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Dissertations / Theses on the topic 'Sculpturalim'
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1
Perotto, Émilie. "La sculpture contemporaine envisagée comme une situation : modes de production, usages et objets." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3052.
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Ce travail de recherche doctorale tend à définir précisément ce que j’appelle une situation sculpturale, en envisageant le médium de la sculpture, historiquement immobile et pérenne, comme le médium de la rencontre tributaire de temporalités diverses. Pour ce faire, ma pratique plastique a été mon terrain premier d’investigation, au sein duquel j’ai pu tester un certain nombre d’hypothèses, dont certaines se sont concrétisées dans mes sculptures les plus récentes, citées dans ce texte. Aussi, une attention particulière à la sculpture contemporaine m’a permis d’ouvrir plus largement mes prospections, qui se sont aussi nourries de pratiques d’artistes et de pensées théoriques historiques. Mes recherches se sont appuyées sur l’étude du rapport que la sculpture peut entretenir avec la vie quotidienne, et les rapports particuliers au temps que cela peut engendrer, aussi bien dans la conception des œuvres, que dans leur perception. Cette réflexion m’a permise d’aborder la sculpture dans son rapport aux objets du quotidien, que ce soit dans leur introduction directe dans les sculptures, dans leur reproduction, mais aussi dans l’usage. En effet, ce dernier point m’a amenée à établir une typologie de ce que je nomme la sculpture d’usage, dont la fonctionnalité n’est pas la finalité, mais une appréhension possible de l’œuvreThis doctorate research tries to define precisely what I term a sculptural situation considering sculpture – ie historically still & perennial – as the meeting point of multiple temporalities. To elaborate this research I took my artistic pratice as a ground to inquire into. I did test several assumptions which have informed my latest works thereafter described. Furthermore, a greater attention was given to contemporary sculpture so as to open wider perspectives drawn from historical artistic practives & theories. I studied the relationship between sculpture & daily life and most specifically their being time-based experiences, as much during the making of the works as when perceived by a spectator. I was then able to study sculpture in relation to everyday objects : either through the introduction of the later in sculptures themselves or their possible reproduction or even the use that can be made of them. I thus established a typology of what I name usable sculpture, whose functionality is not an end in itself but is nevertheless a possible way of experiencing the work of art
2
Whaley, Christopher S. "Sculptural forms and furniture." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1204204.
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The primary objective of this creative project was the exploration into designing and creating sculptures that combine various materials in a visually pleasing way. Could these sculptures emphasize excellence in craftsmanship and sophistication of surface? Could the inherent properties of these materials be manipulated and combined in an engaging manner, which would enhance the beauty of both materials?This body of work required a variety of metalsmithing techniques including forging, mokumegane, and metal forming. This body of work also required various woodworking skills such as lathe turning and wood joint construction. There were several materials used such as exotic and domestic woods, and ferrous and non-ferrous metals. This body of work challenged my technical and conceptual abilities making me a better artist and designer, not only in metalsmithing, but also woodworking.Department of Art
3
Morse, Evan. "Objectified : a sculptural study /." Norton, Mass. : Wheaton College, 2009. http://hdl.handle.net/10090/8397.
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Jazayeri, Statira. "Sculptural Textiles : Exploring sculptural possibilities in woven textiles through construction and contrasting yarns." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-11104.
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Sculptural Textiles is a material investigation exploring sculptural possibilities for machine woven textiles. Two important factors are yarn combinations and textile construction, and how these two together can result in fabrics that can be manipulated by hand into shapes and thus adaptable to various settings. The essence of this project is in the meeting between contrasts such as shiny-dull, elastic-stiff, transparent-opaque, natural and synthetic and how these meetings can create sculptural qualities. The project is aiming to create a range of sculptural textiles as well as being an exploration in material. Construction and density are tools to bring forth the beauty and function of the materials. The result is a range of textiles showing that small changes in material and construction can lead to different sculptural characteristics.
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Won, Jaesun. "Sculptural jewelry in line composition /." Online version of thesis, 2008. http://hdl.handle.net/1850/6247.
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Lykins, Victoria L. "Painting in a sculptural manner." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864931.
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Burris, Sarah M. "Creatures series of sculptural costumes /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227280056.
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Thesis (M.F.A.)--Kent State University, 2008.Title from PDF t.p. (viewed Jan. 5, 2010). Advisor: Paul O'Keeffe. Keywords: sculpture, performance, fabric, beauty, sewing, feminine. Includes bibliographical references (p. 28).
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Burris, Sarah Mittiga. "Creatures: Series of Sculptural Costumes." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1227280056.
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Tugcu, Ayse. "Yesemek Stone Quarry And Sculptural Workshop." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614223/index.pdf.
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The significance of Yesemek Stone Quarry and Sculptural Workshop in
Gaziantep Islahiye province is rooted in its basalt quarry and stone sculptures
found at the site. Yesemek was first discovered by Felix Von Luschan in 1890
while he was excavating Zincirli (Sam&rsquoal). Between 1958 and 1961, the site was excavated by a team under the leadership of Prof. Dr. Bahadir Alkim. The excavations at the site yielded approximately three hundred finished or unfinished lion, sphinx and mountain god sculptures. While the exact function of these sculptures are still not known, the thesis will explore the function of these sculptures by examining the architectural structures where the sculptures could have been used as architectural decoration. Another issue that will be discussed in the thesis is the date of Yesemek workshop and sculptures. To that end, Yesemek sculptures will be stylistically compared to Late Bronze and Iron Age sculptures.
