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1.
Preston, Victoria.
From outside to inside : changing strategies and practices of institutional critique 1960-2014.
Degree: PhD, 2014, Birkbeck (University of London)
URL: http://eprints.bbk.ac.uk/id/eprint/40103/ 
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633188
► Established accounts of institutional critique either turn it into an art historical genre that is past and finished, or suggest that it is pointless because…
(more)
▼ Established accounts of institutional critique either turn it into an art historical genre that is past and finished, or suggest that it is pointless because it is always co-opted by the institution. This thesis contests the canonisation of institutional critique by positing that there has been a change in the agents of critique from the academic critic, to the artist, to the curator. The research also argues against the supposed futility of institutional critique by drawing on Foucault to consider critique in particular instances rather than in general. Thus each case study considers whether or not a particular artwork or project was understood as critical at the time and, if so, in what capacity. In the course of examining the shifts in the critical agent from artist to curator, I also identify a sequence of correlative changes. First there is an expansion in the location of critique from mainstream USA museums to a wide range of art institutions globally, including biennials. Second there is a change of focus in the objects of critique, from the physical attributes of the exhibition spaces to modes of display, museum processes, and the politicisation of content. Third there are different strategies of critique, as artists and curators variously pursue mimetic, subversive and symbolic strategies in their institutional investigations, and develop new ones. Overall, the research demonstrates that institutional critique moves progressively inside the institution, and becomes an embedded activity, particularly when independent curators take up positions as directors of experimental institutions. The thesis concludes that institutional critique has become more politicised and more complex and that some of its strategies and practices have helped to re-function institutions.
Subjects/Keywords: 708
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APA (6th Edition):
Preston, V. (2014). From outside to inside : changing strategies and practices of institutional critique 1960-2014. (Doctoral Dissertation). Birkbeck (University of London). Retrieved from http://eprints.bbk.ac.uk/id/eprint/40103/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633188
Chicago Manual of Style (16th Edition):
Preston, Victoria. “From outside to inside : changing strategies and practices of institutional critique 1960-2014.” 2014. Doctoral Dissertation, Birkbeck (University of London). Accessed April 10, 2021.
http://eprints.bbk.ac.uk/id/eprint/40103/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633188.
MLA Handbook (7th Edition):
Preston, Victoria. “From outside to inside : changing strategies and practices of institutional critique 1960-2014.” 2014. Web. 10 Apr 2021.
Vancouver:
Preston V. From outside to inside : changing strategies and practices of institutional critique 1960-2014. [Internet] [Doctoral dissertation]. Birkbeck (University of London); 2014. [cited 2021 Apr 10].
Available from: http://eprints.bbk.ac.uk/id/eprint/40103/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633188.
Council of Science Editors:
Preston V. From outside to inside : changing strategies and practices of institutional critique 1960-2014. [Doctoral Dissertation]. Birkbeck (University of London); 2014. Available from: http://eprints.bbk.ac.uk/id/eprint/40103/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633188
University of Brighton
2.
Ashmore, Nicola L.
Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010.
Degree: PhD, 2011, University of Brighton
URL: https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543094
► This doctorate examines the redevelopment of ethnographic collections between 1997 and 2010. The collection and interpretation of ethnographic objects has been the subject of much…
(more)
▼ This doctorate examines the redevelopment of ethnographic collections between 1997 and 2010. The collection and interpretation of ethnographic objects has been the subject of much debate between, anthropologists, museum studies scholars and curators who have sought, on the one hand, to reveal and, on the other, to resist colonial representations in contemporary museums. These debates, as well as the longstanding concern about the purpose of the museum itself, informs this research, which focuses upon the period of the New Labour administration (1997- 2010) and the impact of its cultural diversity agendas upon regional museums. It investigates how regional museums have responded to the shifting demands of cultural policies and, in particular, how specific ethnographic collections have been redisplayed and reinterpreted, and the use of art commissions and artists to do so.
Subjects/Keywords: 708
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APA (6th Edition):
Ashmore, N. L. (2011). Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010. (Doctoral Dissertation). University of Brighton. Retrieved from https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543094
Chicago Manual of Style (16th Edition):
Ashmore, Nicola L. “Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010.” 2011. Doctoral Dissertation, University of Brighton. Accessed April 10, 2021.
https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543094.
MLA Handbook (7th Edition):
Ashmore, Nicola L. “Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010.” 2011. Web. 10 Apr 2021.
Vancouver:
Ashmore NL. Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010. [Internet] [Doctoral dissertation]. University of Brighton; 2011. [cited 2021 Apr 10].
Available from: https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543094.
Council of Science Editors:
Ashmore NL. Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010. [Doctoral Dissertation]. University of Brighton; 2011. Available from: https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543094
University of Brighton
3.
Smith, Matt.
Making things perfectly queer : art's use of craft to signify LGBT identities.
Degree: PhD, 2015, University of Brighton
URL: https://research.brighton.ac.uk/en/studentTheses/24d3ff45-7ca5-40ac-9253-2795ef0edb75
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687627
► This research explores how queer culture and theory can be communicated through crafted objects and curated exhibitions. It interrogates whether it is possible to identify…
(more)
▼ This research explores how queer culture and theory can be communicated through crafted objects and curated exhibitions. It interrogates whether it is possible to identify queer characteristics, aesthetics and themes in crafted objects and develops the idea of visual polari – based on Polari, the slang language used by gay men in England predominantly in the mid twentieth century – as a methodology. The research then examines how art related to queer lives has been curated in art organisations and how different curators have approached creating queer taxonomies. It also examines the use of craft techniques by artists addressing queer topics and argues that the marginalised positions of craft – the decorative and the domestic – have been adopted by queer practitioners. Marginalised groups can often be excluded from representation in cultural organisations, and museums and galleries have traditionally shied away from the emerging discipline of queer theory. Although Lesbian, Gay, Bisexual and Transgender (LGBT) Month acts as a focus for queer recognition in museums and galleries, many organisations are unsure how to explore or tackle the subject. The core of this research examines practical case studies that explore how this can be achieved. The research was informed by four exhibitions where I was both the artist and curator. The first – Queering the Museum at Birmingham Museum and Art Gallery – drew on artist intervention methodologies that had been used to address race within museums, but had not been applied to marginalised sexualities. The second was Other Stories: Queering the University Art Collection at the Stanley and Audrey Burton Gallery at the University of Leeds and used oral histories from gay men and women to reposition objects in the art gallery collection. The last two installations were at National Trust properties – Nymans House and Gardens and The Vyne – and examined the queer lives of their former occupants. The exhibitions used artist interventions to disrupt any single interpretive narrative and move away from the centring of the houses’ histories on heteronormative family trees. Queer is a contested term and LGBT encompasses a wide variety of experiences. Although the research strives for inclusion, not all experiences that come under the banner term LGBT are explored equally. Rather, this research aims to move the ideas about how cultural organisations can represent queer lives and to generate debate in the fields of museums, galleries and historic houses.
Subjects/Keywords: 708
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APA (6th Edition):
Smith, M. (2015). Making things perfectly queer : art's use of craft to signify LGBT identities. (Doctoral Dissertation). University of Brighton. Retrieved from https://research.brighton.ac.uk/en/studentTheses/24d3ff45-7ca5-40ac-9253-2795ef0edb75 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687627
Chicago Manual of Style (16th Edition):
Smith, Matt. “Making things perfectly queer : art's use of craft to signify LGBT identities.” 2015. Doctoral Dissertation, University of Brighton. Accessed April 10, 2021.
https://research.brighton.ac.uk/en/studentTheses/24d3ff45-7ca5-40ac-9253-2795ef0edb75 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687627.
MLA Handbook (7th Edition):
Smith, Matt. “Making things perfectly queer : art's use of craft to signify LGBT identities.” 2015. Web. 10 Apr 2021.
Vancouver:
Smith M. Making things perfectly queer : art's use of craft to signify LGBT identities. [Internet] [Doctoral dissertation]. University of Brighton; 2015. [cited 2021 Apr 10].
Available from: https://research.brighton.ac.uk/en/studentTheses/24d3ff45-7ca5-40ac-9253-2795ef0edb75 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687627.
Council of Science Editors:
Smith M. Making things perfectly queer : art's use of craft to signify LGBT identities. [Doctoral Dissertation]. University of Brighton; 2015. Available from: https://research.brighton.ac.uk/en/studentTheses/24d3ff45-7ca5-40ac-9253-2795ef0edb75 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687627
University of Plymouth
4.
Shaw, Martin.
A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice.
Degree: PhD, 2011, University of Plymouth
URL: http://hdl.handle.net/10026.1/542
► This research examines the metaphorical structures within seven selected myths in relation to wilderness rites-of-passage, and the key thematic progression of Severance/Threshold/Return. These rites-of-passage are…
(more)
▼ This research examines the metaphorical structures within seven selected myths in relation to wilderness rites-of-passage, and the key thematic progression of Severance/Threshold/Return. These rites-of-passage are an essential component of an ongoing programme offered to the general public. The research is primarily creative in that the oral texts have been developed from extant myth over several years, and adapted to a variety of performance contexts. The evolution of these oral texts is examined in an analytical text, which draws on contemporary philosophy and critical theory to consider both the activity of wilderness rites-of-passage, and the role of metaphor within the storytelling. Crucial to the methodology is mythography; myth apprehended not by one perspective, but requiring consideration by a variety of disciplines. The concept of shape shifting is central to the seven stories, and also suggestive of the processes contained within this submission, to which there are four components: 1. The session texts; transcripts of performance sessions which took place over a twelve-month period with the same twenty-five participants. The texts contain three years of preparatory research, creative and analytical, presented orally to the group, and subsequently transcribed and revised according to new research, but retaining the syntax of an oral presentation. 2. Analytical text; this engages with a wider discourse on the properties of myth, and contextualises the constituent elements of the session texts. 3. Oral recordings; a recording of a live theatre performance, with improvised syntax, language and metaphor, is presented in contrast to a controlled studio recording. 4. Painting; during the programme, my artistic practice was affected by an enhanced understanding of the mythological elements, and the silent, solitary practice of painting asserted itself as a profound way to contemplate the severance/threshold/return progression.
Subjects/Keywords: 708
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APA ·
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MLA ·
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APA (6th Edition):
Shaw, M. (2011). A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/542
Chicago Manual of Style (16th Edition):
Shaw, Martin. “A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice.” 2011. Doctoral Dissertation, University of Plymouth. Accessed April 10, 2021.
http://hdl.handle.net/10026.1/542.
MLA Handbook (7th Edition):
Shaw, Martin. “A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice.” 2011. Web. 10 Apr 2021.
Vancouver:
Shaw M. A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice. [Internet] [Doctoral dissertation]. University of Plymouth; 2011. [cited 2021 Apr 10].
Available from: http://hdl.handle.net/10026.1/542.
Council of Science Editors:
Shaw M. A mythography of the crossroads : how is the severance/threshold/return progression in both mythology and modern wilderness rites-of-passage established through metaphor? : an enquiry conducted through contemporary storytelling practice. [Doctoral Dissertation]. University of Plymouth; 2011. Available from: http://hdl.handle.net/10026.1/542
University of Plymouth
5.
Brand, Carol Frances.
A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s.
Degree: PhD, 2011, University of Plymouth
URL: http://hdl.handle.net/10026.1/2249
► The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research.…
(more)
▼ The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research. More precisely, the accounts of Vorticism, Bloomsbury post-Impressionism and the modern art of painters associated with Sickert, (principally the Camden Town Group), have been critically examined over a forty year period in order to trace the narrative of their place in contemporary art criticism and their entry into histories of what soon became the recent past. This textually-based methodology has produced an insight into the forces acting upon the critical reception of a particular period subsequently seen by historians as a discrete phase in the evolution of British art. The readings of texts are organised chronologically so as to illustrate the iv formation of a historical narrative and its variants, and to show how immediate responses and retrospective evaluations connect discursively. The findings of the research have four aspects. Firstly, it has been fruitful to isolate the narrative of the years 1910-15 over forty years so as to test whether it is possible, using this longitudinal methodology, to comment productively on the integrity of this historical episode, and to establish how the narrative became a critical orthodoxy governed by a limited range of analytical perspectives. Secondly, estimations as to the quality of the art produced in these years developed a distinct, often negative, patterning in journalism and art historical writing and this is also traced in some detail over time. Dominant tropes in the critical language have been identified over this forty year period which became the default positions of historical analysis and which, I argue, impeded sophisticated or revisionist thinking. With a few notable exceptions, the analysis of early English modern art is poorly served by its commentators in this period and this weakened discursive health. Thirdly, this thesis also considers the nature and influence of, periodicals, newspapers, ‘little magazines’ and the genres of art-writing that were extant between 1910 and 1956 and relates this to the distinctions and similarities between art criticism and art history at this time. A fourth analytic strand concerns outside influences on the production of critical and historical texts. It explores the impact of promotional art writing, and exposes the professional pressures on, and rivalries between, writers and considers some of the wider political circumstances through which this particular debate on recent art was refracted.
