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Rozprawy doktorskie na temat „Contemporary art”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Fouquet, Monique. "Contemporary art/contemporary pedagogy : interrupting mastery as paradigm for art school education." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31304.

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Contemporary art/contemporary pedagogy: interrupting mastery as paradigm for art school education is a narrative exploration of artistic and pedagogical practices within the specific context of post-secondary art school education in stand alone art schools as opposed to a university art department. This study considers the following three primary questions: How can art school education better reflect postmodern cultural production? What are some of the ways in which pedagogical practice disrupts the monolithic model of mastery? How can art school pedagogy be re-oriented away from an overly det

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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.

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Chalker, Melissa Grace. "Contemporary Non-objective Art." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18614.

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My project, Contemporary Non-objective Art, is a practice-led investigation into the dominant narratives surrounding non-objective or abstract art, and how they can be revisited and reimagined. This project aims to challenge typical and chronological ideologies that have defined non-objective art and to demonstrate a new outlook. Particularly by demonstrating how theatricality in art can be embraced, filling the work with both irony and symbolic weight. Throughout this project I use the term “non-objective art” as a way of describing and focusing on the aesthetic and technical elements of my

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Meneses, Romero Mariana. "Women cooking art : hospitality and contemporary art practices." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20638/.

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This thesis examines the notion of hospitality in light of contemporary food-based artistic practices created from 2000 to 2015 by female artists Sonja Alhauser, Mary Ellen Carroll, Leah Gauthier, Ana Prvacki, Alicia Rfos, Jennifer Rubel I, Miriam Si mun, and Anna Dumitriu, and the experimental food artists Sam Bompas and Harry Parr. The aim is to make sense of how food practices, art, and feminism intersect, especially in light of the gendered history of the food system, including cooking, when opened onto a philosophically developed notion of hospitality. I explore the intricacies of hosting

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Lagana, Louis. "Prehistoric Malta and contemporary art." Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/7718.

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Malta, a small island in the middle of the Mediterranean is extremely rich in its Prehistoric archaeological heritage. Local and also foreign artists were and continue to be fascinated and influenced by prehistoric art during the course of their careers. This thesis demonstrates the ways in which contemporary artists interpret Neolithic symbolism, particularly the images of Neolithic Goddesses found in various temples on the islands. The well preserved state of the Maltese Temples and their artefacts, and their beauty, still stimulate the imagination of artists to create works of art that show

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Hill, Katie. "On relocating contemporary Chinese art." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401481.

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Owen, Evelyn. "Geographies of contemporary African art." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18143.

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This thesis explores how the art world negotiates what contemporary African art means, in the context of the international contemporary art system and in relation to the histories of Western perspectives on Africa. Using conceptual and methodological approaches drawn from cultural geography, it examines the field of contemporary African art, foregrounding the terms of negotiation framing contested geographical imaginations and ideas of Africa. The research considers curatorial practices, exhibitions, art institutions, networks and the wider art infrastructure as an arena in which geographical

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Withey, Andrew. "Contemporary, emigrant, Middle Eastern art." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/44734/.

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The thesis focuses on those artists who have emigrated from their Middle East homelands since the middle of the Twentieth Century. The first Chapter proposes that the artists form an identifiable group, through the use of common themes deriving from their heritage. The second chapter debates if Post-Colonial theories of alienation, hybridity and ‘third space' are useful concepts and tools for these artists. The last chapter discusses the different approaches to the concept of universalism, which is frequently used in the presentations of the work of these artists. Chapter One identifies the th

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Tanchio, Paul Albert. "Transcultural aesthetics and contemporary art." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10225.

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‘Transcultural aesthetics’, in Proceedings of the Pacific Rim Conference in Transcultural Aesthetics (1998), is a generic term used by comparative philosophers and aestheticians to denote a theoretical assessment of distinctive applied aesthetic concepts and experience of cultures. This thesis is concerned with transcultural art and transcultural aesthetics, and it uses the argument put forward by comparative philosopher and aesthetician Eliot Deutsch, in his On Truth: An Ontological Theory (1979), that its practitioners’ distinctive art forms, especially Anselm Kiefer, Imants Tillers, John Y

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Reginio, Robert, David Houston Jones, and Katherine Weiss. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.

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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual a

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Weiss, Katherine. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.