10
Leon, Zamuco Eric de Calvin James H. "Banal sculptural meditations on the unfamiliar /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6722.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 24, 2010). Thesis advisor: Professor James H. Calvin. Includes bibliographical references.
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Corcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.
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This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.
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Livsey, Julie. "Water, sculptor, sculptural form : an interactive partnership." Thesis, University of Newcastle Upon Tyne, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438319.
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George, Jamie. "The sculptural, display, location and forgetful memory." Thesis, Anglia Ruskin University, 2013. http://arro.anglia.ac.uk/312323/.
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This thesis explores the nature of contemporary sculptural practices in relation to the broader field of installed sculpture (which deploy articulated, interrelated, but autonomous components) and in the context of recent approaches to both curation and display. The artistic work and attendant commentary constitute a response to the issues of sculptural agency and display raised by both the practice-based outcomes and key works of several contemporary artists: Gabriel Kuri, Gedi Sibony, Melanie Counsell, Marc Camille Chaimowicz and Michael Dean. In a number of exhibitions ‘post-installation’ practices and the function of ‘montage’ sculpture is examined. Through outlining the current landscape of sculptural production and medium specificity a progressive notion of the monument is established. The sculptural artwork is seen to retain a political resistance, as both art-object and thing in the world. An assessment is made of how sculptures produce space within and through their exhibition context, directly related to the production of space as a whole (a social morphology posited by Henri Lefebvre). Applying a conception of time in reference to spatial production opens up the artwork’s potential to draw on complex codes of mnemonic function, which can potentially generate emancipatory agency from ideological issues in late-capitalism. Re-readings of key installed works by Marc Camille Chaimowicz and Mark Dean, through contexts derived from Nietzsche and Mark Fisher, reveal how sculptures can activate specific mnemonic codes, or collective memory. Such art works utilise a ‘forgetful memory’ – a reflexive process of positing, junking and reimagining relationships to cultural information. The body of artistic work produced for this research, intertwined with its critical reflection, makes an original contribution to knowledge by interrogating theoretically and experientially the potentials of ‘the sculptural’, as part of the plural production of art and exhibition-making. By means of practice and its outcomes, the research engages the current dynamics of spatial production and radicality of sculptural objecthood. The work examines the complex relationships between social memory and historicity, with which sculpture in an exhibition environment can engage.
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Lindberg, Siri. "Embodied sequences : Sculptural architecture, architecture for sculpture." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223745.
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For the last decade many spaces of museums have meet new demands; the spaces are getting less specific to the art it is displaying as the need of flexibility, total control or alteration of light e.g. has increased due to various reasons. For many art forms those conditions can be beneficial. But how one perceive the three-dimensional art of sculpture is something different, than two dimen-sional art such as painting, and there for the demands on the architectural spaces and its qualities are different. A museum exclusively for the art of sculpture does not exist in Stockholm, without it being mixed with other art forms or dedicated to just one artist. Therefor it is of curtail interest to introduce a museum dedicated to sculpture in the context of Stockholm.
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Scott, Andrew Fitzgerald. "Modular sculptural form and collective cultural ideals." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303239698.
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Sonderen, Peter Carel. "Het sculpturale denken de esthetica van Frans Hemsterhuis /." Leende : Amsterdam : Damon ; Universiteit van Amsterdam [Host], 2000. http://dare.uva.nl/document/82526.
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Ambielli, Lauren. "Hidden Transgressions: Louise Bourgeois's Early Sculptural Self-Portraits." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/479.
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During her early career as a sculptor, the French artist Louise Bourgeois (1911-2010) experimented with various methods of representing the female body in a state of dismemberment or fragmentation. Despite the transgression latent within such sculptures, critics and scholars alike interpreted Bourgeois’s oeuvre from a psycho-biographical angle. In doing so, they suggested that her art was rooted in a personal—as opposed to political—consciousness. This thesis analyzes some of the reasons behind this common method of interpretation, looking specifically at the personal myth that Bourgeois promoted in order to gain acceptance in the art world. In addition, this work questions the ways in which the artist masked the gendered transgression in two sculptural self-portraits through unique adaptations to Modernist traditions.
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Preston, John Christopher. "Future past memories : a sculptural study of memorial." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1178346.
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The objective of this creative project was to see if inspiration from historical and literal references could be integrated with an expressionistic approach to sculpture in the form of a memorial. This study involved creating a series of electroformed models or maquettes (seven final pieces) that examined this three-dimensional dilemma based on the concept of building a larger memorial sculpture for an abandoned cemetery near Oxford, Ohio, where my ancestors are buried (there are no monuments left in this wooded location). The cemetery, called the Freeman Cemetery, is named in honor of my Great Great Great Grandfather John Freeman, a Revolutionary War Soldier, who is buried there. This site was of particular concern as it is threatened to be disturbed and possibly built on as part of a nearby expanding housing development (it may not be protected by Ohio law). This study included looking at the site, the natural flora and fauna of the Midwest, the historical precedence in memorials, and the utilization of background in architecture to help generate the forms. It also involved learning the techniques of electroforming, sculptural construction and fabrication, and patina processes.Department of Art
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Patel, Jaimini. "Modes of presence in the contemporary sculptural encounter." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:b9380ce7-3422-4d65-8dd3-13e6b15ae454.