Subjects/Keywords: 708
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APA ·
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MLA ·
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CSE |
Export
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Manager
APA (6th Edition):
Brand, C. F. (2011). A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s. (Doctoral Dissertation). University of Plymouth. Retrieved from http://hdl.handle.net/10026.1/2249
Chicago Manual of Style (16th Edition):
Brand, Carol Frances. “A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s.” 2011. Doctoral Dissertation, University of Plymouth. Accessed April 10, 2021.
http://hdl.handle.net/10026.1/2249.
MLA Handbook (7th Edition):
Brand, Carol Frances. “A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s.” 2011. Web. 10 Apr 2021.
Vancouver:
Brand CF. A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s. [Internet] [Doctoral dissertation]. University of Plymouth; 2011. [cited 2021 Apr 10].
Available from: http://hdl.handle.net/10026.1/2249.
Council of Science Editors:
Brand CF. A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s. [Doctoral Dissertation]. University of Plymouth; 2011. Available from: http://hdl.handle.net/10026.1/2249
6.
Lai, Yi-Hsin Nicole.
Art and celebrity : a study of the celebritisation of artists in Taiwan 1987-2010.
Degree: PhD, 2011, University of Westminster
URL: https://westminsterresearch.westminster.ac.uk/item/8zyyz/art-and-celebrity-a-study-of-the-celebritisation-of-artists-in-taiwan-1987-2010
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537906
► This thesis examines the emergence of celebrity art in Taiwan in the postmartial law period since 1987. It analyses the different forces that have contributed…
(more)
▼ This thesis examines the emergence of celebrity art in Taiwan in the postmartial law period since 1987. It analyses the different forces that have contributed to the construction of celebrity art as a prevalent phenomenon and explores its changing significance in Taiwan’s contemporary art scene and society. Based on extensive primary evidence from different kinds of materials, including journals and newspaper articles, magazine reports, exhibition catalogues and reviews, television programmes and Internet resources, gallery and museum visits, and interviews with celebrity artists and curators, this thesis argues that the construction of celebrity art in Taiwan demonstrates a constant negotiation between artists’ aspirations for celebrity recognition, media, corporate business and political interests. I argue that in the celebritisation process, businesses and corporations utilise art to cultivate a positive brand image, generate commercial activities, accumulate cultural capital and consolidate their power and influence. In this sense, celebrity art becomes an aspect of business operations, in ways that are similar to those criticised by scholar Julian Stallabrass’s in the Western context. However, the development of corporate art intervention in Taiwan has distinctive features which are associated with the process of democratisation and its strong impact on the emergence of celebrity art. Furthermore, the government’s promotion of celebrity artists has enabled it to promote its national political identity in the global arena. This relates especially to the changing political scene in Taiwan since 1987 in which that celebrity art has become a means for different political parties to express their political concerns. At the same time, these processes have empowered artists to engage with larger social, cultural and political forces, demonstrating the capacity of celebrity art to serve as a vehicle of new social and aesthetic values about issues such as gender and womanhood. Certain aspects of Taiwan’s celebrity art also contribute to a new ‘cool’, largely young, and socially distinctive urban taste culture in Taiwan, by bringing innovative characteristics to Taiwan’s art scene that bridge high and popular culture. The celebritisation of art in Taiwan thus has many similarities with those discussed by Walker, Stallabrass and other Western scholars with reference to Western tendencies, but is distinctive in its political and social-economic causes. The first chapter introduces my aims and arguments, and gives an overview of the historical and political, media, institutional and global changes that facilitated the emergence of celebrity art in Taiwan. This chapter also describes my research methodology. Chapter two provides an analysis of relevant historical and theoretical perspectives on the construction of the celebrity and celebrity art, and examines their social, cultural and economic importance in both Western and East Asian societies. Chapter three to seven respectively examine different cases of celebrity…
Subjects/Keywords: 708
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APA ·
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CSE |
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Manager
APA (6th Edition):
Lai, Y. N. (2011). Art and celebrity : a study of the celebritisation of artists in Taiwan 1987-2010. (Doctoral Dissertation). University of Westminster. Retrieved from https://westminsterresearch.westminster.ac.uk/item/8zyyz/art-and-celebrity-a-study-of-the-celebritisation-of-artists-in-taiwan-1987-2010 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537906
Chicago Manual of Style (16th Edition):
Lai, Yi-Hsin Nicole. “Art and celebrity : a study of the celebritisation of artists in Taiwan 1987-2010.” 2011. Doctoral Dissertation, University of Westminster. Accessed April 10, 2021.
https://westminsterresearch.westminster.ac.uk/item/8zyyz/art-and-celebrity-a-study-of-the-celebritisation-of-artists-in-taiwan-1987-2010 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537906.
MLA Handbook (7th Edition):
Lai, Yi-Hsin Nicole. “Art and celebrity : a study of the celebritisation of artists in Taiwan 1987-2010.” 2011. Web. 10 Apr 2021.
Vancouver:
Lai YN. Art and celebrity : a study of the celebritisation of artists in Taiwan 1987-2010. [Internet] [Doctoral dissertation]. University of Westminster; 2011. [cited 2021 Apr 10].
Available from: https://westminsterresearch.westminster.ac.uk/item/8zyyz/art-and-celebrity-a-study-of-the-celebritisation-of-artists-in-taiwan-1987-2010 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537906.
Council of Science Editors:
Lai YN. Art and celebrity : a study of the celebritisation of artists in Taiwan 1987-2010. [Doctoral Dissertation]. University of Westminster; 2011. Available from: https://westminsterresearch.westminster.ac.uk/item/8zyyz/art-and-celebrity-a-study-of-the-celebritisation-of-artists-in-taiwan-1987-2010 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.537906
7.
Triscott, Nicola.
Art and intervention in the stewardship of the planetary commons : towards a curatorial model of co-inquiry.
Degree: PhD, 2017, University of Westminster
URL: https://westminsterresearch.westminster.ac.uk/item/q3677/art-and-intervention-in-the-stewardship-of-the-planetary-commons-towards-a-curatorial-model-of-co-inquiry
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.731471
► This Ph.D. by Published Work examines five projects that took place over ten years, between 2007 and 2016, that were curated as part of the…
(more)
▼ This Ph.D. by Published Work examines five projects that took place over ten years, between 2007 and 2016, that were curated as part of the artistic programme of Arts Catalyst,an independent interdisciplinary arts commissioning organisation of which the author is the founding director. This programme of work sought to understand what form of curatorial model and interpretative framework could generate new artworks and co-produce interdisciplinary knowledge across areas of specialist research and geopolitical urgency. The projects take the form of exhibitions, texts and edited books, which are presented as the portfolio of work. The selected projects are: Malamp UK, Brandon Ballengée (2007-2010); Arctic Perspective Initiative (2009-2011); ITACCUS – IAF Technical Activities Committee on the Cultural Utilisation of Space – and associated activities (2007-2014); Holoturian, Ariel Guzik (2013-2015); and Wrecked on the Intertidal Zone, YoHa, Critical Art Ensemble, et al. (2013-2016). Through analysis of and reflection on the projects, this commentary proposes a curatorial model of interdisciplinary co-inquiry, which can foster an ecology of practices, enabling curators, artists, scientists, specialist experts and people with situated expertise to coproduce knowledge around matters of concern, particularly relating to human environment interaction and common and extraterritorial spaces. It examines the roles of the curator in this model and how these might differ from those commonly understood as established curatorial practice. The commentary further presents an interpretative and tactical framework of the planetary commons for curating art-led projects in the realm of ecopolitical concerns, that can engage audiences and publics with the art and ideas emerging from this coinquiry approach. The combination of curatorial model and interpretative and tactical framework contribute to discourses on both inter/trans-disciplinarity and the role of art in relation to the politics of ecology. The Ph.D. contributes to the field on several levels. Within curatorial studies, the interdisciplinary co-inquiry model reconfigures curatorial practice as a collective, inquiry3 driven, knowledge-producing practice, and provides a useful methodology for inter- /trans-disciplinary artistic practice in relation to the politics of ecology, while the framework of the planetary commons proposes direction and allows for investment in reciprocity through commoning practices. Beyond contemporary art, a curatorial coinquiry model deepens and alters existing approaches for listening to, valuing, and synthesising different types of knowledge and expertise around current environmental and related social concerns. While the commentary argues for the planetary commons framework within the contemporary art space, there are wider implications for it as a complement and alternative to the dominant interpretative framework of the Anthropocene.
Subjects/Keywords: 708
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to Zotero / EndNote / Reference
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APA (6th Edition):
Triscott, N. (2017). Art and intervention in the stewardship of the planetary commons : towards a curatorial model of co-inquiry. (Doctoral Dissertation). University of Westminster. Retrieved from https://westminsterresearch.westminster.ac.uk/item/q3677/art-and-intervention-in-the-stewardship-of-the-planetary-commons-towards-a-curatorial-model-of-co-inquiry ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.731471
Chicago Manual of Style (16th Edition):
Triscott, Nicola. “Art and intervention in the stewardship of the planetary commons : towards a curatorial model of co-inquiry.” 2017. Doctoral Dissertation, University of Westminster. Accessed April 10, 2021.
https://westminsterresearch.westminster.ac.uk/item/q3677/art-and-intervention-in-the-stewardship-of-the-planetary-commons-towards-a-curatorial-model-of-co-inquiry ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.731471.
MLA Handbook (7th Edition):
Triscott, Nicola. “Art and intervention in the stewardship of the planetary commons : towards a curatorial model of co-inquiry.” 2017. Web. 10 Apr 2021.
Vancouver:
Triscott N. Art and intervention in the stewardship of the planetary commons : towards a curatorial model of co-inquiry. [Internet] [Doctoral dissertation]. University of Westminster; 2017. [cited 2021 Apr 10].
Available from: https://westminsterresearch.westminster.ac.uk/item/q3677/art-and-intervention-in-the-stewardship-of-the-planetary-commons-towards-a-curatorial-model-of-co-inquiry ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.731471.
Council of Science Editors:
Triscott N. Art and intervention in the stewardship of the planetary commons : towards a curatorial model of co-inquiry. [Doctoral Dissertation]. University of Westminster; 2017. Available from: https://westminsterresearch.westminster.ac.uk/item/q3677/art-and-intervention-in-the-stewardship-of-the-planetary-commons-towards-a-curatorial-model-of-co-inquiry ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.731471
Durham University
8.
Manley, Christopher Geoffrey.
Photography and the role of the artist.
Degree: PhD, 2012, Durham University
URL: http://etheses.dur.ac.uk/3493/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564048
► How do we think the photographer as a creator? This question often provokes a debate regarding the limits of the photographic medium: In particular, the…
(more)
▼ How do we think the photographer as a creator? This question often provokes a debate regarding the limits of the photographic medium: In particular, the potential for freedom of creative expression. The concern that photography is unable to afford the artist sufficient creative control over her work follows from the observation that photographs are causally related to the object photographed. Consequentially, the viewer is unable to take an interest towards the photograph as an aesthetic representation; since it is the object photographed that holds the attention of the viewer, rather than the photograph itself. However, I contend that in reaching this conclusion we overlook the decisive impact of photography on the creative practice of picture making. Rather than illustrate the artist as restricted in her use of the photographic medium, I aim to show how photography has transformed the relationship between artist, subject and medium. The access to and engagement with her subject requires a different kind of approach. Instead of following the usual route that attempts to mark out a description of creative practice which has as its centre the intentions of the artist, I claim that a more insightful approach may surface from rethinking the role of the artist: A role in which the quality of intention does not follow – solely – from the imaginative or interpretive intentions of the artist, but emerges from a multitude of perspectives.
Subjects/Keywords: 708
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APA (6th Edition):
Manley, C. G. (2012). Photography and the role of the artist. (Doctoral Dissertation). Durham University. Retrieved from http://etheses.dur.ac.uk/3493/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564048
Chicago Manual of Style (16th Edition):
Manley, Christopher Geoffrey. “Photography and the role of the artist.” 2012. Doctoral Dissertation, Durham University. Accessed April 10, 2021.
http://etheses.dur.ac.uk/3493/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564048.
MLA Handbook (7th Edition):
Manley, Christopher Geoffrey. “Photography and the role of the artist.” 2012. Web. 10 Apr 2021.
Vancouver:
Manley CG. Photography and the role of the artist. [Internet] [Doctoral dissertation]. Durham University; 2012. [cited 2021 Apr 10].
Available from: http://etheses.dur.ac.uk/3493/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564048.
Council of Science Editors:
Manley CG. Photography and the role of the artist. [Doctoral Dissertation]. Durham University; 2012. Available from: http://etheses.dur.ac.uk/3493/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.564048
Goldsmiths College (University of London)
9.