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McMillan, Kate. "Contemporary art & un–forgetting." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/285.

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This research explores the capacity of Contemporary Art to un-forget history, with a focus on the history of Wadjemup/Rottnest Island in Western Australia and its one hundred year history as an Aboriginal prison for boys and men. The exploration of materials within my own practice – photography, film, sculpture, installation and sound – assist in examining the potential of Contemporary Art to respond to what has been forgotten in unique and embodied ways.

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Smurthwaite, Kathryn C. "Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.

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There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills

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Verschooren, Karen A. (Karen Annemie). ".art : situating Internet art in the traditional institution for contemporary art." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39149.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.<br>Includes bibliographical references (p. 187-202).<br>This thesis provides a critical analysis of the relation between Internet art and the traditional institution for contemporary art in the North American and West-European regions. Thirteen years after its inception as an art form, the Internet art world finds itself in a developmental stage and its relation to the traditional institution for contemporary art is accordingly. Through an elaborate discussion of the key players, institutions and di

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Mulenga, Andrew Mukuka. "Contemporary Zambian art, conceptualism and the ‘global’ art world." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/5187.

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In Zambia, ‘contemporary art’ (as a category constructed by the European-dominated international art world), was introduced by the European settler community and continued within its preserve, remaining largely inaccessible to the indigenous community of Africans until Zambia’s independence in 1964. This thesis traces the integration of Africans into the contemporary art community and attributes the process, in part, to a small group of artists of European descent who played a significant role in engaging with Zambians, working side by side with them, subsequently influencing their art product

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16

Nedkova, Iliyana. "Curating contemporary art : an investigation into the relationships between new media art and contemporary art through curatorial theory and practice." Thesis, Liverpool John Moores University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555800.

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This thesis contributes to an understanding of contemporary curatorial practice and theory through an investigation into the complex relationship between new media art and contemporary art. A fresh curatorial perspective is introduced charting three major forms of relationships between new media art and contemporary art - antagonism, ambiguity and convergence. A historical evolution starting with antagonism, moving through ambiguity and finally converging the forces of new media art and contemporary art is proposed and explored throughout the thesis. The overarching research question: is there

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17

Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production." Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.

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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)

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Ranyard, Marie Phyllis. "Transcontextual mechanisms in contemporary art music." Thesis, City University London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264241.

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SRITONGSUK, PONGCHAI. "A STUDY OF CONTEMPORARY ART MUSEUMS." The University of Arizona, 1997. http://hdl.handle.net/10150/555225.

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Simoniti, Vid. "The epistemic value of contemporary art." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:82a1ee71-98a3-44ac-93ac-2a91eebe8100.

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Recently in analytic philosophy, interest in the issue of the epistemic value of art has been revived. Philosophers have sought to establish whether and in what ways art is a source of knowledge, understanding or a means of inquiry. In philosophy this is a longstanding question, addressed both in the Greek and German traditions, but it seems pertinent to ask the question again today in light of significant changes that have taken place in contemporary art practice. In my thesis, I investigate this question from two perspectives: in terms of analytic philosophy of art, and in terms of developme

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21

Lu, Shih-Yun. "Site specific interventions in contemporary art." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/691/.

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Site-specific interventions in contemporary art are still a relatively new area of study. The relevant disciplines include site-specific art, cyberspace, new media art and interdisciplinary art, and installation art. In addition to practical experimentation the work draws upon literature and practice from these disciplines in order to create a theoretical framework. In response to the emerging practical and theoretical framework, site-specific installation works were created in contrasting locations that presented both internal and outdoor spaces. The frameworks created through theoretical inv

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Hughes, Angela. "Considering Cruelty: Animals in Contemporary Art." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365449.

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Animals have been represented in art from earliest times, emphasising the integral roles they have played within human civilisation as labourers, food, entertainment, spiritual influences and companions. In contemporary society, this representation has come to include the use of physical animals in art, often causing their harm or death. This research investigates the exploitation of animals in the making of contemporary art. It asks how art is complicit in furthering the exploitation of animals within society more broadly, and describes the artwork made in order to evoke a discussion of these

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Binder, Lisa M. "Contemporary African art in the London art market : 1995-2005." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500812.