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This thesis examines the manifestation of ‘presence’ in contemporary sculpture and the nature of the viewer’s encounter. In particular, it investigates the ways in which inert materials are transformed into objects that appear to possess life. Presence has been considered in terms of the image in different media; however, this thesis shows that a work does not have to be figurative for presence to be evoked. Through a detailed investigation of individual artworks, each of the chapters explores different ways in which presence manifests itself. The identification of diverse examples across time and place reveals unexpected similarities between modes of presence observed in ancient and religious sculpture and the practices of making and viewing art in the contemporary sculptural encounter. The thesis examines the shared agency between artist and materials, and how this manifests itself as presence; how presence operates when the site and the viewer become part of the work; and how materials are activated through specific beliefs or through an intervention made to their form or context. It aims to show that these different layers are interconnected and that together they determine the nature of presence.
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Cilliers, Pieter Lafras. "Usurping architecture : sculptural resistance to the built environment." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8206.
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Includes bibliographical references (p. 70-71).Usurping Architecture is a study in three parts. Part One explores the historical and theoretical basis that has informed my body of work. In this section, I explore the perfection of the depiction of the three-dimensional structure on a two-dimensional plane. This is specifically related to architecture. I then examine the role of geometric abstraction, as developed on the two-dimensional format, in sculptural strategies and their insertion in the lived, everyday environment.The role of geometric formalism is expanded on in the chapters on minimal art, where I explore the role of Gestalt psychology in creating a phenomenological response in the viewer. In the following chapters I indicate how the strategies employed by the minimal artists were used in subsequent decades as a response to the architectural environment. Part Two deals with the methodology related to my art-making processes. The first chapter of this section informs the reader about the general use of concrete as a material. The second chapter explains how I use this material in the construction of cast concrete sculptures. It describes the technical aspects of the process in detail. Part Three comprises a list of each work submitted for examination. The works are represented photographically and are accompanied by a short explanatory text.
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Khoury, Milia Lorraine. "Erasing the object : sculptural manoeuvres into the sublime." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8208.
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Includes bibliographical references (leaves 63-85).During the Spring of 1969, as if adopting the guise of the explorer/adventurer of yesteryear, the American artist Robert Smithson (1938 - 1973) and his artist-wifeNancy Holt (1938 - )2 travelled to the Yucatan peninsula, Mexico (Roberts 2000: 552).Over a century earlier, in 1841, the American 'travel writer' John Lloyd Stephens(1805 -1852)3 had embarked on a similar voyage to the Yucatan peninsula and documented his encounters in his then celebrated book Incidents of Travel in Yucatan(1843). Smithson, aware of Stephens' travels and book, published his own account of his experiences on the Yucatan peninsula in an essay wryly entitled 'Incidents of Mirror-Travel in the Yucatan41 in the September 1969 edition of the periodical Artforum.
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Burge, C. M. "Disagreeable objects : the sculptural strategies of Louise Bourgeois." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1445334/.
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This thesis explores Louise Bourgeois' practice as a matrix of strategies, and is positioned in opposition to the psycho-biographical approach that has dominated writing about Bourgeois' art. I take Giacometti's title at its most literal: that the object may disagree with the discourse around it. Chapter one places Bourgeois in her moment of the 1940s to historicize an artist who is seen as out-of-time and to explore her early strategies. Chapter two considers Bourgeois' studio as an alternative site for meaning in her work. Her studio strategies can be seen to be at once invisible, dominated by her personality and biography and yet simultaneously central to the curatorial and commercial activities. Bourgeois' narratives, that dominate our understanding of her work, are discovered to operate mythically (Midgley). I interrogate the status of Bourgeois' words and her self-images in relation to her objects. I suggest that they exist in a complex relationship to the sculptures, slipping between context and sculptural intervention. Consequently, there are moments when it can be argued that even Bourgeois' body is a part of her work. Hence, I undermine the art-life trajectory, not by separating the artist from the work, through the expressive fallacy and the critique of authorship, but by paying close attention to the blurring between life and art. The inevitable conclusion is that, in a very real sense, the art may be producing the life. My final chapter investigates how Bourgeois' objects co-opt the audience as one's peripatesis becomes a walk into her environments and in some cases one substitutes for the sculptural symbolic object. Concluding with Bourgeois' most recent work I ask if her most well known art of recent years is best understood in terms of her aging and examine how understanding an aging subjectivity may alter our perception of Bourgeois' work.
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Rochambeau, Mylène. "Archéologie sculpturale : un prolongement de sept barques en exil." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq26836.pdf.
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Rochambeau, Mylène. "Archéologie sculpturale : un prolongement de sept barques en exil /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1997. http://theses.uqac.ca.