Forkert, Kirsten.
Artistic lives : a two city study.
Degree: PhD, 2011, Goldsmiths College (University of London)
URL: http://research.gold.ac.uk/6455/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544239
► This project, based on a study of artists in London and Berlin, is an exploration of the social conditions of cultural production. I am exploring…
(more)
▼ This project, based on a study of artists in London and Berlin, is an exploration of the social conditions of cultural production. I am exploring cultural production as an activity which does not fit conventional definitions of work, as it is self-directed, frequently unpaid and takes place outside of paid employment. It is precisely its irregular character which makes cultural production vulnerable to barriers to free time, such as the expensive rent and chronic overwork prevalent in London. I explore the social conditions of cultural production as an intersection of several factors: material conditions (particularly housing and the cost of living) which can shape the time and space artists have for their work, and their ability to survive on part-time and freelance employment; the politics of the cultural field, which shape the expectations artists have for their work and lives; cultural and social policies, which also impact on artists' ability to support themselves; and subjective issues such as artists' sense of themselves and their work, their sense of place and their relationship to other artists. This project explores how these factors intersect and inter-relate, in the way that social conditions can affect who can be an artist, who can sustain an artistic career, and the ways in which one can be an artist. In particular, I focus on the relationship between housing and professional identities, and how this functions differently in London and Berlin. In order to explore these intersections, the project brings together policy analysis, interviews, biographical narrative descriptions, photographs and descriptions of my travels through neighbourhoods in both cities. It is an interdisciplinary project which draws on analyses and methodologies from the fields of art, visual culture and sociology.
Subjects/Keywords: 708
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APA ·
Chicago ·
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Export
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APA (6th Edition):
Forkert, K. (2011). Artistic lives : a two city study. (Doctoral Dissertation). Goldsmiths College (University of London). Retrieved from http://research.gold.ac.uk/6455/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544239
Chicago Manual of Style (16th Edition):
Forkert, Kirsten. “Artistic lives : a two city study.” 2011. Doctoral Dissertation, Goldsmiths College (University of London). Accessed April 10, 2021.
http://research.gold.ac.uk/6455/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544239.
MLA Handbook (7th Edition):
Forkert, Kirsten. “Artistic lives : a two city study.” 2011. Web. 10 Apr 2021.
Vancouver:
Forkert K. Artistic lives : a two city study. [Internet] [Doctoral dissertation]. Goldsmiths College (University of London); 2011. [cited 2021 Apr 10].
Available from: http://research.gold.ac.uk/6455/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544239.
Council of Science Editors:
Forkert K. Artistic lives : a two city study. [Doctoral Dissertation]. Goldsmiths College (University of London); 2011. Available from: http://research.gold.ac.uk/6455/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544239
Goldsmiths College (University of London)
10.
Horta, Paula.
Portrait and documentary photography in post-apartheid South Africa : (hi)stories of past and present.
Degree: PhD, 2011, Goldsmiths College (University of London)
URL: http://research.gold.ac.uk/6491/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547148
► This thesis will explore how South African portrait and documentary photography produced between 1994 and 2004 has contributed to a wider understanding of the country’s…
(more)
▼ This thesis will explore how South African portrait and documentary photography produced between 1994 and 2004 has contributed to a wider understanding of the country’s painful past and, for some, hopeful, for others, bleak present. In particular, it will examine two South African photographic works which are paradigmatic of the political and social changes that marked the first decade after the fall of apartheid, focusing on the empowerment of both photographers and subjects. The first, Jillian Edelstein’s (2001) Truth & Lies: Stories from the Truth and Reconciliation Commission in South Africa, captures the faces and records the stories of perpetrators and victims who gave their testimonies to the Truth and Reconciliation Commission in South Africa from 1996 to 2000. The second, Adam Broomberg and Oliver Chanarin’s (2004a) Mr. Mkhize’s Portrait & Other Stories from the New South Africa, documents the changed/ unchanged realities of a democratic country ten years after apartheid. The work of these photographers is showcased for its specificity, historicity and uniqueness. In both works the images are charged with emotion. Viewed on their own — uncaptioned — the photographs have the capacity to unsettle the viewer, but in both cases a compelling intermeshing of image and text heightens their resonance and enables further possibilities for interpretation. In their contributions to the critical theory of photography Roland Barthes, Victor Burgin and Max Kozloff underscore the centrality of the interplay between image and text in the meaning-making process anchoring a critical engagement with photography. Burgin (1982) states that “Even the uncaptioned photograph, framed and isolated on a gallery, is invaded by language when it is looked at”, and Kozloff (1987) claims that “However they are perceived, images have to be mediated by words”. This thesis singles out emotionally charged and forceful photographs in Edelstein, Broomberg and Chanarin’s repertoire to consider both the complex process of the construction and interpretation of photographic meaning and question if/when photographs do, in fact, depend on language. Central to the architecture of photography is the layering of the representations, firstly through the specific photographic language and form of address which characterises the portrait genre, and secondly through the verbal text accompanying the images. I argue that the viewer’s experience of the photograph unfolds at two distinct moments of viewing. The first moment is defined by the “raw” encounter with the photograph — mediated by an affective response to its emotional or symbolic content — and the second moment encompasses the response to the photograph’s compositional elements, or signifying units, in articulation with the text/narrative accompanying it. This analysis brings to the fore the relation and exchange between photographer and subject and, ultimately, between photographer, subject and viewer. Emmanuel Levinas and Hannah Arendt’s theoretical insights provide a platform for exploring the…
Subjects/Keywords: 708
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Record Details
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Horta, P. (2011). Portrait and documentary photography in post-apartheid South Africa : (hi)stories of past and present. (Doctoral Dissertation). Goldsmiths College (University of London). Retrieved from http://research.gold.ac.uk/6491/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547148
Chicago Manual of Style (16th Edition):
Horta, Paula. “Portrait and documentary photography in post-apartheid South Africa : (hi)stories of past and present.” 2011. Doctoral Dissertation, Goldsmiths College (University of London). Accessed April 10, 2021.
http://research.gold.ac.uk/6491/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547148.
MLA Handbook (7th Edition):
Horta, Paula. “Portrait and documentary photography in post-apartheid South Africa : (hi)stories of past and present.” 2011. Web. 10 Apr 2021.
Vancouver:
Horta P. Portrait and documentary photography in post-apartheid South Africa : (hi)stories of past and present. [Internet] [Doctoral dissertation]. Goldsmiths College (University of London); 2011. [cited 2021 Apr 10].
Available from: http://research.gold.ac.uk/6491/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547148.
Council of Science Editors:
Horta P. Portrait and documentary photography in post-apartheid South Africa : (hi)stories of past and present. [Doctoral Dissertation]. Goldsmiths College (University of London); 2011. Available from: http://research.gold.ac.uk/6491/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547148
Royal Holloway, University of London
11.
Tunc, Ayca.
Diasporic cinema : Turkish-German filmmakers, with particular emphasis on generational differences.
Degree: PhD, 2011, Royal Holloway, University of London
URL: https://pure.royalholloway.ac.uk/portal/en/publications/diasporic-cinema-turkishgerman-filmmakers-with-particular-emphasis-on-generational-differences(22990898-2766-4153-8481-108a7b932658).html
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538775
► This PhD dissertation seeks to explore the work and artistic trajectories of Turkish-German filmmakers, focusing in particular on generational differences between them. It privileges filmmakers…
(more)
▼ This PhD dissertation seeks to explore the work and artistic trajectories of Turkish-German filmmakers, focusing in particular on generational differences between them. It privileges filmmakers with a migratory background, who have experienced dislocation, deterritorialisation and who have been marginalised. The thesis is based on the premise that the experience of migration and diaspora has had a manifest impact upon the creative process. Over forty films made by seventeen filmmakers between the 1980s and 2000s about the Turkish diasporic community and their experiences in Germany are analysed within four main thematic frameworks: changing narratives/discourses; the shift in the representation of space; the shift in the use of music; and the shift towards hybrid aesthetics and genres. This reasonably wide scope makes it possible to closely monitor presumed generational differences, and to draw attention to some lesser known filmmakers and their work. It also encapsulates the nascent third generation Turkish-German filmmakers, whose work has not yet been the subject of academic discussions. While this research project examines the concept of diasporic cinema in more general terms, it endeavours to apply key concepts such as the "dialogic imagination", the "pleasures of hybridity" and the notion of an "accented style" to the specific case of contemporary Turkish-German cinema. In doing so, it combines a literature review, a textual analysis of the selected films and a critical content analysis of the pertinent news materials featuring Turkish-German filmmakers in the Turkish press.
Subjects/Keywords: 708
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Export
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Manager
APA (6th Edition):
Tunc, A. (2011). Diasporic cinema : Turkish-German filmmakers, with particular emphasis on generational differences. (Doctoral Dissertation). Royal Holloway, University of London. Retrieved from https://pure.royalholloway.ac.uk/portal/en/publications/diasporic-cinema-turkishgerman-filmmakers-with-particular-emphasis-on-generational-differences(22990898-2766-4153-8481-108a7b932658).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538775
Chicago Manual of Style (16th Edition):
Tunc, Ayca. “Diasporic cinema : Turkish-German filmmakers, with particular emphasis on generational differences.” 2011. Doctoral Dissertation, Royal Holloway, University of London. Accessed April 10, 2021.
https://pure.royalholloway.ac.uk/portal/en/publications/diasporic-cinema-turkishgerman-filmmakers-with-particular-emphasis-on-generational-differences(22990898-2766-4153-8481-108a7b932658).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538775.
MLA Handbook (7th Edition):
Tunc, Ayca. “Diasporic cinema : Turkish-German filmmakers, with particular emphasis on generational differences.” 2011. Web. 10 Apr 2021.
Vancouver:
Tunc A. Diasporic cinema : Turkish-German filmmakers, with particular emphasis on generational differences. [Internet] [Doctoral dissertation]. Royal Holloway, University of London; 2011. [cited 2021 Apr 10].
Available from: https://pure.royalholloway.ac.uk/portal/en/publications/diasporic-cinema-turkishgerman-filmmakers-with-particular-emphasis-on-generational-differences(22990898-2766-4153-8481-108a7b932658).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538775.
Council of Science Editors:
Tunc A. Diasporic cinema : Turkish-German filmmakers, with particular emphasis on generational differences. [Doctoral Dissertation]. Royal Holloway, University of London; 2011. Available from: https://pure.royalholloway.ac.uk/portal/en/publications/diasporic-cinema-turkishgerman-filmmakers-with-particular-emphasis-on-generational-differences(22990898-2766-4153-8481-108a7b932658).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538775
University of York
12.
Skoblar, Magdalena.
'Sermons in stone' : eleventh-century figural sculpture from Croatia.
Degree: PhD, 2011, University of York
URL: http://etheses.whiterose.ac.uk/1567/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549185
► This thesis examines eleventh-century figural sculptures from Croatia by focusing on their iconography and potential symbolical significance. It consists of a detailed analysis of seventeen…
(more)
▼ This thesis examines eleventh-century figural sculptures from Croatia by focusing on their iconography and potential symbolical significance. It consists of a detailed analysis of seventeen well-preserved carvings and an accompanying catalogue with six additional pieces, which are too damaged and fragmentary to be analyzed. These figural sculptures have been studied together on only two occasions, more than fifty years ago, and these publications focused on the manner of their carving and their dating. This stylistic approach has dominated the Croatian scholarship, and the investigation of the meaning of figural sculptures has been mostly sporadic and unsystematic. As such, it has created a vacuum in which the sculptures exist as catalogue entries in neat stylistic categories. In contrast, this thesis examines the figural sculptures by applying an iconographic analysis. This methodological approach investigates the visual sources for the schemes depicted, followed by the exploration of their iconographic significance, at the basis of which are the exegetical writings of early Christian and early medieval theologians. Thus, this thesis examines the figural sculptures in their contexts (architectural, religious and social) the results of which provide a deeper understanding of and more information about the culture and society which had produced them. Following from this, the chapters are grouped according to the current amount of information about their original architectural setting. Chapters 1 and 2 focus on the sculptures from the churches of Holy Dominica (reconstructed) and St Lawrence (still extant) at Zadar, which provide an excellent architectural context. Chapter 3 deals with three different sites where the churches have been preserved only in their foundations (St Mary's, Biskupija; SS Peter and Moses, Solin; St Michael's, Kolo?ep). Finally, Chapter 4 analyzes the sculptures existing or discovered outside their original architectural setting.
Subjects/Keywords: 708
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Record Details
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Skoblar, M. (2011). 'Sermons in stone' : eleventh-century figural sculpture from Croatia. (Doctoral Dissertation). University of York. Retrieved from http://etheses.whiterose.ac.uk/1567/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549185
Chicago Manual of Style (16th Edition):
Skoblar, Magdalena. “'Sermons in stone' : eleventh-century figural sculpture from Croatia.” 2011. Doctoral Dissertation, University of York. Accessed April 10, 2021.
http://etheses.whiterose.ac.uk/1567/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549185.