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This thesis explores the market for contemporary African art in London from 1995 to 2005 using case examples of artists, museums, art festivals and fairs, auctions and galleries. The study is generally bracketed by two festivals, africa 95 and africa 05, touching also on events that transpired during the intervening decade. Many artists from Africa who were working, living or exhibiting in London during this time experienced degrees of marketable success as a result of their participation or relationship with actors involved in the marketplace and in private and public institutions. However, t

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Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.

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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's def

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Drinkall, Jacquelene Ashley School of Art History &amp Theory UNSW. "Telepathy in contemporary, conceptual and performance art." Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/31097.

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This thesis investigates the impact of telepathy and psi on conceptual and performance art from 1968. Emerging from the author???s art practice, the thesis argues telepathy is a key leitmotif and creative concern within much post 60s art, and has become central to the practice of a number of contemporary video, performance and new media artists. This thesis is composed of two interrelated parts: an exhibition of the artwork by the author concerning telepathic processes, and a written project which uses the major themes of the exhibition to frame an historical study of a number of key contempor

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Gilhooly, Jonathan. "Enchanted Objects : Agency in the Magic Act and Contemporary Art Practice." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523528.

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Lu, Dawei. "A sociological exploration of cultural distinction in Chinese contemporary art museums and galleries : contemporary art and its visitors." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18187/.

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Based on fieldwork that has been conducted at three contemporary art museums and galleries (National Art Museum of China, Ullens Centre for Contemporary Art, and Shengzhi Space) in the People’s Republic of China (PRC), including both questionnaire surveys (2376 respondents) and interviews (11 interviewees), this thesis elucidates how contemporary art, an internationally sanctioned legitimate art form, configures into the PRC’s national hierarchy of cultural genres. Through the use of a cluster analysis, a multinomial logistic analysis, and a thematic analysis, this current research demonstrate

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Elinek, Alana. "Art as democratic act : the interplay of content and context in contemporary art, London 2000-2006." Thesis, Oxford Brookes University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490492.

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This thesis proposes that art is one aspect of the public discourse which maintains or subverts the democratic society. Here the democratic society is understood as one in which freedom and equality are of paramount value, and where public actions that maintain these values of freedom and equality predominate. The importance of public action to the democratic society is described with reference to Arendt. Freedom is defined in this thesis, not through liberalism, but through existentialism (particularly Sartre and Spinoza as 'the father of existentialism') and equality is understood primarily

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Bydler, Charlotte. "The global art world inc. : on the globalization of contemporary art /." Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4309.

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Nijsse, Jennifer Jean. "Beauty: deepening an understanding of contemporary art, art practice and theory /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2100.

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Davila, Victor. "THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.

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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.<br>M.F.A.<br>Department of Art<br>Arts and Humanities<br>Studio Art and the Computer MFA

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Cornell, Christen. "Contemporary Chinese Art and the City: Beijing Art Districts 1989‐2013." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16364.

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As themes in Chinese art since economic reform, space and the environment have been crucial. Many artists have focussed on issues of urbanisation, globalisation, and the radical spatial reorganisation of Chinese society during the reform and post-‐reform era, and many scholars have written about these artists’ spatial concerns. What, however, of these artists’ formative relationship to space itself? What might we learn by going beyond the text and asking how space has produced these artists – and their work – and what places their communities and culturalactivities have produced in turn? This

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Valente, Liz Fagundes Oliveira. "Space and art – interrelations between architecture and contemporary art at Inhotim." Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.

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Roberts, Teresa L. "Collaboration in Contemporary Artmaking: Practice and Pedagogy." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248880538.

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Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.

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Duclos, Rebecca Taylor. "The topology of objecthood and contemporary art." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493687.

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Forty years after the writing of "Art and Objecthood," this thesis presents an alternative idea of objecthood that moves from Michael Fried's original association of the concept with the objects of literalist (minimalist) art to an idea of objecthood as a field (of both vision and action). The potential for objecthood to be separated from Fried's attendant term "theatricality" inspires an intensive re-reading of Fried's short passage concerning Tony Smith's night time drive along the New Jersey Turnpike.

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Tait, Stuart. "Becoming multiple : Collaboration in Contemporary Art Practice." Thesis, Birmingham City University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527468.

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Scragg, Rebbecca Elizabeth. "Consuming Contemporary Art : London c.1914-1923." Thesis, University of Nottingham, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518727.