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Kyrillos, Bassam. "Le lieu comme existence : une pratique sculpturale in situ." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010636/document.
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Un lieu est un sujet. Son aura historique et mythologique en fait un espace actif et interactif. Son échelle c’est celle de l’individu spectateur. C’est elle qui lui confère ses caractéristiques dimensionnelles et fonctionnelles, véritable étalon du microcosme et du macrocosme. En investissant Afka, je m’inspire de son histoire et de ses mythes qui continuent de le hanter. Les mythes sont des éléments qui continuent d’être véhiculés par la mémoire collective. Ils hantent les lieux qui les ont vus naître et aspirent à se matérialiser à travers l’art. En s’adressant à l’imaginaire, ils peuvent apaiser les angoisses de l’homme contemporain. Mon installation sur le lieu de culte où les Phéniciens avaient coutume de célébrer la résurrection d’Adonis, y transpose le trajet du Calvaire. Chacune des sculptures propose un des aspects du supplice. Par cette mise en scène, le Golgotha est réactualisé, la scène de la crucifixion est rejouée pour le spectateur, prélude à la résurrection, thème indissociable inséparable d’AfkaA site is a subject. Its historical and mythological aura makes it active and interactive. The scale of a place is relative to its spectator. Yardstick of the microcosm and macrocosm, it is the scale that provides the place with its dimensional and functional characteristics. My sculpture at Afka is inspired by the history and myths that haunt the place. These myths are perpetuated by collective memory. They linger in the places that gave them birth, and long to materialize through art. Addressing imagination, they can alleviate the anguish of the contemporary human being. My installation at the shrine where the Phoenicians used to celebrate the resurrection of Adonis, transposes to it the procession to Calvary. Each of the sculptures suggests one aspect of the scourge. Golgotha is readapted. The scene of crucifixion is played again for the spectator, as a prelude to the resurrection, Afka hallmark theme
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Jeon, Kang-Ok. "L'équilibre et la pesanteur : essai d'analyse d'une pratique sculpturale." Paris 1, 2001. http://www.theses.fr/2001PA010570.
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Dans le travail artistique, la pesanteur intervient notamment sur le concept de l'équilibre de masse et de poids. L'objet en trois dimensions repose à l'état d'équilibre. Equilibrer, déséquilibrer, balancer, contrebalancer, stabiliser. A partir de l'équilibre de masse physique jusqu'à la notion de l'harmonie psychique, le poids constitue l'importance capitale de la pondération à l'échelle de la sculpture. Sans le poids, il n'y a ni élévation, ni pondération. On doit donc envisager que la sculpture s'est déterminée autour d'une des qualités invariantes de l'objet concret: la pesanteur. La pesanteur met en présence des forces, telles que le poids et l'équilibre, prépondérantes dans la mise en oeuvre sculpturale L'objet de ce mémoire est donc d'envisager la sculpture par rapport à son irréductibilité sous l'angle le plus littéral qui soit. Cependant, la mise en situation de la pesanteur, ce qui revient à la faire ressortir comme élément perceptible, aboutirait à trouver une forme sculpturale qui associerait une potentialité de risque, et donc un mouvement contenu, révélé par la chute dans un état instable. L'adaptation des formes sculpturales aux gestions des forces de pesanteur qui poussent vers la recherche d'un point de convergence antistatique. C'est là la possibilité d'envisager la pratique sculpturale sous le risque d'action de la pesanteur qui s'est caché derrière le bloc sculptural. Certes, la mise en avant de cette attraction peut littéralement provoquer la destruction totale ou symbolique de l'ensemble du travail. On ne joue plus sur le poids imaginaire, mais avec le poids réel, le risque littéral. Cette mise à l'épreuve du risque par l'équilibre instable, c'est effectivement la recherche d'une autre manière de voir et de faire de la sculpture. Mais quel est l'enjeu de cette sculpture qui intègre le risque dans sa réalité physique ? L'engagement dans une philosophie de la ruine, c'est un moyen de poser une question plus profonde, la plus essentielle, qui contribue à la recherche du rapport entre l'art et la cognition physique de la pratique artistique.
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Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." University of Sydney, 2006. http://hdl.handle.net/2123/1692.
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Doctor of Philosophy‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
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Farrugia, John Michael Joseph. "Incredulity in practice : sculptural investigations into faith and doubt." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7822.