MLA Handbook (7th Edition):
Skoblar, Magdalena. “'Sermons in stone' : eleventh-century figural sculpture from Croatia.” 2011. Web. 10 Apr 2021.
Vancouver:
Skoblar M. 'Sermons in stone' : eleventh-century figural sculpture from Croatia. [Internet] [Doctoral dissertation]. University of York; 2011. [cited 2021 Apr 10].
Available from: http://etheses.whiterose.ac.uk/1567/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549185.
Council of Science Editors:
Skoblar M. 'Sermons in stone' : eleventh-century figural sculpture from Croatia. [Doctoral Dissertation]. University of York; 2011. Available from: http://etheses.whiterose.ac.uk/1567/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549185
13.
Bin Khairani, Mohd Zahuri.
Contemporary art, craft and hybridity : Malaysian encounters and responses.
Degree: PhD, 2011, Sheffield Hallam University
URL: http://shura.shu.ac.uk/19907/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887
► This practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft…
(more)
▼ This practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft in Malaysia. The research addresses the question of the impact of hybridity on art and visual culture by focusing on production of artworks from indigenous Malaysian craft - traditional fabrics Pua Kumbu and Batik, and the Sarawakian layer cakes. The main objectives of this research are to understand the problems, consequences and effects of hybridity on art and visual culture and to produce artefacts that explicitly illuminate a new understanding of the dynamic that obtains between hybridity, contemporary art and craft traditions in the Malaysian context. Questions pertaining to the affects of hybridity and globalisation towards Malaysian politics, economy and social aspects were addressed in the artworks as a key aspect of this research. Furthermore, development of the Malaysian art scene in relation with hybridity will be discussed in the light of contemporary art progression historically. Analysis of the theory of hybridity, connections between hybridity in art via the works of international and local artists, will put forward to clarify theses areas. This will include exploration of the issue of national identity. This research will engage in the production of artefacts in the context of a varied studio practice, developing and employing throughout the course of the research materials and techniques deemed appropriate in the production of artefacts that embody the quality of 'local' cultural forms in dialogue with, or resistant to, forms associated with an exogenous, 'global' culture. The artwork production opens up the phenomenon of the current process of hybridity and the issue of Malaysia's national identity. This research will adopt descriptive, heuristic and comparative methods within an overarching practice-led methodology. The building, implementation and evaluation of methodology together which include exhibitions and audience are the key components of this research. Critical review of the production of artworks is seen to be an integral part of the research methodology; this process will encourage and sustain multi-disciplinary approaches to the research question. This research has revealed the connection between hybridity and the advancement of the Malaysia contemporary art movement that has been undergoing transformation through the process of modernisation. Above all, as a Malaysian artist working in the United Kingdom, my practice differs from the normal practice of Malaysian artists who translate "Malay" culture into art work in that it offers a critical view on political, economical and social issues in Malaysia.
Subjects/Keywords: 708
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Record Details
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Bin Khairani, M. Z. (2011). Contemporary art, craft and hybridity : Malaysian encounters and responses. (Doctoral Dissertation). Sheffield Hallam University. Retrieved from http://shura.shu.ac.uk/19907/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887
Chicago Manual of Style (16th Edition):
Bin Khairani, Mohd Zahuri. “Contemporary art, craft and hybridity : Malaysian encounters and responses.” 2011. Doctoral Dissertation, Sheffield Hallam University. Accessed April 10, 2021.
http://shura.shu.ac.uk/19907/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887.
MLA Handbook (7th Edition):
Bin Khairani, Mohd Zahuri. “Contemporary art, craft and hybridity : Malaysian encounters and responses.” 2011. Web. 10 Apr 2021.
Vancouver:
Bin Khairani MZ. Contemporary art, craft and hybridity : Malaysian encounters and responses. [Internet] [Doctoral dissertation]. Sheffield Hallam University; 2011. [cited 2021 Apr 10].
Available from: http://shura.shu.ac.uk/19907/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887.
Council of Science Editors:
Bin Khairani MZ. Contemporary art, craft and hybridity : Malaysian encounters and responses. [Doctoral Dissertation]. Sheffield Hallam University; 2011. Available from: http://shura.shu.ac.uk/19907/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543887
University of Leeds
14.
Baeza Ruiz, Ana.
The road to renewal : refiguring the art museum in twentieth-century Britain.
Degree: PhD, 2017, University of Leeds
URL: http://etheses.whiterose.ac.uk/18708/
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.727245
► The thesis critically investigates the ways in which art museums in Britain evolved their curatorial techniques in the first half of the twentieth century, and…
(more)
▼ The thesis critically investigates the ways in which art museums in Britain evolved their curatorial techniques in the first half of the twentieth century, and it specifically charts the career of the scholar and museum director Philip Hendy (1900-1980), by focusing on the three museums under his care: Leeds City Art Gallery (1934-1945); Temple Newsam, Leeds (1938-1945); and the National Gallery, London (1946-1967). Through these case-studies, the thesis explores Hendy’s scheme to modernise these institutions during the interwar, wartime and post-war periods (1934-1956), and locates this reform in the context of changing discourses within the museum profession about the purpose of art museums in Britain. Specifically, the investigation is concerned with the duality that was implicated in this agenda of modernisation, as museums aimed to democratise access to their collections with new display strategies and amenities for visitors, but whose efforts were at the same time characterised by a specialisation of curatorial practice which led to concerns about the status of the profession and the improvement of museum standards. The thesis thus articulates the increasingly professionalised endeavours in the museums under study, and examines how these informed, but also competed with, the concrete methods by which these galleries sought to open their doors to the interests of larger publics. The focus of the investigation is on museum presentation - encompassing both architecture and display - which acted as a site of mediation between these professional and public spheres and shaped visitor engagement. As the thesis demonstrates, the curatorial techniques in the museums under review emphasised the need for museums to adapt to the demands of the present by updating their methods of exhibition, and secondly, they intended to make the collections visible to visitors qua viewers, in the belief that this would also make the museum more open and accessible.
Subjects/Keywords: 708
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APA ·
Chicago ·
MLA ·
Vancouver ·
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Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Baeza Ruiz, A. (2017). The road to renewal : refiguring the art museum in twentieth-century Britain. (Doctoral Dissertation). University of Leeds. Retrieved from http://etheses.whiterose.ac.uk/18708/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.727245
Chicago Manual of Style (16th Edition):
Baeza Ruiz, Ana. “The road to renewal : refiguring the art museum in twentieth-century Britain.” 2017. Doctoral Dissertation, University of Leeds. Accessed April 10, 2021.
http://etheses.whiterose.ac.uk/18708/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.727245.
MLA Handbook (7th Edition):
Baeza Ruiz, Ana. “The road to renewal : refiguring the art museum in twentieth-century Britain.” 2017. Web. 10 Apr 2021.
Vancouver:
Baeza Ruiz A. The road to renewal : refiguring the art museum in twentieth-century Britain. [Internet] [Doctoral dissertation]. University of Leeds; 2017. [cited 2021 Apr 10].
Available from: http://etheses.whiterose.ac.uk/18708/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.727245.
Council of Science Editors:
Baeza Ruiz A. The road to renewal : refiguring the art museum in twentieth-century Britain. [Doctoral Dissertation]. University of Leeds; 2017. Available from: http://etheses.whiterose.ac.uk/18708/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.727245
University of Leeds
15.
Child, Danielle Leanne.
Socialised labour under change : collaboration, contracted labour and collective modes of production in art since the 1960s.
Degree: PhD, 2011, University of Leeds
URL: http://etheses.whiterose.ac.uk/2420/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557372
► Adopting an historical materialist methodology, this thesis examines how artistic labour is affected under specific phases of capitalism from monopoly through neoliberal capitalism. It is…
(more)
▼ Adopting an historical materialist methodology, this thesis examines how artistic labour is affected under specific phases of capitalism from monopoly through neoliberal capitalism. It is not the intention here to argue that artists directly adopt or accept capitalist tropes; rather, it is to argue that the recent socialised artistic practices have a dialectical relationship to the social turn that capitalism has recently taken. The first chapter considers the establishment of US art fabrication firms in relation to the renewal of the deskilling thesis in the late 1960s by Harry Braverman. I argue that the deskilling that occurred in art making in the late 1960s – often termed the ‘dematerialisation of art’ (Lippard and Chandler) - was a response to the ideological changes that originated from the implementation of Taylorist and Fordist production methods in the US. The second chapter addresses the establishment of the Mike Smith Studio in London – an artist facilitator – in terms of the ‘new spirit’ of capitalism (Boltanski and Chiapello). I argue that the Mike Smith Studio was able to emerge as a business model within the UK because of the changes implemented by the ‘new spirit’ ideology and its accompanying neoliberal tropes (such as flexibility, individuality, the network and an increase in contracted labour). My final chapter delineates two socialised artistic practices that exemplify opposing reactions to neoliberal ideologies: relational aesthetics and art-activism. I argue that relational aesthetics adapts to these ideologies whilst art-activism attempts to critique capitalism by stepping outside of the art institution and into ‘everyday life’. Art-activism does not, however, divorce itself entirely from neoliberalism by doing so. I conclude my thesis by considering these newer artistic practices in relation to the task of the historical avant-garde (that is, the return of art to life praxis) and propose that the art-activists are the art practitioners who have come closest to achieving this task.
Subjects/Keywords: 708
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APA (6th Edition):
Child, D. L. (2011). Socialised labour under change : collaboration, contracted labour and collective modes of production in art since the 1960s. (Doctoral Dissertation). University of Leeds. Retrieved from http://etheses.whiterose.ac.uk/2420/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557372
Chicago Manual of Style (16th Edition):
Child, Danielle Leanne. “Socialised labour under change : collaboration, contracted labour and collective modes of production in art since the 1960s.” 2011. Doctoral Dissertation, University of Leeds. Accessed April 10, 2021.
http://etheses.whiterose.ac.uk/2420/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557372.
MLA Handbook (7th Edition):
Child, Danielle Leanne. “Socialised labour under change : collaboration, contracted labour and collective modes of production in art since the 1960s.” 2011. Web. 10 Apr 2021.
Vancouver:
Child DL. Socialised labour under change : collaboration, contracted labour and collective modes of production in art since the 1960s. [Internet] [Doctoral dissertation]. University of Leeds; 2011. [cited 2021 Apr 10].
Available from: http://etheses.whiterose.ac.uk/2420/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557372.
Council of Science Editors:
Child DL. Socialised labour under change : collaboration, contracted labour and collective modes of production in art since the 1960s. [Doctoral Dissertation]. University of Leeds; 2011. Available from: http://etheses.whiterose.ac.uk/2420/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557372
16.
French, Jade.
Art as advocacy : exploring curatorial practice by learning disabled artists as a site for self-advocacy.
Degree: PhD, 2017, University of Leeds
URL: http://etheses.whiterose.ac.uk/19432/
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.736471
► Over the past 40 years within the UK the concept of self-advocacy has gained momentum by enabling learning disabled people to speak out in order…
(more)
▼ Over the past 40 years within the UK the concept of self-advocacy has gained momentum by enabling learning disabled people to speak out in order to affect change. In the same period, inclusive approaches have been taken up both in research and in the arts, reflecting a growing recognition of learning disabled people as researchers, artists, performers and communicators. Yet curation has rarely been used as an inclusive practice and then principally in museums dealing with history rather than in the context of art galleries. Via a practice-led research approach, Art as Advocacy addressed this gap by exploring the potential for curatorial practice by learning disabled artists to act as a site for self-advocacy. It brought together members of self-advocacy group Halton Speak Out and members of Bluecoat's inclusive arts project Blue Room, to curate a visual arts exhibition titled Auto Agents. These curators developed an exhibition theme, collaborated with artists, commissioned new artwork and designed accessible interpretation for audiences. Through curating Auto Agents, the purpose of this research has been to produce a rich account of the ways in which curatorial and self-advocacy practices intersect. This intersection, whereby tools found in self-advocacy were carried over into curatorship, provided new methodologies that enabled curating to become an inclusive practice. This attention to process results not only in curating becoming more usable by more people, but also more transparent and rigorous. By achieving this, this research delineates to understanding the processes and practices by which our cultural spaces can become democratised.
Subjects/Keywords: 708
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APA ·
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APA (6th Edition):
French, J. (2017). Art as advocacy : exploring curatorial practice by learning disabled artists as a site for self-advocacy. (Doctoral Dissertation). University of Leeds. Retrieved from http://etheses.whiterose.ac.uk/19432/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.736471
Chicago Manual of Style (16th Edition):
French, Jade. “Art as advocacy : exploring curatorial practice by learning disabled artists as a site for self-advocacy.” 2017. Doctoral Dissertation, University of Leeds. Accessed April 10, 2021.
http://etheses.whiterose.ac.uk/19432/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.736471.
