-war modernists but latterly among those for whom ‘field’ and ‘curvature’ became relevant formats after 1945. Particularly with the development of computing from the 1970s, new geometries based on iteration and scale-invariancy assumed major relevance to constructed art. Chapter 4: Constructivism Now presents evidence of the application of Constructivist principles in recent art, initially in Dan Flavin’s ‘monuments’ to Tatlin and others and subsequently in so-called Neo-Geo and Op art of the 1970s and 1980s. From that period on, albeit often in a register of irony and ‘serious play’, faktura in a Constructivist sense continued, and continues today, to define the relation between viewer and object of art.
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Parry, Ariana J. "Flow: Abstracting Mundane Environments." Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1481565925915224.
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Shabtay, Talia Bess. "Still Wet: On Painting, Presence, Pleasure, and You." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250699054.
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Godliauskas, Egidijus. "Irstančios materijos." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20120211_120421-22316.
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Darbo objektas – keturių tapybos darbų kolekcija „Irstančios materijos“. Darbuose bandžiau tapybiškai pavaizduoti siena. E. A. Cukermanas rašė – „Jei dailininkui mažai rūpi buitinės/ socialinės problemos ar vienadienės aktualijos, jei jis mintimis gręžiasi į Universumą, galimas dalykas, kad jis pasuks link abstrakcijos“. Mano darbai abstraktūs. Tapau irstančias materijas taip stengdamasis atitrūkti nuo mus supančio materialaus pasaulio. Žmonės susvetimėję, užsidarę savyje. Darbais noriu parodyti žmonėms, kad pasaulis nebūtinai yra toks kokį mums tapo normalu matyti. Meno objektai supa kiekvieną žmogų. Tereikia atidžiai stebėti. Gali būti, kad žemės grafika ar suiręs sienos paviršius gali įkvėpti naujiems kūriniams. Darbo tikslas – pritaikyti savo išmoktas tapybos technikas. Pateikti tapybine kalba nutrupėjusias, suirusias, daugiasluoksnes sienas ir atitrūkti nuo jų pradinio vaizdo. Ieškoti problemų sprendimo būdo, įvykdyti sau iškeliamas užduotis.<br>Object of work - a collection of four paintings "The Disintegration of Mater". In my works I tried to display the walls in painting. E. A. Cukermanas wrote - "If the painter was little concern for domestic / social issues, or old news, if it turns thoughts to the Universe, it is possible that he turned toward abstraction". My works are abstract. I’m painting the disintegration of matter and trying to break away from the physical world that surrounds us. People alienated withdrawn life. I want to show people with paintings that the world is not necessarily what has become normal for us to see. Art objects are surrounded by everyone. Just be carefully monitored. It may be that the soil or ramshackle wall graphics surface can inspire new painting works. The aim is to adapt my learned painting techniques. Provide into pictorial language broken to the small pieces, disintegrated, multi-wall and break away from their original image. Find solutions for the problems; solve the tasks set out for myself.
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Jhaveri, Shanay. "The journey in my head : cosmopolitanism and Indian male self-portraiture in 20th century India : Umrao Singh Sher-Gil, Bhupen Khakhar, Ragubhir Singh." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1808/.