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My research considers one way in which contemporary sculptural art practice might reinterpret sculpture and painting, primarily from Catholicism as represented in Italian and Spanish Renaissance and Baroque art. The themes that are explored include: faith and doubt, divinity and human nature, miracles and materials. How can sculptural practice delve into the nature of faith and doubt through materials and processes, interpretative strategies, and a consideration of contexts? Can any sense of faith or belief in the unphysical be evoked in audiences through this practice-led research? The research employs inductive means and methodologies that are fundamentally practice-led and iterative. Rather than starting with a problem-based enquiry, a careful analysis of existing artworks, primarily by the painter Michelangelo Merisi da Caravaggio and the sculptor Gian Lorenzo Bernini, was undertaken. This study has led to the production of creative work that in turn has initiated further questions and more sculptural objects. The production of sculptural artefacts creates a snowballing effect that is a self-reflective, investigative cycle. This method draws upon the sculptural process itself and takes into account external and contextual considerations. My studio-based investigations have given rise to the sculptural work. These case studies reinforce an understanding that methods that are primarily based on the assessment of haptic means relating to touch, sight and other sensory perceptions can contribute to knowledge in meaningful and unique ways. The iterative process used in this research has thematic and metaphoric parallels to the ways in which Catholic stories are retold, interpreted, and examined – narratives that have themselves been continuously readapted to suit changing contexts and intended audiences. Such narratives have been disseminated throughout the history of Christianity, and continue to be circulated in modern-day Christianity. In our post-enlightenment world, the core theme of incredulity, as imagined through art, is explored. To this end, and to make wider connections with this enquiry, philosophical writings regarding ideas of truth and subjectivity, particularly the work of Søren Kierkegaard, are investigated. The historical sculpture and painting referenced and utilised as source material are themselves reinterpretations of pre-existing narratives and stories. This research strives to explore and expose the correlative relationship that exists between understandings of past and present day contexts and employs an examination of both historical and contemporary art works and practitioners. Rather than perceiving this research project primarily in the context of other contemporary art practices, the main focus is on how European artists from the early 17th century wrestled with imagining and imaging these stories and, in that context, how the same narratives might be reinterpreted today. A selection of contemporary artists has been used throughout the research in order to help situate this work within a contemporary cultural context. The primary output from the research is a selection of three sculptural groupings, referred to as case studies, presented in chronological order, taken from the larger body of sculptural artefacts created over the course of the entire research project. The three selected case studies encapsulate the key findings and principle discoveries. The case studies are supplemented by photographs of installed site-specific work, as well as the contextual and critical analysis contained in this thesis.
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Beresford, Richard Charles. "Domestic interior decoration in Paris, 1630-1660 : a catalogue based on the written sources." Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312589.
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Bouchard, Michèle. "Objets et sons dans l'installation sculpturale : portrait d'une cacophonie humaine /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2006. http://theses.uqac.ca.
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Bela, Cyrille Bienvenu. "Les expressions sculpturales au sud-Cameroun : le cas du pays Beti." Paris 1, 2006. http://www.theses.fr/2006PA010659.
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Les arts plastiques du Sud-Cameroun et du pays Beti en particulier n'ont jusqu'ici pas fait l'objet d'études poussées, ceci a fait croire à certains chercheurs que cette région n'a pas développé une culture artistique respectable. De même, sur la plupart des cartes stylistiques d'Afrique Equatoriale, le style beti est absent ou simplement représenté par le style fang. Pourtant, l'art Beti se distingue de l'art Fang. Aussi, dans cette étude de la sculpture chez les anciens Beti, nous mettons en relief ses manifestions et ses messages. Cette approche morpho-stylistique, esthétique et fonctionnelle se fait en rapport avec les groupes voisins « pahouinisés » ou non, car nous attachons une grande importance aux zones de contact et de réseaux où naissent parfois des «styles de synthèse ». Enfin, la sculpture en apparaît ici comme une vitrine susceptible de permettre une lecture pertinente du passé de ces populations, de leurs migrations et des contacts avec les peuples voisins.
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Tong, Kim Christina. "The sur(real) sublime : Bourgeois, Hesse and contemporary sculptural practice." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314306.
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Kemske, Bonnie. "Evoking intimacy: Touch and the thoughtful body in sculptural ceramics." Thesis, Royal College of Art, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489168.
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Huber, Robert. "Arranged space : the arrangement of spatial interrelations as sculptural practice." Thesis, University of Ulster, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.593876.
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This PhD project aims to investigate the use of social formats in the realm of sculpture and consists of a theoretical reflection on my artistic practice. Since 2008, I run a company called PaintSyndicate, which produces oil paintings in the People's Republic of China. This thesis is an attempt to explain how setting up and running a company can be considered as sculptural practice. Within this research, PaintSyndicate stands exemplarily for my practice and serves as rationale and context. Sculpture today is an ambivalent term describing specifically three-dimensional, artistic objects in the tradition of the statue, while a somehow expanded concept of sculpture is used as an umbrella term to cover a wide range of spatial related art. My argument aims to contribute to a conceptual clarification and develops alongside two main references: firstly, Rosalind Krauss' 'Sculpture in the Expanded Fie/d', as a main reference in a 'post-formalist' discourse, and secondly, Joseph Beuys' 'Social Sculpture', as an example for an expansion of the concept of sculptw-e in the practical realm. Using Niklas Luhmann's systems theory, I define sculpture as social system, considering space as the medium of sculpture and sculptural form as an arrangement of spatial relations. Such a definition of sculptural form shifts the focus from materiality or programmatic tasks to the observer's understanding of space. During the last century, the conception of space has undergone fundamental changes, from being defined as an absolute value, to the existence of a plurality of 'species of space' today. If sculptural form is the result of an engagement of sculptor and space, the existence of multiple 'species of space' corresponds to the actual variety in sculptural form. In this context, my research aims to contribute to a reconsideration of sculpture as a category of contemporary art practice.