MLA Handbook (7th Edition):
French, Jade. “Art as advocacy : exploring curatorial practice by learning disabled artists as a site for self-advocacy.” 2017. Web. 10 Apr 2021.
Vancouver:
French J. Art as advocacy : exploring curatorial practice by learning disabled artists as a site for self-advocacy. [Internet] [Doctoral dissertation]. University of Leeds; 2017. [cited 2021 Apr 10].
Available from: http://etheses.whiterose.ac.uk/19432/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.736471.
Council of Science Editors:
French J. Art as advocacy : exploring curatorial practice by learning disabled artists as a site for self-advocacy. [Doctoral Dissertation]. University of Leeds; 2017. Available from: http://etheses.whiterose.ac.uk/19432/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.736471
University of Leeds
17.
Eggleton, Lara Eve.
Re-envisioning the Alhambra : readings of architecture and ornament from medieval to modern.
Degree: PhD, 2011, University of Leeds
URL: http://etheses.whiterose.ac.uk/1736/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.541063
► The Alhambra, a medieval Islamic palatine city located in Granada, Spain, is examined in this thesis as the product of material transformations and changing visual…
(more)
▼ The Alhambra, a medieval Islamic palatine city located in Granada, Spain, is examined in this thesis as the product of material transformations and changing visual perceptions over time. Selected areas of the Nasrid palatial complex (1238-1492) are explored within the context of their production, their later alterations under Christian rule, and in relation to the interpretations of British travellers, historians, designers and enthusiasts throughout the long nineteenth century. Through the formation of individual and collective identities, responses to cultural difference, and an active engagement with the past, the Alhambra grew to become a commemorative monument of multiple and interrelated histories. In addressing the overlapping structural and ornamental layers which make up its form, this study challenges the historiographic limitations of categories such as 'medieval' and 'modern', as well as formal categories such as 'ornament' and 'architecture', which render some art histories more visible than others. A series of case studies examine the conditions that allowed for its reshaping, and the variety of ways its hybrid spaces have been re-envisioned. Chapters one and two focus on the visual manifestations of political agendas across both Muslim and Christian periods of rule, and challenge the application of binary models of influence and conflict to the periods leading up to and following the conquest of Granada in 1492. Subsequent chapters address nineteenth-century perspectives, revealing the perceptual frameworks that informed different impressions of the monument for popular and critical audiences. Descriptions and representations are discussed in accordance with Romantic visualising tropes such as the Gothic and the Sublime, and the Alhambra is situated within debates over national identity and technological progress during the Great Exhibitions of the mid-century. The Alhambra is thus understood both in terms of its cumulative value, and its individual layers of meaning that belong to plural histories and trajectories of influence.
Subjects/Keywords: 708
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APA ·
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MLA ·
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Export
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Manager
APA (6th Edition):
Eggleton, L. E. (2011). Re-envisioning the Alhambra : readings of architecture and ornament from medieval to modern. (Doctoral Dissertation). University of Leeds. Retrieved from http://etheses.whiterose.ac.uk/1736/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.541063
Chicago Manual of Style (16th Edition):
Eggleton, Lara Eve. “Re-envisioning the Alhambra : readings of architecture and ornament from medieval to modern.” 2011. Doctoral Dissertation, University of Leeds. Accessed April 10, 2021.
http://etheses.whiterose.ac.uk/1736/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.541063.
MLA Handbook (7th Edition):
Eggleton, Lara Eve. “Re-envisioning the Alhambra : readings of architecture and ornament from medieval to modern.” 2011. Web. 10 Apr 2021.
Vancouver:
Eggleton LE. Re-envisioning the Alhambra : readings of architecture and ornament from medieval to modern. [Internet] [Doctoral dissertation]. University of Leeds; 2011. [cited 2021 Apr 10].
Available from: http://etheses.whiterose.ac.uk/1736/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.541063.
Council of Science Editors:
Eggleton LE. Re-envisioning the Alhambra : readings of architecture and ornament from medieval to modern. [Doctoral Dissertation]. University of Leeds; 2011. Available from: http://etheses.whiterose.ac.uk/1736/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.541063
University of Leeds
18.
Brogden, James William.
Terra nullius : encountering the non-place.
Degree: PhD, 2011, University of Leeds
URL: http://etheses.whiterose.ac.uk/1918/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544559
► This practice-led Ph.D. study examines the potential conception of urban non-places through art photographic practice and writing (the text). The term “non-place(s)” (borrowed from Marc…
(more)
▼ This practice-led Ph.D. study examines the potential conception of urban non-places through art photographic practice and writing (the text). The term “non-place(s)” (borrowed from Marc Augé, the French anthropologist) is used within this study as a deliberate provocation to the reader to re-engage with those transitional areas of land situated in the urban landscape that are viewed as interstitial - without a clear function or meaning compared to more valued spaces in the city, such as parks, and memorial sites. In general, these non-places are prohibited sites, which to some degree, adds to their anonymity in relation to the general public’s awareness. Most people (apart from a growing interest from urban psycho-geographers) avoid these sites, with their knowledge largely based upon the ubiquitous version promulgated by the media and potential developers of these “wasteland” / “brown field” sites (often associated with those areas of derelict land left abandoned since the 1970s post-industrial decline in England), which through such nomenclature, serves to under-value the unique qualities that this study seeks to present /reclaim. In this sense, one of the discursive aims of this study is to challenge the more expedient perception of such places by critically ‘erasing’ the prefix non, to reveal a place with meaning, that might be valued in a more imaginative way. In this sense, the practice acts as both a critical catalyst, and conduit, through which various disciplines are conflated in order to propose a different conception of non-places. A key aim within this text, is to emphasise the synergy between photographic practice and its equivalent in writing. Each embodies the other to form the practice. They are not separate elements within the Ph.D. submission. Although the leitmotiv of the study is located in the field of landscape representation, the text includes an eclectic range of allusions from within visual culture, to promote a broader academic debate between photography and the expanding fields of landscape studies, new cultural geography, anthropology, memory studies, new urbanism, and eco-criticism. The study proposes that through such an inter-disciplinary discourse mediated by photographic practice, a more idiosyncratic critical lens might emerge to challenge how we might conceive the contemporary Terra Nullius - the urban non-place(s).This text should be read in conjunction with viewing the Dossier (Volume 2): a visual record of the photographic archive that was produced during the period of the Ph.D. study. It should also be considered in relation to the works included in the final exhibition of photographs Terra Nullius: Encountering the Non-Place, which took place in The Corridor Gallery, School of Design, University of Leeds, in December 2010. A list of these works follows.
Subjects/Keywords: 708
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APA ·
Chicago ·
MLA ·
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CSE |
Export
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Manager
APA (6th Edition):
Brogden, J. W. (2011). Terra nullius : encountering the non-place. (Doctoral Dissertation). University of Leeds. Retrieved from http://etheses.whiterose.ac.uk/1918/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544559
Chicago Manual of Style (16th Edition):
Brogden, James William. “Terra nullius : encountering the non-place.” 2011. Doctoral Dissertation, University of Leeds. Accessed April 10, 2021.
http://etheses.whiterose.ac.uk/1918/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544559.
MLA Handbook (7th Edition):
Brogden, James William. “Terra nullius : encountering the non-place.” 2011. Web. 10 Apr 2021.
Vancouver:
Brogden JW. Terra nullius : encountering the non-place. [Internet] [Doctoral dissertation]. University of Leeds; 2011. [cited 2021 Apr 10].
Available from: http://etheses.whiterose.ac.uk/1918/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544559.
Council of Science Editors:
Brogden JW. Terra nullius : encountering the non-place. [Doctoral Dissertation]. University of Leeds; 2011. Available from: http://etheses.whiterose.ac.uk/1918/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544559
19.
Nisbett, Melissa Jane.
New perspectives on instrumentalism : stratagems, subversion and the case of cultural diplomacy.
Degree: PhD, 2011, Sheffield Hallam University
URL: http://shura.shu.ac.uk/4074/
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534497
► This thesis examines the emergence of 'cultural diplomacy' within UK cultural policy to explore the policy-making process. The literature review in Chapter Two observes that…
(more)
▼ This thesis examines the emergence of 'cultural diplomacy' within UK cultural policy to explore the policy-making process. The literature review in Chapter Two observes that instrumental cultural policies are largely discussed in philosophical and binary terms, rather than being investigated empirically or a more nuanced approach taken. Questions are raised as to the empirical grounding of cultural policy studies and a disconnection between theory and practice is identified, which proves to be a recurrent theme. The focus then shifts to an exploration of the methodological framework in Chapter Three. Based on a narrative account, the empirical process is defined, described and justified, outlining the sampling strategy, data collection methods and data analysis process. Within this, an empirical vacuum within cultural policy studies is revealed. Chapter Four argues that the written policy and strategy documents are rationales for the protection, survival and growth of the government department, agency and museum that they represent, as opposed to the operational action plans that they first appear or are assumed to be. Chapter Five presents the interview data to uncover the concealed mechanics of policy-making. Rather than being formalised as a written document, a new instrumental policy is created on the basis of informal verbal exchanges and social interactions between a cultural elite. This policy expands the scale and scope of existing cultural work, proving that instrumental policies can be beneficial, open, non-prescriptive and flexible, in stark contrast to the literature on the subject. The empirical data from document analysis and interviews reveal an unexpected scenario whereby the conventional power structure is subverted and the arts covertly resist top-down management. Chapter Six reflects on the case of cultural diplomacy in relation to the making of policy more generally. Drawing on a number of examples from political science, this chapter demonstrates that the findings from the empirical data are not distinct or unique, but are common features within social policy. The research concludes by calling for a better understanding of instrumental cultural policies. Recommendations are made to strengthen the empirical base of the field, reexamine key assumptions and look beyond cultural studies to ensure quality, accuracy and credibility within research.
Subjects/Keywords: 708
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APA ·
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MLA ·
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CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Nisbett, M. J. (2011). New perspectives on instrumentalism : stratagems, subversion and the case of cultural diplomacy. (Doctoral Dissertation). Sheffield Hallam University. Retrieved from http://shura.shu.ac.uk/4074/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534497
Chicago Manual of Style (16th Edition):
Nisbett, Melissa Jane. “New perspectives on instrumentalism : stratagems, subversion and the case of cultural diplomacy.” 2011. Doctoral Dissertation, Sheffield Hallam University. Accessed April 10, 2021.
http://shura.shu.ac.uk/4074/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534497.
MLA Handbook (7th Edition):
Nisbett, Melissa Jane. “New perspectives on instrumentalism : stratagems, subversion and the case of cultural diplomacy.” 2011. Web. 10 Apr 2021.
Vancouver:
Nisbett MJ. New perspectives on instrumentalism : stratagems, subversion and the case of cultural diplomacy. [Internet] [Doctoral dissertation]. Sheffield Hallam University; 2011. [cited 2021 Apr 10].
Available from: http://shura.shu.ac.uk/4074/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534497.
Council of Science Editors:
Nisbett MJ. New perspectives on instrumentalism : stratagems, subversion and the case of cultural diplomacy. [Doctoral Dissertation]. Sheffield Hallam University; 2011. Available from: http://shura.shu.ac.uk/4074/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534497
University of Newcastle upon Tyne
20.
Schrag, Anthony Gordon.
Agonistic tendencies : the role of conflict within institutionally supported participatory practices.