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Between 1890 and 1948, Umrao Singh Sher-Gil (1870–1954) a philosopher, Sanskritist, Persianist and father of India’s greatest modernist painter Amrita Sher-Gil, produced a remarkable body of photographic self-portraits. The photographs, usually very small were always of himself in aristocratic-bourgeois settings, which ranged from Paris, Budapest, Simla and Lahore. These images prove to be the starting point for my own research into self-portraiture and a re-appraisal of the term ‘cosmopolitanism’. Central to my re-figuring of ‘cosmopolitanism’ is a refutation of the Kantian ideal of the self-identical, self-sufficient, immune and transcendental subject. I intend to map out how the term has been re-claimed and recalibrated by myriad postcolonial academics and scholars in contemporary critical and cultural theory. My own participation in the on-going re-evaluation of ‘cosmopolitanism’ is done through the detailed study of the lives and works of my three case studies: Sher-Gil, the painter Bhupen Khakhar (1934- 2003), and photographer Raghubir Singh (1942–1999). In my discussion of their respective oeuvres, place and location are foregrounded, taking into account physical movement, but more crucially modes of affiliation and belonging. In my research, a rethinking of ‘cosmopolitanism’ rests on the assertion that a ‘cosmopolitan self’ evolves from correspondences between disparate parties and places. Community, friendship, networks of affiliation and interpersonal exchange are critical to study and acknowledge. The other fundamental concern of this thesis is an emphasis on emotion, and emotional connections to spaces. Geography can and should be read as being populated by emotions, and the narratives of lives can be told through the emotional connections to certain places and spaces. With this research I do not wish to establish a definition or a model of a South Asian cosmopolitan or cosmopolitanism, which is a dangerous and limiting gesture. With the aid of Sher-Gil, Khakhar and Singh I hope to make apparent that for a cosmopolitan sensibility to be formed, physical travel, affluence, and privilege are not necessities. Neither is relinquishing an attachment to place or, inversely, claiming multiple attachments to places, but rather advocating for a recognition of the connection between space and emotion, and how the affects produced from these lived conditions and experiences are manifested, materialised and should be appreciated. Another aspect of this research project is an engagement with a mode of heuristic inquiry, where there is an emphasis on the researcher’s internal frame of reference, the researchers present. Thus, the temporal frame of the thesis produced by my selection of case studies, spans from India’s transition as a colony to an independent nation, but continuing on consciously to my own locatedness, at a moment when it is emerging as a global capitalist power led by a Hindu nationalist government. All of which prompts a continued consideration of the tension between nationalism and cosmopolitanism. It begs the question, how has and can one continue to arbitrate between local attachments and the world at large?
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Jones, Sarah. "Moving slowly or not at all." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1679/.
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A half of a brick is still a brick. Half a brick is a block. A building block, it is a thing of construction. Repeated, it makes a wall. Unnoticed, it is a stumbling block. It is mobile. When lobbed, it brings the construction down. This research draws on legacies of minimalism, as exemplified in processes of isolation and the repetition of a singular unit – but it is not reductive. Literal theatricality is embraced and ramped up in the drafting of stage directions, and lighting and effects plots embedded as a part of picture making. As with theatrical scripts, a looped feedback of proposition and account is employed and items are expelled and accumulate around the questions: ‘What is the record?’ ‘What is the thing?’ Within this recursive process motifs appear. Each form, whether it be half a brick, a choral ode, a riddle, a monogram or a rolled butterfly collar, expands on the materiality and mechanisms of the thing itself. The approach is to creep up on it: a form of research by stealth.
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Summanen, Grace. "Dimension." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310497356.
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Pasek, Jeffrey Douglas. "Worry My Head: An Exploration of Head-Like Forms as an Expression of Existential Concerns." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1385383454.
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Cojanu, Cristina. "Arabesque : recovered fragments of what could have been a novel of manners." Thesis, Royal College of Art, 2013. http://researchonline.rca.ac.uk/1644/.