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Bowdidge, Michael John. "'Surveyable by a re-arrangement' : Wittgenstein, grammar and sculptural assemblage." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7891.
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Certain aspects of sculptural assemblage remain largely unexamined in an academic context. I contend that this mode of practice is not in need of theorisation, but that it can fruitfully be brought into dialogue with philosophy. Doing so may shed light upon assemblage and the contextual thinking which frames it. I undertake the re-evaluation of this medium by means of a reflexive engagement with the processes and concerns of my own assemblage practice. By detailing the shifts and movements of my own making, I explore the tensions and connections inherent in the historical development of this media. I discuss a connection (or family resemblance) between aspects of my sculptural practice and Ludwig Wittgenstein’s methods of grammatical disruption and displacement. I argue that thinking about sculptural assemblage grammatically provides a way of re-framing the relationship between my artworks and their contexts. This in turn facilitates an examination of the practical and philosophical implications of the ‘fittingtogether-ness’ of assemblage. It also brings into view a possible re-thinking of relations in a way that emphasises connective potential rather than difference or similarity.
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Newman, Madeleine Clare. "The sculptural garment : body, performance and architecturality in the 1970s." Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534830.
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Hopkins, Ana Rosa. "Back-story in contemporary sculptural practice : from materials to incorporation." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617733/.
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This ‘by practice’ research project explored the function of back-story in contemporary sculptural art. It was driven by an ongoing artistic practice and resulted in a series of new artworks accompanied by an analytical commentary. Gérard Genette’s concept of analepsis within narrative literature was taken as an initial theoretical framework to test to what extent it might be applied to sculpture. Analysis of selected works by Joseph Beuys, Felix Gonzalez-Torres and Doris Salcedo, artists who used back-story in the context of trauma, led to modifications of the theory to account for the relationship between artwork and its back-story, notably its expression in materials. The use of narrative in sculptural art to provide a storied reading acts in combination with the work’s biography, although the work remains non-narrative in form, even lacking a ‘main’ narrative. The study discusses the ways the selected artists disclosed their ‘authored’ back-story, through title, paratext, public biography and reiteration of themes within an oeuvre. Back-story invoked what Genette called retroception – compelling the viewer to look again from a different perspective. Here, the autonomy of the artwork from its back-story is upheld. However, I posit that reading the art work in conjunction with its back-story alters the viewers’ experience by offering a storied entry into the work, situating the viewer at the ‘right’ distance in terms of emotional connection, and extending the reading time allowing more complex meanings to emerge. Investigation through making was prioritised, conducted through a process of ‘improvisation’ that explored various storied connections within original glass sculptures. As a result of reflecting on the results of a traditional glass inclusion process in my work, a new approach surfaced which I call incorporation: the partial embedding of a material within another as it solidifies. This process is seen to embody the concept of retroception and signal the connection to back-story. The research contributes to knowledge by providing a framework for an understanding of back-story in contemporary sculptural practice; demonstrating how incorporation can evoke and embody back-story; and, creating a body of original work that provides material for further investigation of back-story.
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Pas, le Merse Jean-Marc de. "Le malléable et sa pétrification : essai poi͏̈étique sur une pratique sculpturale." Paris 1, 1995. http://www.theses.fr/1995PA010580.
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Le malleable et sa petrification modeleur, dans le malleable, je reve de donner la vie mais tout ce que je touche se petrifie. La pate, lorsque mes mains etaient dedans, semblait vivre, respirer, elle etait mouvement, maintenant qu'elles n'y sont plus, elle se fige, elle me semble morte. Je regarde l'oeuvre dans sa fixite. Voici la question qui me hante, la petrification est-elle une mort ? pour tenter de repondre, j'explore successivement trois regions. La premiere est celle des sources de la creation, celle de l'enfance et de la malleabilite du moi en formation. La seconde est celle de l'atelier, de mon rapport au malleable jusqu'au proces de petrification. Enfin, la troisieme est celle de la sortie de l'atelier, l'oeuvre accomplie est livree au monde. La conduite creatrice apparait comme fermete active donnant son axe au malleable materiel et spirituelAs a modeller, within the malleable, i dream of giving life, but all i touch becomes petrified. When my hands were inside the paste, it seemed to live, to breathe, it was in motion, now they are outside, it freezes, it seems dead. I look at a fixed work. Here is the question which obsessed me. Is petrification death ? in order to answer this. I have explored three areas successively. The springs of creativity, those of childhood and of the malleability in my developping self. The workshop, my relationship with the malleable until its petrification. Finally, the exit from the workshop, when the finished work is delivered to the world. The creative behaviour becomes active firmness directing the sensual and spiritual malleable
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Howard, Helen Catherine. "The pigments of English medieval wall painting." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369503.
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Roy, Anamika. "Amaravati Stupa : a critical comparison of epigraphic, architectural and sculptural evidence." Thesis, University of Cambridge, 1991. https://www.repository.cam.ac.uk/handle/1810/271920.
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Bouche, Christine. "Le sculptural, le primitivisme et la femme dans l'art de Giacometti." Paris 1, 1996. http://www.theses.fr/1996PA010608.