Degree: PhD, 2016, University of Newcastle upon Tyne
URL: http://theses.ncl.ac.uk/jspui/handle/10443/3270
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703134
► In the UK, over the past two decades, participatory art practices – particularly those funded by Government/Local Authorities – have been employed to address issues…
(more)
▼ In the UK, over the past two decades, participatory art practices – particularly those funded by Government/Local Authorities – have been employed to address issues such as community cohesion, social inclusion, or to assist groups perceived as marginalised. This has created an over-arching impetus for this kind of work to be ameliorative, seek consensus and eradicate conflict. The public sphere, however, is an inherently conflictual zone, constructed of debate, discourse and difference, and this creates a disjuncture between the intention of commissioning participatory practices and what these practices can feasibly achieve. This research examines the place of conflict in institutionally commissioned participatory art projects. Defining ‘conflict’ as the iterations of power that challenge the certainty of our hegemonies and/or our place within the world, it aims to address the instrumentalisation of the practice and asks: how can conflict be productive in participatory art practices? Through practice-led research enacted through a series of carefully considered residencies in institutions which influence or enact participative arts practices (for example, a local authority, museum, and educational establishment), the research introduces the notion of conflict to problematise the discourse around institutionallyenacted participative projects and, in particular, the intent of the institutions and/or its underlying policy. Moreover, the adopted methodology of physicality operates as a material “that does not intimidate” (Thomas Hirschhorn, 2000) and one which can act as both a mechanism of engagement to reach a wide cross-section of the public(s), but also a form through which to ground discourse in the very embodied nature of participatory work. The research is significant as the vast majority of participatory artworks now occur within institutionally-supported contexts via funding from arts-council and trusts, or through educational/outreach remits. It draws on Chantal Mouffe’s notion of agonistic pluralism to inquire into the relationship between institution, artist and public. It reveals that conflictual participatory artworks are able to not only uncover, but also challenge, the (often hidden) instrumentalised approaches of institutions. This agonistic conflict is productive in ensuring the agency of all participants (including those within the institution), but also in exploring the critical, ethical and political potentials of this way of working. The unique contribution to the field lies in the development of productive relationships with institutions, and this approach stands apart from the traditional activist and/or political works that seek an ‘exodus’ from pre-existing systems. Additionally, it unravels the critical discourse on the practice currently dominated by the almost binary opposition from critics Grant Kester and Claire Bishop and presents a novel synthesis of their thinking in the form of a ‘conflictually dialogic’ approach. The aim of the research is to provide new ethical and political…
Subjects/Keywords: 708
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APA ·
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MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Schrag, A. G. (2016). Agonistic tendencies : the role of conflict within institutionally supported participatory practices. (Doctoral Dissertation). University of Newcastle upon Tyne. Retrieved from http://theses.ncl.ac.uk/jspui/handle/10443/3270 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703134
Chicago Manual of Style (16th Edition):
Schrag, Anthony Gordon. “Agonistic tendencies : the role of conflict within institutionally supported participatory practices.” 2016. Doctoral Dissertation, University of Newcastle upon Tyne. Accessed April 10, 2021.
http://theses.ncl.ac.uk/jspui/handle/10443/3270 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703134.
MLA Handbook (7th Edition):
Schrag, Anthony Gordon. “Agonistic tendencies : the role of conflict within institutionally supported participatory practices.” 2016. Web. 10 Apr 2021.
Vancouver:
Schrag AG. Agonistic tendencies : the role of conflict within institutionally supported participatory practices. [Internet] [Doctoral dissertation]. University of Newcastle upon Tyne; 2016. [cited 2021 Apr 10].
Available from: http://theses.ncl.ac.uk/jspui/handle/10443/3270 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703134.
Council of Science Editors:
Schrag AG. Agonistic tendencies : the role of conflict within institutionally supported participatory practices. [Doctoral Dissertation]. University of Newcastle upon Tyne; 2016. Available from: http://theses.ncl.ac.uk/jspui/handle/10443/3270 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703134
University of Newcastle upon Tyne
21.
Lambert, Janet Katharine.
Experiencing place : mapping connectivity in the North Pennines.
Degree: PhD, 2011, University of Newcastle upon Tyne
URL: http://theses.ncl.ac.uk/jspui/handle/10443/1149
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542203
► This study of Bruthwaite Forest in north Cumbria investigates interaction with a changing rural landscape, seeking to map connectivity by transcribing subjective experience of place.…
(more)
▼ This study of Bruthwaite Forest in north Cumbria investigates interaction with a changing rural landscape, seeking to map connectivity by transcribing subjective experience of place. The random exercise of walking stimulates thoughts and observations that generate a textual and visual narrative of personal involvement in the landscape. Intensive fieldwork and historical research are the basis of an art practice that embodies the material reality of the place in the creation of new artefacts that investigate and comment upon structural change and decay, the topography of place-names, and the human traits of finding and collection. The research area is defined by the boundary of a former hunting forest, now mostly within the Geltsdale nature reserve and the North Pennines Area of Outstanding Natural Beauty. My contribution to the history of Bruthwaite Forest includes the location and photography of extant and ruined houses and structures including cairns, bridges, boundary stones, wells and other features of significance to inhabitants in the past. I have tentatively identified and located several medieval shielings, documented all the sheepfolds, and re-placed some ‘lost’ place-names, thus bringing back into current memory names and places which were once common knowledge to those who lived here. The photographic and ceramic artworks are integral to the study, responding to the characteristics of this upland area and acting as a stimulus to reflection on the human place within the natural world.
Subjects/Keywords: 708
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APA ·
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Export
to Zotero / EndNote / Reference
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APA (6th Edition):
Lambert, J. K. (2011). Experiencing place : mapping connectivity in the North Pennines. (Doctoral Dissertation). University of Newcastle upon Tyne. Retrieved from http://theses.ncl.ac.uk/jspui/handle/10443/1149 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542203
Chicago Manual of Style (16th Edition):
Lambert, Janet Katharine. “Experiencing place : mapping connectivity in the North Pennines.” 2011. Doctoral Dissertation, University of Newcastle upon Tyne. Accessed April 10, 2021.
http://theses.ncl.ac.uk/jspui/handle/10443/1149 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542203.
MLA Handbook (7th Edition):
Lambert, Janet Katharine. “Experiencing place : mapping connectivity in the North Pennines.” 2011. Web. 10 Apr 2021.
Vancouver:
Lambert JK. Experiencing place : mapping connectivity in the North Pennines. [Internet] [Doctoral dissertation]. University of Newcastle upon Tyne; 2011. [cited 2021 Apr 10].
Available from: http://theses.ncl.ac.uk/jspui/handle/10443/1149 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542203.
Council of Science Editors:
Lambert JK. Experiencing place : mapping connectivity in the North Pennines. [Doctoral Dissertation]. University of Newcastle upon Tyne; 2011. Available from: http://theses.ncl.ac.uk/jspui/handle/10443/1149 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542203
University of Newcastle upon Tyne
22.
Keay, Catherine.
Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents.
Degree: PhD, 2011, University of Newcastle upon Tyne
URL: http://theses.ncl.ac.uk/jspui/handle/10443/1124
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542205
► Unforeseen Outcomes: The Role of Aleatory and Rhizomic Processes in Sculptural Form and Written Equivalents The aims of this research are subsumed under two main…
(more)
▼ Unforeseen Outcomes: The Role of Aleatory and Rhizomic Processes in Sculptural Form and Written Equivalents The aims of this research are subsumed under two main questions: • What means and materials can be used to balance the relinquishing of authorial control in sculptural production with outcomes which retain formal and semantic coherence? • Is it possible to devise a written equivalent both to elucidate this aim and reflect subjective creative processes in sculptural practice? The research aimed to apply aleatory, generative and research-based approaches to contemporary art practice in order to articulate an experience of abjection. A review of relevant writing on these themes developed an argument for abjection to be understood as a state of ambiguity or being overwhelmed. A review of relevant artworks suggested clay, physical text and natural processes of change as materials and methods appropriate to answering the first research question. The work submitted in response to this comprises three distinct but connected bodies of art work: • Four terracotta sculptures of script, submerged in seawater, as substrates for living marine organisms to determine the final form of the works. • Eight large sculptures, an accompanying etching and two videos whereby monologue was rendered in extruded clay and shaped by gravity to express the vulnerability of its speaker. • Six digital prints in which interventions by colonies of ants on ineffectual imperative slogans are juxtaposed with photographs of 1930s Italian architecture for children. In response to the second research question, and in line with the aleatory strategies of writers and artists influential on this project, five separate booklets without a predetermined sequence present background research relevant to particular aspects of this practical work. The writing of these reflexive discourses draws on the prose style of Sebald, a writer whose work is analogous to the creative processes of contemporary visual artists. Deleuze and Guattari’s concept of the rhizome provides a non hierarchical model for such practice as a structure which establishes connectivity between apparently disparate ideas. In the thesis, the production of the above works are described and discussed in relation to the contextual review and thematic concerns. The contributions of the research are outlined. The adoption of chance strategies and generative processes enables a fresh understanding of abjection to be expressed in contemporary sculpture; these are best deployed when the artist embraces abjection by allowing these processes to overwhelm their work. The more artistic control is relinquished to aleatory practice, the more innovative such strategies are in articulating this idea of abjection. Directions for future research building on these conclusions are suggested.
Subjects/Keywords: 708
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APA (6th Edition):
Keay, C. (2011). Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents. (Doctoral Dissertation). University of Newcastle upon Tyne. Retrieved from http://theses.ncl.ac.uk/jspui/handle/10443/1124 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542205
Chicago Manual of Style (16th Edition):
Keay, Catherine. “Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents.” 2011. Doctoral Dissertation, University of Newcastle upon Tyne. Accessed April 10, 2021.
http://theses.ncl.ac.uk/jspui/handle/10443/1124 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542205.
MLA Handbook (7th Edition):
Keay, Catherine. “Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents.” 2011. Web. 10 Apr 2021.
Vancouver:
Keay C. Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents. [Internet] [Doctoral dissertation]. University of Newcastle upon Tyne; 2011. [cited 2021 Apr 10].
Available from: http://theses.ncl.ac.uk/jspui/handle/10443/1124 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542205.
Council of Science Editors:
Keay C. Unforeseen outcomes : the role of aleatory and rhizomic processes in sculptural form and text equivalents. [Doctoral Dissertation]. University of Newcastle upon Tyne; 2011. Available from: http://theses.ncl.ac.uk/jspui/handle/10443/1124 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542205
University of Leicester
23.
Plumb, Sarah Jane.
How might the experiences and perspectives of community participants collaborating in socially engaged art practices be heard, considered and equally valued alongside those of the artist and gallery? : what ethical implications for the artist and the gallery arise when community participants' experiences are considered in this way?.
Degree: PhD, 2017, University of Leicester
URL: https://figshare.com/articles/How_might_the_experiences_and_perspectives_of_community_participants_collaborating_in_socially_engaged_art_practices_be_heard_considered_and_equally_valued_alongside_those_of_the_artist_and_gallery_What_ethical_implications_for_the_artist_a/10205240
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.733670
► Through this research I set out to highlight and address the absence of community participant voice in the analysis and critique of socially engaged art,…
(more)
▼ Through this research I set out to highlight and address the absence of community participant voice in the analysis and critique of socially engaged art, mediated through the gallery. I bring into question bold assertions of positive and beneficial individual and communal experiences resulting from engagement in such practice when, without hearing from all involved, we are unable to fully comprehend its potential. It seems inexplicable that a practice based on the premise of dialogue, which claims to be striving for equitable relations and talks of collaboration, does not give equal weighting to participants’ points of view. This deficiency perpetuates unbalanced power relations between gallery, artist, and community, and may also lead to disingenuous collaborative experiences and unethical practice. Amplifying the voices of individual community members involved in Open House, a three-year community engagement programme initiated by Kettle’s Yard working in collaboration with artist Emma Smith, and considering these perspectives through a critical research lens, I set out to develop and present a more nuanced understanding of the value of socially engaged art practices to community participants. Furthermore, through genuinely listening to concerns voiced by individual community members, I consider the ethical implications for the gallery and artist. My analysis and critique of Open House, alongside the responses and reflections of community participants, are used as a springboard from which to consider broader issues affecting the fields of socially engaged art and galleries. Through this research I hope to inform and enrich the work of galleries mediating socially engaged art.
Subjects/Keywords: 708
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APA (6th Edition):
Plumb, S. J. (2017). How might the experiences and perspectives of community participants collaborating in socially engaged art practices be heard, considered and equally valued alongside those of the artist and gallery? : what ethical implications for the artist and the gallery arise when community participants' experiences are considered in this way?. (Doctoral Dissertation). University of Leicester. Retrieved from https://figshare.com/articles/How_might_the_experiences_and_perspectives_of_community_participants_collaborating_in_socially_engaged_art_practices_be_heard_considered_and_equally_valued_alongside_those_of_the_artist_and_gallery_What_ethical_implications_for_the_artist_a/10205240 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.733670
Chicago Manual of Style (16th Edition):
Plumb, Sarah Jane. “How might the experiences and perspectives of community participants collaborating in socially engaged art practices be heard, considered and equally valued alongside those of the artist and gallery? : what ethical implications for the artist and the gallery arise when community participants' experiences are considered in this way?.” 2017. Doctoral Dissertation, University of Leicester. Accessed April 10, 2021.
https://figshare.com/articles/How_might_the_experiences_and_perspectives_of_community_participants_collaborating_in_socially_engaged_art_practices_be_heard_considered_and_equally_valued_alongside_those_of_the_artist_and_gallery_What_ethical_implications_for_the_artist_a/10205240 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.733670.
MLA Handbook (7th Edition):
Plumb, Sarah Jane. “How might the experiences and perspectives of community participants collaborating in socially engaged art practices be heard, considered and equally valued alongside those of the artist and gallery? : what ethical implications for the artist and the gallery arise when community participants' experiences are considered in this way?.” 2017. Web. 10 Apr 2021.