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That painting is understood as being visual cannot really be contested. Even when Duchamp introduced his disavowal of painting and the schema of the chessboard to indicate an anti-retinal strategy, the implication of visual imaginary was still in place. Indeed the link between knowing and seeing is not only at the root of metaphysical (the desire to know is the desire to see -Aristotle) thinking itself, but persists even within the disavowal of it within Late Modernity. Currently, its presence does still persist and continues to fuel its relevance. This research develops as a speculation on the relation between an ontological understanding of the image and the ornamental. In contrast to the usual understanding of ornament, the ornamental is elaborated as a force and process for the proliferation of forms out of forms. The arabesque is the structuring principle of this research and the figure it presents. The revelatory force of the arabesque lies not in giving a schema of visual revelation, but it is touching upon a force that transforms and changes, the very 'plasticity' (C. Malabou) inherent in every being and image. Through the recollection of the arabesque, the ornamental is invoked as a principle of drift and thrift in becoming. As a double, paradoxical device the arabesque enables a play between oblique and transparent things, between what can be said or known and what cannot be said, what remains unknown - and whatever lies in between. As a figure of thought, it sets out a play of plastic and graphic imminence. Characteristic for the Islamic culture, the arabesque is more a mode or an idea than a form or pattern, and it was formative for this culture from its very early ways of manifestation. The idea of the arabesque is in and for itself, a 'motor of thought' (C. Malabou). The tension between representation and presentation, between symbolic, iconographic or legible meaning and a-signifying, pre-linguistic or ornamental meaning is at the heart of understanding the image, which is a mode of being that is encountered in different ways. Through the ornamental as a force of mediation (O. Grabar) this understanding is infiltrated with an ethical dimension. The route taken is one of conceptual risk, of invention and the fantastic. Method itself is addressed as something to be found - and not as something already given or pre-established. This research in painting inflects painting from within, from its relation to presence and the image. Caught in this by its inflammatory auto-affection, painting explodes and de-forms, it trans-forms itself - it consciously receives and, simultaneously, gives form. The research itself is manifested as a concatenation of heterogeneous elements that belong to different registers such as written texts, show installation, and different technologies.
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Haggett, Matthew. "Songs and Stories that Only You Know: Multiplicity, Meaning, & the Metaphorical Bridge." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5191.
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The thesis report will serve as a companion for the body of work that is the bulk of the thesis project. The theme of the thesis project is "the bridge". "The bridge" is a metaphor for meaning occurring through context. It is present on many levels. It will implicit in much of the discussion. I will include themes such as the play of differing scales, the ambiguous line between part and whole, and the reasons for the book format . Specific imagery that occurs repeatedly in the work, like architecture and knots, will be explained in terms of its sources, personal meaning, and formal and conceptual roles. My interests in poetry is also a necessary topic as poetry is both present in the thesis work and implicit in my ideas about art as language. The thesis report will be secondary to the thesis work. It is of primary importance that the work can stand on its own. The ideas discussed in the thesis report must be accessible through the work itself (to a greater or lesser degree). To this effect, the thesis report will not be an attempt to convince, coerce, or cajole the unswayed viewer.
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Chapman, Dana L. "Dutch costume in paintings by Dutch artists : a study of women's clothing and art from 1600 to 1650." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1239103291.
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Godliauskas, Egidijus. "Irstančios materijos." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100907_095915-41153.
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Darbo objektas – keturių tapybos darbų kolekcija „Irstančios materijos“. Darbuose bandžiau tapybiškai pavaizduoti siena. E. A. Cukermanas rašė – „Jei dailininkui mažai rūpi buitinės/ socialinės problemos ar vienadienės aktualijos, jei jis mintimis gręžiasi į Universumą, galimas dalykas, kad jis pasuks link abstrakcijos“. Mano darbai abstraktūs. Tapau irstančias materijas taip stengdamasis atitrūkti nuo mus supančio materialaus pasaulio. Žmonės susvetimėję, užsidarę savyje. Darbais noriu parodyti žmonėms, kad pasaulis nebūtinai yra toks kokį mums tapo normalu matyti. Meno objektai supa kiekvieną žmogų. Tereikia atidžiai stebėti. Gali būti, kad žemės grafika ar suiręs sienos paviršius gali įkvėpti naujiems kūriniams. Darbo tikslas – pritaikyti savo išmoktas tapybos technikas. Pateikti tapybine kalba nutrupėjusias, suirusias, daugiasluoksnes sienas ir atitrūkti nuo jų pradinio vaizdo. Ieškoti problemų sprendimo būdo, įvykdyti sau iškeliamas užduotis.<br>Object of work - a collection of four paintings "The Disintegration of Mater". In my works I tried to display the walls in painting. E. A. Cukermanas wrote - "If the painter was little concern for domestic / social issues, or old news, if it turns thoughts to the Universe, it is possible that he turned toward abstraction". My works are abstract. I’m painting the disintegration of matter and trying to break away from the physical world that surrounds us. People alienated withdrawn life. I want to show people with paintings that the world is not necessarily what has become normal for us to see. Art objects are surrounded by everyone. Just be carefully monitored. It may be that the soil or ramshackle wall graphics surface can inspire new painting works. The aim is to adapt my learned painting techniques. Provide into pictorial language broken to the small pieces, disintegrated, multi-wall and break away from their original image. Find solutions for the problems; solve the tasks set out for myself.