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Dans sa monographie, Yves Bonnefoy a désigné l'enjeu éthique de l'art de Giacometti: préserver par la création la présence vivante d'autrui, sensible dans l'humanité de son visage. L'humanité du regard de l'artiste s'est jouée dans son art avec la femme. L'enjeu de l'œuvre après la guerre fut de tempérer sa haine de la féminitéIn his monograph, Yves Bonnefoy has indicated the ethical stake of giacometti's art : preserve by creation the living presence of others, perceptible in the humanity of the face. The humanity of the artist's view shows in his representation of the woman in his art. The stake of his work was to temper his hatred of femininity
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Boitel, Frédérique. "Le corps dans les champs contemporains de la picturalité et de la sculpturalité." Paris 1, 2002. http://www.theses.fr/2002PA010579.
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Cette recherche se propose d'embrasser les champs des arts plastiques, sans distinction morphotypique. Ces espaces de sens ne se réduisent ni aux médiums et à leurs techniques, ni aux limites matérielles de l'objet. Il s'agit de voir en quoi le champ est le lieu et le moment d'une rencontre avec l'oeuvre. L 'oeuvre n'est pas l'occasion, mais l'objet et le sujet qui se réfléchit. Par elle se découvrent les questions soulevées par l'art contemporain, qui remet en cause la nécessité de la distinction des champs. Le corps dont il s'agit ici n'est pas le corps représenté mais le corps spectatoriel, moins parce qu'ils se disjoignent que parce qu'ils se retrouvent. Corps à l' oeuvre et corps de l' oeuvre, il est faculté perceptive et latence de sens. Cette expressivité de l' oeuvre rencontre le corps spectatoriel et peut conduire un temps à distinguer des champs de sens sans conduire nécessairement à distinguer les oeuvres par leur champ. Celui-ci fait figure sous les formes plurielles de déplacements perceptifs, renouvelés à leur tour par les lieux de sens qu'il préfigure. Il ne donne à voir que par passages, sous la figurabilité du geste qui s'affronte au monde. L 'oeuvre est perpétuel déplacement, monument offert à la théâtralité d'un apparaître qu'il s'agit de discerner. En ce sens, il n'est de champ que parapport à un hors-champ comme il n'est de visibilité que tramée d'invisibilité. Il n'est pas un signe mais il fait signe à l'oeuvre. Il témoigne du procédural en ce qu'il participe des projections et des interjections qu'il appelle. Entre l'oeuvre et le faire oeuvre s'ouvrent toutes les latences de l'action et de la déception. Entre l'oeuvre et son champ se joue l'enjeu d'une présence parfois virtuelle, un sens à donner. L'art est plus qu'une fenêtre sur le monde, il est dans le monde et comme possédé-dépossédé par lui. L'artiste produit le geste qui pointe le monde, le spectateur est acteur d'une scène dont il ne peut se dégager qu'en se retirant du jeu de l'art.
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Stansbie, Lisa. "Zeppelinbend : Multiplicity, encyclopaedic strategies and nonlinear methodologies for a visual practice." Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533350.
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Andersson, Sara. "prepositions." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-20942.
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Prepositions describes relations between different things. In this collection thosethings refers to the soft and moving body, hard and stiff sculptural shapes, colours,prints, fabrics and shoes.I have a great passion for sculptural shapes and for this collection I have used thispassion as an important source for inspiration. Interesting and challenging meetingsbetween the choice of especially materials and colours is another aspect of this project.Wholeness has a significant meaning to me, as the important thing is not to put focuson the garments themselves rather than the combination of all elements, in the compositionof each outfit and in the line-up. I have looked at the different componentssuch as the sculptural shapes, garments, colours, prints and shoes as if they wherebuilding blocks. I have arranged and rearranged and combined those building blocksin different ways trying to achieve a dynamic and balanced composition. I have triedto simplify all parts as much as possible when aiming for a clear and strong result.Program: Modedesignutbildningen
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ANDERSSON, SARA. "prepositions." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17455.
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Prepositions describes relations between different things. In this collection thosethings refers to the soft and moving body, hard and stiff sculptural shapes, colours,prints, fabrics and shoes.I have a great passion for sculptural shapes and for this collection I have used thispassion as an important source for inspiration. Interesting and challenging meetingsbetween the choice of especially materials and colours is another aspect of this project.Wholeness has a significant meaning to me, as the important thing is not to put focuson the garments themselves rather than the combination of all elements, in the compositionof each outfit and in the line-up. I have looked at the different componentssuch as the sculptural shapes, garments, colours, prints and shoes as if they wherebuilding blocks. I have arranged and rearranged and combined those building blocksin different ways trying to achieve a dynamic and balanced composition. I have triedto simplify all parts as much as possible when aiming for a clear and strong result.Program: Modedesignutbildningen
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Wightman, Ian. "The landscapes of Richard Long : perspectives on prehistory, space and sculptural form." Thesis, University of Plymouth, 1999. http://hdl.handle.net/10026.1/2405.