Vancouver:
Plumb SJ. How might the experiences and perspectives of community participants collaborating in socially engaged art practices be heard, considered and equally valued alongside those of the artist and gallery? : what ethical implications for the artist and the gallery arise when community participants' experiences are considered in this way?. [Internet] [Doctoral dissertation]. University of Leicester; 2017. [cited 2021 Apr 10].
Available from: https://figshare.com/articles/How_might_the_experiences_and_perspectives_of_community_participants_collaborating_in_socially_engaged_art_practices_be_heard_considered_and_equally_valued_alongside_those_of_the_artist_and_gallery_What_ethical_implications_for_the_artist_a/10205240 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.733670.
Council of Science Editors:
Plumb SJ. How might the experiences and perspectives of community participants collaborating in socially engaged art practices be heard, considered and equally valued alongside those of the artist and gallery? : what ethical implications for the artist and the gallery arise when community participants' experiences are considered in this way?. [Doctoral Dissertation]. University of Leicester; 2017. Available from: https://figshare.com/articles/How_might_the_experiences_and_perspectives_of_community_participants_collaborating_in_socially_engaged_art_practices_be_heard_considered_and_equally_valued_alongside_those_of_the_artist_and_gallery_What_ethical_implications_for_the_artist_a/10205240 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.733670
University of Leicester
24.
Slater, Robert Ernest Gregory.
Artists' colonies in Staithes and Runswick Bay c.1880-1914.
Degree: PhD, 2011, University of Leicester
URL: https://figshare.com/articles/Artists_colonies_in_Staithes_and_Runswick_Bay_c_1880-1914/10104662
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551805
► This is the first scholarly study of the artists' colonies of Staithes and Runswick Bay on the north Yorkshire coast from c.1880 to 1914. Artists…
(more)
▼ This is the first scholarly study of the artists' colonies of Staithes and Runswick Bay on the north Yorkshire coast from c.1880 to 1914. Artists who worked in both locations have attracted attention, but their work until now has not been considered as part of a wider painting community. It has not been recognised that Runswick Bay was a separate colony. Such a topic requires an interdisciplinary approach, drawing on the methods of social and economic history, together with local history studies as well as art history. Following an introduction establishing the motivations, approach and scope of the thesis, each chapter addresses a range of key issues and images. Chapter one examines the social and economic context in which the paintings were produced, with particular emphasis on the fishing industry. Chapter two examines the development of the artists' colonies, together with the relationship between the fisherfolk and the artists. It compares Staithes and Runswick Bay with Newlyn and Cullercoats as centres of cultural production. Chapter three explores the representation of both villages and their inhabitants in the paintings produced. Of particular concern is the depiction of fisherfolk as icons of a simpler life and the embodiment of Englishness. Chapter four discusses the exhibiting practices of the artists, particularly in London and northern England. It also looks at the role of individual patrons. Overall this work demonstrates that Staithes and Runswick Bay were two distinct artists' colonies and that they were of greater significance than has previously been recognised because of the number of artists who worked there and the paintings produced. A broader aim of this thesis is to suggest that the development of artists’ colonies, such as Staithes and Runswick Bay, contributed to definitions of Englishness and that the paintings produced there were expressions of national identity.
Subjects/Keywords: 708
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APA ·
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APA (6th Edition):
Slater, R. E. G. (2011). Artists' colonies in Staithes and Runswick Bay c.1880-1914. (Doctoral Dissertation). University of Leicester. Retrieved from https://figshare.com/articles/Artists_colonies_in_Staithes_and_Runswick_Bay_c_1880-1914/10104662 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551805
Chicago Manual of Style (16th Edition):
Slater, Robert Ernest Gregory. “Artists' colonies in Staithes and Runswick Bay c.1880-1914.” 2011. Doctoral Dissertation, University of Leicester. Accessed April 10, 2021.
https://figshare.com/articles/Artists_colonies_in_Staithes_and_Runswick_Bay_c_1880-1914/10104662 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551805.
MLA Handbook (7th Edition):
Slater, Robert Ernest Gregory. “Artists' colonies in Staithes and Runswick Bay c.1880-1914.” 2011. Web. 10 Apr 2021.
Vancouver:
Slater REG. Artists' colonies in Staithes and Runswick Bay c.1880-1914. [Internet] [Doctoral dissertation]. University of Leicester; 2011. [cited 2021 Apr 10].
Available from: https://figshare.com/articles/Artists_colonies_in_Staithes_and_Runswick_Bay_c_1880-1914/10104662 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551805.
Council of Science Editors:
Slater REG. Artists' colonies in Staithes and Runswick Bay c.1880-1914. [Doctoral Dissertation]. University of Leicester; 2011. Available from: https://figshare.com/articles/Artists_colonies_in_Staithes_and_Runswick_Bay_c_1880-1914/10104662 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551805
University of Leicester
25.
Lleras, Cristina.
Towards new narratives of the multicultural nation : negotiating difference in the National Museum of Colombia.
Degree: 2011, University of Leicester
URL: https://figshare.com/articles/Towards_New_Narratives_of_the_Multicultural_Nation_Negotiating_Difference_in_the_National_Museum_of_Colombia/10102790
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539812
► Changes in the concept of nation, accentuated by the challenges of globalisation and increasingly trenchant calls from minorities demanding representation, participation and inclusion, have prompted…
(more)
▼ Changes in the concept of nation, accentuated by the challenges of globalisation and increasingly trenchant calls from minorities demanding representation, participation and inclusion, have prompted national museums in many parts of the world to review their mission and develop new cultural narratives of the nation. Whilst many museums have sought to represent previously excluded communities in more inclusive and equitable ways, there is nevertheless only a budding understanding of how the tensions and complex challenges that arise from museums working with these groups can be resolved. Moreover, there is relatively limited research exploring how diverse audiences (majority and minority) perceive and engage with the new narratives that result from such initiatives. This thesis seeks to contribute to these gaps in knowledge and understanding by examining in detail issues of production and reception around a single case study: the temporary exhibition Velorios y santos vivos. Comunidades negras, afrocolombianas, raizales y palequeras at the National Museum of Colombia (2008), developed by the museum in response to growing demands from Afrocolombian activists for inclusion in the national narrative. This central case study is used to explore, more broadly, the role that national museums might play in fostering access to cultural rights in the multicultural nation while dealing with demands for historical reparation. Based on a mixed methods research design, the analysis encompasses both quantitative and qualitative methods of data collection with an emphasis on semi-structured interviews and focus groups. Results suggest that deeply entrenched stereotypes of minorities can be stubbornly resistant to change and that attempts to introduce new forms of representation can run the risk of essentialising or simplifying different cultures. At the same time, in-depth analysis of audience responses suggests that, despite these challenges, museum exhibitions can create arenas for productive intercultural exchange and serve as grounds for the observation and promotion of cultural rights for previously excluded groups.
Subjects/Keywords: 708
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APA ·
Chicago ·
MLA ·
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CSE |
Export
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Manager
APA (6th Edition):
Lleras, C. (2011). Towards new narratives of the multicultural nation : negotiating difference in the National Museum of Colombia. (Doctoral Dissertation). University of Leicester. Retrieved from https://figshare.com/articles/Towards_New_Narratives_of_the_Multicultural_Nation_Negotiating_Difference_in_the_National_Museum_of_Colombia/10102790 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539812
Chicago Manual of Style (16th Edition):
Lleras, Cristina. “Towards new narratives of the multicultural nation : negotiating difference in the National Museum of Colombia.” 2011. Doctoral Dissertation, University of Leicester. Accessed April 10, 2021.
https://figshare.com/articles/Towards_New_Narratives_of_the_Multicultural_Nation_Negotiating_Difference_in_the_National_Museum_of_Colombia/10102790 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539812.
MLA Handbook (7th Edition):
Lleras, Cristina. “Towards new narratives of the multicultural nation : negotiating difference in the National Museum of Colombia.” 2011. Web. 10 Apr 2021.
Vancouver:
Lleras C. Towards new narratives of the multicultural nation : negotiating difference in the National Museum of Colombia. [Internet] [Doctoral dissertation]. University of Leicester; 2011. [cited 2021 Apr 10].
Available from: https://figshare.com/articles/Towards_New_Narratives_of_the_Multicultural_Nation_Negotiating_Difference_in_the_National_Museum_of_Colombia/10102790 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539812.
Council of Science Editors:
Lleras C. Towards new narratives of the multicultural nation : negotiating difference in the National Museum of Colombia. [Doctoral Dissertation]. University of Leicester; 2011. Available from: https://figshare.com/articles/Towards_New_Narratives_of_the_Multicultural_Nation_Negotiating_Difference_in_the_National_Museum_of_Colombia/10102790 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539812
University of Surrey
26.
Durrant, Abigail Christine.
Family portrayals design to support photographic representations of intergenerational relationships in family homes.
Degree: PhD, 2011, University of Surrey
URL: http://epubs.surrey.ac.uk/846429/
;
http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533188
► Focusing on intergenerational relationships, this project combined theoretical and empirical studies to explore the use of photographs in self and family representation at home. This…
(more)
▼ Focusing on intergenerational relationships, this project combined theoretical and empirical studies to explore the use of photographs in self and family representation at home. This exploration was considered timely given the recent adoption of digital capture devices by both parents and children and the unprecedented amount of photographic content that they generate. This has raised interesting questions concerning the digitisation and democratisation of family photography, in terms of form and content. Inquiry was positioned in the field of Human Computer Interaction (HCI). The proposed contribution of the project to the HCI field was threefold. First, findings on the psychological function of photographic displays were intended to inform the design and innovation of display technologies for family homes. A focus upon home display was informed by the recent emergence of new display technology paradigms; and a critical perspective was adopted on the potential application of these technologies in home settings. Second, findings were intended to illuminate the social psychological function of photos as cultural artefacts. In order to inter-relate psychological understandings and the practice of design, the project engaged multiple discourses, inviting a third contribution: to develop the foundations of an interdisciplinary methodological approach. Epistemological compatibility for this inquiry was found in Phenomenology and the use of Interpretative Phenomenological Analysis (IPA). Qualitative research constituted three empirical studies, plus conceptual design exercises and the fabrication of a novel design for inclusion in empirical work. The research population comprised parents and their older teenagers, of British nationality, residing together in the United Kingdom. For Study One, participants were interviewed at home about their use of stored and displayed photos for portraying self and family. Analysis highlighted the significance of portrayals for shaping the social, moral order of homes, and the design implications of this. Study Two explored the potential integration of teenagers’ and parents’ photo displays in communal domestic spaces and how digital display design may support intergenerational expression. Findings supported integration and further design implications were generated. Study Three engaged the same teenagers exclusively and explored their use of Internet-enabled platforms at home for self and family representation. Findings revealed how their display practices mediated self-processes and related to the functioning of the family household. Psychological insights and design considerations were produced from this research. New questions and opportunities were established for future researchers.
Subjects/Keywords: 708
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APA ·
Chicago ·
MLA ·
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CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Durrant, A. C. (2011). Family portrayals design to support photographic representations of intergenerational relationships in family homes. (Doctoral Dissertation). University of Surrey. Retrieved from http://epubs.surrey.ac.uk/846429/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533188
Chicago Manual of Style (16th Edition):
Durrant, Abigail Christine. “Family portrayals design to support photographic representations of intergenerational relationships in family homes.” 2011. Doctoral Dissertation, University of Surrey. Accessed April 10, 2021.
http://epubs.surrey.ac.uk/846429/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533188.
MLA Handbook (7th Edition):
Durrant, Abigail Christine. “Family portrayals design to support photographic representations of intergenerational relationships in family homes.” 2011. Web. 10 Apr 2021.
Vancouver:
Durrant AC. Family portrayals design to support photographic representations of intergenerational relationships in family homes. [Internet] [Doctoral dissertation]. University of Surrey; 2011. [cited 2021 Apr 10].
Available from: http://epubs.surrey.ac.uk/846429/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533188.
Council of Science Editors:
Durrant AC. Family portrayals design to support photographic representations of intergenerational relationships in family homes. [Doctoral Dissertation]. University of Surrey; 2011. Available from: http://epubs.surrey.ac.uk/846429/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533188
University of the Arts London
27.
Barnes, Alison.
Realising the geo/graphic landscape of the everyday : a practice led investigation into an interdisciplinary geo/graphic design process.