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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.
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Bowie, Taylor. "Cultural Biases in the West and the Disadvantages Created for Eastern and Eastern-Influenced Art." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/honors_theses/84.
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Culture has always had a substantial influence on how art is perceived and executed. Artists have, more often than not, let their own backgrounds and experiences influence the way their art is produced; those who merely view art form opinions about works through their own cultural understanding. What makes art and what their own backgrounds allow them to distinguish art as is often defined by cultural origins. My observation is that, in this new age, there are distinct cultural biases, particularly within the U.S., that create social pressures to produce certain types of art, and anyone who operates outside that realm is disadvantaged. I have created imagery to highlight the distress that cultural biases have caused in my own life—as an artist who follows a style outside my culture—and in the lives of other artists who share my struggles, in an allegorical and comical sense.
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Howell, Audrey. "The Biomorphic Grotesque in Modernist and Contemporary Painting." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/327.
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This paper looks at the concepts of the biomorphic and grotesque in art from the start of the 20th century to the present with a focus on painting and drawing. Included in the discussion of the grotesque throughout history are the works of Dadaist Otto Dix, painter Georg Baselitz, and feminist artists Judy Chicago, Hannah Wilke, and Ana Mendieta. Each used grotesque imagery to comment or react to a larger sociopolitical issue. Biomorphic artworks from the 20th century are mentioned as well, with specific examples of work by Lee Krasner, Willem DeKooning, and Hans Bellmer. These artists together start to illustrate the ways biomorphic and grotesque imagery can be used to explore physical gesture, inspire a visceral reaction in the viewer, and make societal critique. These themes are currently being explored by contemporary artists Jenny Saville, Wangechi Mutu, Inka Essenhigh, Cecliy Brown, Elizabeth Murray, and Maria Lassnig, each of whom is discussed in detail. Their work explores the boundary space between the body and hybridity, impurity, or abstraction, each in their own way. Following this discussion the author’s own paintings and drawings are mentioned, including dialogue detailing the thought process behind each one. Photographs of these works are included.
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Lee, Alice Hui Fang. "The spirit of Chinese brush lines and its application to creativity in UK art and design education." Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319231.
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Boch, Elizabeth. "A Pawn’s Toil: Advocating for a Return to the Toybox." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors153599598226024.
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Tu, Maxine. "Underneath the Film: Reconstructing Reality Behind Taiwanese Family Portrait Through Contemporary Painting." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/948.
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This paper establishes the pivotal role and irreplaceable value of painting in the technology-driven, image-saturated contemporary culture today. Particularly in my work, painting old childhood photographs creates a contemplative platform where I can deconstruct and reconstruct relics of my formative past as means of better understanding my multicultural upbringing. Inspired by both Chinese Communist propaganda posters and the ’85 New Wave Contemporary Chinese Art Movement, my senior project confronts the façade of perfection staged in Chinese family portraits through convoluted layers of imagery and Chinese text that build up the painting. The amalgamation of bold outlines, expressive brushstrokes, and disciplined grids, challenges the stifling values of discipline, order, and homogeneity in traditional Chinese culture.
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Shanks, Sarah M. "The Memory Yields: B.F.A. Thesis Exhibition." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1401583720.
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Davies, Eranah Laura Ann. "SKELETON WOMAN: EMBRACING THE UNKNOWNALLOWS FOR SURPRISES." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429968887.
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Johnson, Alyssa Marie. "Views From The House." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429835120.
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Kass, Jason. "Cognitive aspects of pictorial address and seriality in art : a practice-led investigation." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/408222/.