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This thesis examines the relationship between the work of Richard Long and prehistory. This is understood to operate at two levels. Firstly, Long's critical reception has repeatedly made connections between his work and prehistory, many of which are overly simplistic. Secondly, and underlying this response, it is proposed that we can point to a more productive understanding of Long's practice which frames his work within the concept of existential space. At this level of enquiry, more appropriate connections with prehistory can be made which help to explain both his working practice and the critical reactions to it. Chapter I, 'Introduction to Methodology', describes aims and objectives and locates the analyses in relation to the theoretical positions which are to be taken. Chapter II, 'Walking the Line: From Abstraction to Reality', establishes the trajectory of the research through an analysis of two contextual frameworks (20th century British art and prehistory and Land Art and prehistory) and identifies Long's practice with regards to specific transitions in sculptural activity. Chapter III, 'Mapping the Field of Possibilities: An Analytical Reading of the Critical Discourse', examines interpretative tendencies within Long's critical reception. It defines the extent and nature of his work's perceived correspondence with the ancient past and exposes certain phenomenological perspectives as a means for formulating further analyses. Chapter IV, 'Where the Walk Meets the Place: Archaeology and Technologies of the Self', reveals the role Long's art plays within archaeological discourse as a means for understanding megalithic monuments and correlates his practice with some philosophical approaches employed in archaeology. Chapter V, 'The Architecture of Sculpture: Existential Space and Being-in-the-World', furthers the concerns of earlier chapters by analysing Long's art through the concept of existential space to describe its spatial operation in the environment. This translates Long's landscape sculptures from abstract art into perceptual schemata, implicating them in the assimilation of environments. This has particular consequences for his art: by demonstrating its sculptural significance to the structuration of space, it offers the work as an equivalent to prehistoric structures. Chapter VI, 'Conclusion'.
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Osborn, Lisa. "Encountering statues : object oriented ontology and the figure in a sculptural practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/13070.
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This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.
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Jurack, Brigitte. "Why bother? : uncertainty, awkwardness and bravado in the sculptural representation of youth." Thesis, Manchester Metropolitan University, 2018. http://e-space.mmu.ac.uk/621435/.
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This thesis comprises a study of contemporary sculptural practice employed by the researcher to represent youth, including within socially engaged contexts. 'Youth' is interpreted here as a developmental stage between the ages of 12-20 and the research focuses on the iconography of sculptural representation of youth from Ancient Greece to present day. While existing studies of figurative sculpture recognise affinities with Ancient Greece, none have so far noted recurring motifs within the representation of youth, such as their relationship with site and the way they instantiate, or even demand, a combined studio and community-based practice. Conversely, although studies of socially engaged art analyse the complex relationships between diverse stakeholders, they lack detailed insight into artists' perspectives and practices in relation to specific local settings. This research seeks to address these gaps, supported by Aby Warburg's findings that significant motifs permeate from Antiquity through to the present, and through the use of documentation and critical analysis of a large number of sculpture and relevant socially engaged practices in Merseyside. This is done in conjunction with the researcher's own creative practice consisting of 15 sculptures, 30 statuettes, a collection of drawings, works produced by young people and the permanent public artwork representing youth, Just wait for me (2012-13) in Central Park, Wallasey. All the works address motifs of youth that reflect uncertainty, awkwardness and bravado. The result is to fuse three iconographic motifs with a new hybrid method for 'local' artists working with communities, particularly young people, a local and artist-led approach that remains under-considered in the context of global 'curatorial-matchmaking' of socially engaged practice. The documentation of and reflection upon the researcher's own sculptural work references and discusses the implications and strategies involved when reflecting on aspects of representation within making and interpretation of sculpture. The combination of the researcher's creative work and written text produces a thesis that demonstrates how key motifs, ur-experiences, the physical studio environment and the local community setting impact upon the sculptural representation of youth, culminating in a new locally engaged site-specific permanent sculpture. The outcomes, also contributions to knowledge, are: The portrayal of youth dating back to Ancient Greece is understood across three key motifs, namely the states of rehearsal, self-absorption and vulnerability. The uses of the double figure as a form of three-dimensional reflection enhances this sculptural representation of youth as uncertain, awkward and being in limbo. The knowledge of a 'local' artist from a different cultural background, enables the development of a new hybrid method for creating the socially-engaged site-specific permanent sculpture that regards all participation and engagement within a user-expert model. A new public sculpture embodying and celebrating notions of youth's awkward presence and undetermined future has been added to the canon of public sculpture within Merseyside. The reflective and transparent methodology employed in the studio, community engagement, exhibitions and specific site aligns this form of art practice to an artistic position concerned with the desire to reclaim public space for the celebration of uncertainty, awkwardness and bravado.
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Husebo, Jon F. "The search for a sculptural paradigm: the design of a pedestrian bridge." Thesis, Virginia Polytechnic Institute and State University, 1992. http://hdl.handle.net/10919/53321.
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Von, Solms Charlayn Imogen. "Hermetic heresies: a sculptural revision of the iconography of the classical muse." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/17495.
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Concentrating on the object as vestige of function in the portrayal of muses in ancient Greek sculpture, my aim is to dismiss their traditional representations, and to reconstruct the choir of the muses by iconographic substitution. The hypothesis is that if the muses are prototypes rather than personages, then mythic meaning will survive its own dislocation and continue to function in substitute form, giving the resulting sculptures symbolic impetus.