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Gilson-Ellis, Jools. "The feminine/oral in contemporary art practice." Thesis, University of Surrey, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326477.

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Correia, Alice Anne. "Questions of identity in contemporary British art." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426230.

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Gilmurray, Jonathan. "Ecology and environmentalism in contemporary sound art." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.

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In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time - something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new 'ecological' genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two signifi

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Rowe, Lois. "The address of spirituality in contemporary art." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/4198/.

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The thesis explores the use of religious themes and the notion of self-design in contemporary art practice. It argues that art today that addresses religion does so primarily for its rhetorical function: for a recognizable pattern of persuasiveness, which is ultimately defined by its established mechanisms of belief. Furthermore, it suggests that it is through an engagement with this secularized rhetoric that the art viewer today can potentially be provoked to re-create oneself in ones own terms; or, in Richard Rorty's terms, to 'revocabularize'.

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Edamura, Taisuke. "The visibility of glass in contemporary art." Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617019.

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This thesis discusses the visibility of glass in contemporary art. By "visibility," I mean the potential perceptual and epistemological character of the material that can undermine its understanding exclusively in terms of transparency. Glass may seem to lack visual interest because of its transparency; our focus apparently lies on the other side of a glass pane. Glass mediates between here and there, between the subject and the object, and between seeing and being seen, without calling attention to its mediation. The more invisible this mediating function of glass becomes, the less visible it

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Nikolic, Bojana. "Light art in Contemporary Architectural Lighting Design." Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-208660.

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This research focuses on understanding the relationship betweenlight art and architectural lighting design and determining towhat extent can aspects of light art be used when designingfunctional lighting for architecture.The first part of this paper looks into the historical applicationof light as a material. Light has been an important element inart even prior to the introduction of artificial light sources, butthe exploration of light as an independent material throughinstallation art only developed in the last century. Similarly inarchitecture, the impact of light on creating and shaping sp

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Antoniadou, Alexandra. "Realisations of performance in contemporary Greek art." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31283.

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This is the first study to approach, both historically and theoretically, the emergence and development of performance art in Greece from the 1970s to the 2010s. Drawing on an interdisciplinary framework - including feminist theory, philosophy, sociology, art history, and more - the study aims to address an evident gap in histories of contemporary Greek art. The research begins with the emergence of performative artistic practices in the 1970s, in the conditions set out by the seven-year Dictatorship (1967-1974) and follows, selectively, the complex trajectory of these practices while investig

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Ovens, Jayne. "Rethinking word/image relationships in contemporary art." Thesis, University of Central Lancashire, 2000. http://clok.uclan.ac.uk/21971/.

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This thesis explores the interaction of word and image through an intellectual framework which engages with artistic practice. By providing an overviev of interarts debates, it is suggested that notions such as the 'sister arts' have tended historically to privilege word over image. This privileging which has circumscribed word / image relationships is addressed by the Enlightenment thinker Gotthold Lessuig who differentiates between the arts in terms of medium specificity. In problematising the ways in which interarts debates have posited word/image in a dualistic relationship, this thesis ex

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Reddleman, Claire. "Cartographic abstraction : mapping practices in contemporary art." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18965/.

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This thesis proposes a theory of cartographic abstraction as a framework for investigating cartographic viewing, and does so through engaging with a series of contemporary artworks concerned with cartographic ‘ways of seeing’ (Berger 1972). Cartographic abstraction is a material modality of thought and experience that is produced through cartographic techniques of depiction. It is the more-than-visual register that posits and produces the ‘cartographic world’, or what John Pickles has called the ‘geo-coded world’ (2006). By this I mean the naturalized apprehension of the earth as a homogeneous

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Mason, Jonathan D. "Can contemporary art methods facilitate designers' creativity?" Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/33711.

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Art and industrial design share a long history, with some of the first industrial designers originating from the arts. Through the early part of the twentieth century many designers were educated and influenced by artists and on occasions they collaborated in the development of art/design movements. In recent decades this relationship has weakened with artists and industrial designers working towards different goals and paying less attention to how one another work. This research was undertaken to investigate whether contemporary artists were now using methods that may facilitate industrial de

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Wang, Xuan. "Gallery's Role in Contemporary Chinese Art Market." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258577100.

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Cordy, Raven. "Making Christian Art in a Contemporary Setting." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.

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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my ide

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