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The following thesis applies theories and findings from cognitive psychology to notions of pictorial address and seriality in art. It is interdisciplinary and practice-led, culminating in a written outcome and a portfolio of creative work. The thesis suggests a model for the exchange of ideas within experimental psychology, art practice and art theory. The research evaluates historical and theoretical notions of pictorial address in light of concepts within visual cognition. Theories of address often refer to the temporal, spatial and postural qualities of art spectatorship. Here they are aligned with relevant psychological concepts including gist extraction, spatial representation and embodied simulation in order to make the underlying perceptual and cognitive processes explicit. There is an emphasis on seriality as a mode of address and pictorial artworks that comprise multiple discrete but related instances displayed together. Two case studies consider the serial output of Claude Monet and Andy Warhol in terms of cognitive theories of concept formation and exposure effects, respectively. The direct impact of features of seriality on the viewer in each case is discussed relative to existing art theory and established art historical narratives. The thesis culminates with presentation and discussion of the portfolio of creative work that both informed and was informed by the theoretical research. The outcomes comprise paintings, drawings, photography and mixed media installation that explore properties of variation, repetition and relational knowledge within pictorial address.
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Reichelt, Victoria, and n/a. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.143140.
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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.
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Reichelt, Victoria. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366187.
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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Full Text
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Blunt, Gregory. "ULTRA." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/741.
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This thesis paper is meant to serve as a supporting document for a thesis exhibition that was held the University of Waterloo Art Gallery. The show consisted of paintings on Plexiglas and sculptural installations with fluorescent lights. <br /><br /> The aesthetic style of my paintings makes a strong reference to the visual vocabulary of computer software. More specifically, it mimics architectural computer vector graphics from the 1980s. There is a visual metaphor created in my paintings where it blueprint drawing has 'evolved' into computer vector graphics, ultimately though, nothing has changed. The images are still hand drafted with pencils and then hand painted. The lexicon of digital software is appropriated, but by transferring the images from the virtual space of the screen to a literal three-dimensional space, the meaning is discarded. They become generalized abstract signs that retain their connotations, but not their meaning and function. The work thus makes a simple point in its refusal to 'get digital. ' There is a fetishization of technology, yet simultaneously a refusal of it. <br /><br /> Other concerns that I deal with in my work and thesis paper, include notions of good and bad taste, kitsch and the Camp aesthetic, science-fiction, nostalgia, representations of the 'future,' Suprematist painting, Minimalism, Design, and the utopian ideals of Modernism.
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Christensen, William. "Dweller." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/250.
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William Christensen DWELLER What does it mean to become someone else? What does that mean for the identity of the person before they became this character? These questions have become a focal point for my work. I have been employing the self-portrait as a means of transforming myself into a different character. For this body of work I have written a short story, which is the basis for my artwork. This story is about the main character's grasp on reality slipping away from him and his shift from sanity to insanity. The different papers and styles come together as one amalgam of a scene in the process of transforming before the viewers' eyes. These drawings contain two different sets of drawings within each piece of artwork. The drawing, with ink on the white stonehenge .Paper, is a scene taken from the story and the graphite drawing on the brown stonehenge paper is a self-portrait. The graphite drawings on the brown paper consists of a series of pictures taken of me turning my head and changing my facial expressions in order to .imitate my perception of a person who is losing their mind. I then proceed to crumble up the drawings, and glue them on top of one another. From the inked drawing that lies on top, I begin to tear away the paper in order to let the under drawing show through. With the crinkled and the roughness of the papers it accomplishes the venture of showing the frailty and fickleness of the character. The blending of the two papers into each other gives the work a dreamlike sense that is hopefully open to interpretation from the viewer. One could come to the conclusion that this is a non-threatening dream, or a nightmare.
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Pruett, Richard Brandon. "Cannibalism: A Failure to Be Satisfied." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1813.
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This thesis supports the Master of Fine Arts exhibition at the Tipton Gallery, East Tennessee State University, from March 23rd through April 3rd, 2009. To comment on the title of my thesis, it describes an invented process created to re-contextualize failed paintings into works that critically comment on the discipline of painting itself. The paper describes and analyzes the conceptual moves created by a refusal to be satisfied with predictable outcomes in my work. At the end of this tumultuous quest to explore what painting is to me, the most rewarding works were a product of a reconfigured failure.
This paper also briefly discusses a period in the history of painting that is particularly relevant to my work, influential artists that I have continually returned in admiration, and collage techniques and materials used to create my work. An explanation of my current body of work is given at the end.
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Peters, Eddie. "Painter's Wilderness." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4533.
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Painter's Wilderness is a transition between painting strictly from imagination to painting with the use of drawings and sketches to interpret and authenticate an observation. The transition became an exploration of value patterns, compositional shapes and color correspondence in building a technically successful painting while allowing the piece to have its own life.
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Gimenez, Catalán Juan Pedro. "Exploring opportunities of complex LED colour mix systems for lighting in the art. Fine colour tuning a painting." Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280015.
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Museums and the performing arts have very specific lighting requirements, not only in the technical aspects of their presentation, but also in regard to the communication and interpretation of artistic concepts. Thus, the design intent might have many different perspectives whereas the idea of being “neutral” is more complex to define. One of the critical aspects for the visual experience of art is colour, a subjective experience that can be conceptually approached from many perspectives, from science to the artistic realm. This study starts by setting a theoretical framework in colour human vision, colour theory and colourimetry; and how this can be applied to lighting design concepts for exhibitions. The experimental part of this work explores some of the opportunities of complex LED colour mix systems in working with fine colour tuning and metamers. This investigation focusses on both the creation of the light stimuli and on how these lighting conditions can influence the perception and interpretation of a painting. In spite of its subjectivity, the perception of the art is contextualized with the colour theory background provided, the quantitative measurements performed and the results of an online survey. Additionally, the artist is interviewed in an attempt to gather views from the origin of the artwork to the viewer interpretation. This work might be useful to those with interest in the opportunities that quality LED technology, specifically colour mixing, offer for lighting design in exhibition and theatre environment. In fact, the complexity of exhibition lighting provides a perfect environment for research and experimentation, where improving the viewer experience is becoming an essential factor for museology.
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Hair, Harper D. "People Like Ourselves." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2408.
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The thesis writing here is an effort by the artist to identify his motives in creating, and his aims for the audience, and to communicate this to the reader in a clear and truthful manner. Section 1 focuses on introducing the ground of the artists’ thinking, discussing his ideas of the body and culture identity, and how they motivate his work. Section 2 goes into greater detail about the manner his thought process evolved through the course of a number of works. In Section 3, there is an ever sharper focus in the works towards the isolated and inscrutable individual. The theme that runs throughout is that, although it’s difficult if not impossible to fully communicate with another, the effort is worthwhile.
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Agyeman, Cynthia A. "Artists' Perception of the Use of Digital Media in Painting." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1443101832.
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Lee, Eunji (Jubee). "After the big wind stops I see gentle waves." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5367.
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This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.
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Garbett, Gary. "Insequential Sequence." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2277.
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Since childhood, my passion to create has driven me to search for the simplest truths within the world I live in. Throwbacks of pop culture have always decorated my life and their influences are directly reflected in my work. The nightly news, advertisements, pulp magazines, film, and music all play an extremely important role in my work as each influence becomes a layer of spirit and emotion in my mixed media paintings and photography. It’s those ordinary and mundane gifts that I find in each normal day that spill the truth and the essence of my life into my art. Popular culture has always filled my life with vivacity, passion, and a yearning for creativity. Admittedly, I’ve long been an artist that gets lost in the contemporary message of my work. I do after all own it and somewhere in my creative mind the process of creation and the object as art become my unified gospel in a sacred delivery and message. I absorb my surroundings, dissect it, rearrange it, and spit it back out to the world as a reinterpretation of the original, and on occasion transform it into something totally original within itself.
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Miettinen-Harris, Maija Helena. "Contextualizing Epiphanies and Theories on a Surface of a Painting." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436836349.
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