Degree: PhD, 2011, University of the Arts London
URL: https://ualresearchonline.arts.ac.uk/id/eprint/5460/
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543446
► This research proposes that the ‘geo/graphic’ design process—an original synthesis of cultural geographic and graphic design theory and practice—offers much to geographers and graphic designers…
(more)
▼ This research proposes that the ‘geo/graphic’ design process—an original synthesis of cultural geographic and graphic design theory and practice—offers much to geographers and graphic designers in relation to the understanding and representation of place, and the potential of print based graphic design to create interactive, multi-linear spaces of exploration for the reader. The understanding and representation of place is a central issue within cultural geography, with place itself a complex notion defined in contemporary geographic terms as ongoing and relational. This problematises both understanding and representation, as places, in a sense, are never ‘fixed’. Addressing this, and the contention that much of place evades representation, many geographers have begun to use methods that site the researcher, and their understanding, in more embodied, experiential ways within place, and are drawing on ‘creative’ methods such as film-making or sound recording. Yet, the predominant representation of place within geography remains the academic text, with few attempts to explore the communicative possibilities of type and image in this context. So, the pages of academic journals remain conventional, though research methods develop in multi-sensory ways. This research bridges the apparent divide between methods of exploring and representing place, and in doing so positions the graphic designer as researcher and develops a process that engages with the understanding and representation of place in a holistic way. Foregrounding graphic design practice, it highlights design interventions that re-situate the page as an experiential place. A qualitative, naturalistic and reflective methodological approach is taken, drawing on social science methods and design practice. Ethnographic methods inspire a series of print based design test projects, each conveying a particular version of the London borough of Hackney—the testing ground for the research. Analysis of the design test projects, establishes key elements of the research and practice, thus articulating the specifics of the ‘geo/graphic’ design process.
Subjects/Keywords: 708
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Barnes, A. (2011). Realising the geo/graphic landscape of the everyday : a practice led investigation into an interdisciplinary geo/graphic design process. (Doctoral Dissertation). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/5460/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543446
Chicago Manual of Style (16th Edition):
Barnes, Alison. “Realising the geo/graphic landscape of the everyday : a practice led investigation into an interdisciplinary geo/graphic design process.” 2011. Doctoral Dissertation, University of the Arts London. Accessed April 10, 2021.
https://ualresearchonline.arts.ac.uk/id/eprint/5460/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543446.
MLA Handbook (7th Edition):
Barnes, Alison. “Realising the geo/graphic landscape of the everyday : a practice led investigation into an interdisciplinary geo/graphic design process.” 2011. Web. 10 Apr 2021.
Vancouver:
Barnes A. Realising the geo/graphic landscape of the everyday : a practice led investigation into an interdisciplinary geo/graphic design process. [Internet] [Doctoral dissertation]. University of the Arts London; 2011. [cited 2021 Apr 10].
Available from: https://ualresearchonline.arts.ac.uk/id/eprint/5460/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543446.
Council of Science Editors:
Barnes A. Realising the geo/graphic landscape of the everyday : a practice led investigation into an interdisciplinary geo/graphic design process. [Doctoral Dissertation]. University of the Arts London; 2011. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/5460/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543446
University of the Arts London
28.
Adjani, Raphael Jay.
Towards a deep ecology of art, technology and being : an ontological investigation with particular reference to the rock-cut edifices of Ellora, India, and Tadao Ando’s water temple.
Degree: PhD, 2011, University of the Arts London
URL: https://ualresearchonline.arts.ac.uk/id/eprint/5452/
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543457
► This practice-based thesis is an interrogation of ‘being’, one not centred on the human being. It concerns a being that manifests through dynamic inter-relation between…
(more)
▼ This practice-based thesis is an interrogation of ‘being’, one not centred on the human being. It concerns a being that manifests through dynamic inter-relation between human and other entities and phenomena in the universe. It considers several interrelated questions, interrogating notions of 'relational being','non-anthropocentric being', 'the being of a space', ‘the space of being’. Ultimately, one is considering the implications of relational being for ‘deep ecology’. With regard ‘relational being’, key inter-related Buddhist ideas drive the thinking and practice: ‘relational origination’ (pratityasamutpada), and ‘emptiness’(shunyata). Furthermore at the heart of this particular history of technology is a discussion of the significance of zero. The Sanskrit term shunya, means both ‘zero’ and ‘empty’, and relates to shunyata. There are several principal objectives. Firstly an analysis of perceived relational dynamics in Ellora’s rock-cut architecture, technology, and ontology. Secondly, scrutiny of apparent correspondence between Ellora’s Edifice Twenty-Nine and a contemporary Tantric shrine: the Water Temple, constructed in 1991. Thirdly, an examination of ideas in contemporary science and technology that engender reconsiderations of notions of ‘relational being’. The primary practical outcomes are two films: relationship-place naka-ma and zero = every day? Both approach the question through phenomenological process, paralleling Ando’s conception of ‘architecture’ as an integrated and inter-acting entity of built edifice, wider landscape, and the spectatorship of persons who frequent it. This research engenders ‘new knowledge’ in terms of: offering pluralistic, trans-national and trans-disciplinary insight on current thinking relating to art, architecture, technology, spectatorship, and ontological practice; evolving knowledge with regard interactions between body, humanly constructed entities, wider environments/ecologies; engendering new perspectives on considerations of cyberspace, Ellora, Ando, and the Water Temple; contributing to a counter thesis vis-à-vis the colonial project of objectification and ossification of the other.
Subjects/Keywords: 708
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Manager
APA (6th Edition):
Adjani, R. J. (2011). Towards a deep ecology of art, technology and being : an ontological investigation with particular reference to the rock-cut edifices of Ellora, India, and Tadao Ando’s water temple. (Doctoral Dissertation). University of the Arts London. Retrieved from https://ualresearchonline.arts.ac.uk/id/eprint/5452/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543457
Chicago Manual of Style (16th Edition):
Adjani, Raphael Jay. “Towards a deep ecology of art, technology and being : an ontological investigation with particular reference to the rock-cut edifices of Ellora, India, and Tadao Ando’s water temple.” 2011. Doctoral Dissertation, University of the Arts London. Accessed April 10, 2021.
https://ualresearchonline.arts.ac.uk/id/eprint/5452/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543457.
MLA Handbook (7th Edition):
Adjani, Raphael Jay. “Towards a deep ecology of art, technology and being : an ontological investigation with particular reference to the rock-cut edifices of Ellora, India, and Tadao Ando’s water temple.” 2011. Web. 10 Apr 2021.
Vancouver:
Adjani RJ. Towards a deep ecology of art, technology and being : an ontological investigation with particular reference to the rock-cut edifices of Ellora, India, and Tadao Ando’s water temple. [Internet] [Doctoral dissertation]. University of the Arts London; 2011. [cited 2021 Apr 10].
Available from: https://ualresearchonline.arts.ac.uk/id/eprint/5452/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543457.
Council of Science Editors:
Adjani RJ. Towards a deep ecology of art, technology and being : an ontological investigation with particular reference to the rock-cut edifices of Ellora, India, and Tadao Ando’s water temple. [Doctoral Dissertation]. University of the Arts London; 2011. Available from: https://ualresearchonline.arts.ac.uk/id/eprint/5452/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543457
University of Dundee
29.
Milburn, J. H.
Paintings and their irreducibility to explanation : myth and multiform aesthetic experience.
Degree: PhD, 2011, University of Dundee
URL: https://discovery.dundee.ac.uk/en/studentTheses/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578786
► This Ph.D. consists of a written thesis developed alongside seventeen original oil paintings. The original purpose was to examine through thesis how creative painting practice…
(more)
▼ This Ph.D. consists of a written thesis developed alongside seventeen original oil paintings. The original purpose was to examine through thesis how creative painting practice and a reconsideration of myth in word and image would, or could, express my experience of post-war Bosnia in 1999. In light of the limitations identified with such an approach during the course of this study, the thesis became an analysis of the ways in which we explain art, focussing upon aspects of mythic explanation in particular. For example, by reconsidering James Macpherson‘s national epic Romantic myth The Poems of Ossian, I was able to study the main issues involved. Key writers include Joseph Campbell (1949), Carl Jung (1966) and Levi Strauss (1963/1968), before finally considering Wittgenstein's (1979) remarks on myth. Key contemporary artists include American Pop Surreal painters. The focus of this thesis is not explicitly about the war in Bosnia. It is not necessarily about myth, or of aesthetics philosophy, and it is not exclusively about the series of 17 original oil paintings developed during the course of this study. Rather this study concerns the way in which all of these elements combine to provide the rich and diverse human cultural experience we know as art. It considers thinking about the way in which art engages with the world, from an artist's perspective. The original contribution to knowledge arises from the way in which this study combines theory, practice and experience. The objective was therefore for original works of art to become the key to more interesting theorizing, and vice versa. The thesis concludes that painting is irreducible to explanation, and considers key research areas for future critical discourse.
Subjects/Keywords: 708
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APA (6th Edition):
Milburn, J. H. (2011). Paintings and their irreducibility to explanation : myth and multiform aesthetic experience. (Doctoral Dissertation). University of Dundee. Retrieved from https://discovery.dundee.ac.uk/en/studentTheses/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578786
Chicago Manual of Style (16th Edition):
Milburn, J H. “Paintings and their irreducibility to explanation : myth and multiform aesthetic experience.” 2011. Doctoral Dissertation, University of Dundee. Accessed April 10, 2021.
https://discovery.dundee.ac.uk/en/studentTheses/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578786.
MLA Handbook (7th Edition):
Milburn, J H. “Paintings and their irreducibility to explanation : myth and multiform aesthetic experience.” 2011. Web. 10 Apr 2021.
Vancouver:
Milburn JH. Paintings and their irreducibility to explanation : myth and multiform aesthetic experience. [Internet] [Doctoral dissertation]. University of Dundee; 2011. [cited 2021 Apr 10].
Available from: https://discovery.dundee.ac.uk/en/studentTheses/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578786.
Council of Science Editors:
Milburn JH. Paintings and their irreducibility to explanation : myth and multiform aesthetic experience. [Doctoral Dissertation]. University of Dundee; 2011. Available from: https://discovery.dundee.ac.uk/en/studentTheses/ae88fcfd-6c9c-42ef-8b0e-2c4a2b8a470d ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578786
Goldsmiths College (University of London)
30.
Gronemeyer, Wiebke.
The curatorial complex : social dimensions of knowledge production.
Degree: PhD, 2015, Goldsmiths College (University of London)
URL: https://doi.org/10.25602/GOLD.00015878
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676636
► My research explores whether and in what ways curatorial practices assume a social function. By analysing how artistic and curatorial practices can activate processes and…
(more)
▼ My research explores whether and in what ways curatorial practices assume a social function. By analysing how artistic and curatorial practices can activate processes and generate structures that facilitate dialogical spaces of negotiation between curators, artists and their publics, this research argues for an intrinsic social dimension to forms of knowledge production in the curated encounter. Point of departure for my research are the following examples: (1) Michael Fullerton’s exhibition Columbia (2010), Chisenhale Gallery, London; (2) The Potosí Principle (2010), HKW, Berlin; (3) Unitednationsplaza (2006-2007), a discursive art project organised by Anton Vidokle; (4) Former West (2008-2016), a multidimensional art research project coordinated by BAK, Utrecht. These examples are discussed on the backdrop of the continuous dematerialisation of practices in the expanded field of the curatorial. Rather than furthering the construction of an opposition between the “curatorial” and curating as exhibition-making, my research elaborates on the differences of exhibitionary, discursive, and performative forms of engagement arguing for a diversification of the exhibition as a medium of practice, not its dismissal. A central claim of this thesis is to perceive the exhibition as a space of action for public engagement beyond spectatorship and the production of sociality beyond hosting relations. Contextualised by a discussion of terminologies in social theory, such as communication, practice and sociality, this thesis develops a model of practice applicable to curating that operates self-reflexively with regard to the social, political and cultural conditions it is formed by. My research argues against an understanding of curatorial practices as a form of exhibiting and collecting the views and values belonging to a particular society, but claims a notion of practice that fosters the creation of sociality as an embodied form of knowledge production whose material quality is as important as its discursive capacity for emergence and enquiry.
Subjects/Keywords: 708
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Gronemeyer, W. (2015). The curatorial complex : social dimensions of knowledge production. (Doctoral Dissertation). Goldsmiths College (University of London). Retrieved from https://doi.org/10.25602/GOLD.00015878 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676636
Chicago Manual of Style (16th Edition):
Gronemeyer, Wiebke. “The curatorial complex : social dimensions of knowledge production.” 2015. Doctoral Dissertation, Goldsmiths College (University of London). Accessed April 10, 2021.
https://doi.org/10.25602/GOLD.00015878 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676636.
MLA Handbook (7th Edition):
Gronemeyer, Wiebke. “The curatorial complex : social dimensions of knowledge production.” 2015. Web. 10 Apr 2021.
Vancouver:
Gronemeyer W. The curatorial complex : social dimensions of knowledge production. [Internet] [Doctoral dissertation]. Goldsmiths College (University of London); 2015. [cited 2021 Apr 10].
Available from: https://doi.org/10.25602/GOLD.00015878 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676636.
Council of Science Editors:
Gronemeyer W. The curatorial complex : social dimensions of knowledge production. [Doctoral Dissertation]. Goldsmiths College (University of London); 2015. Available from: https://doi.org/10.25602/GOLD.00015878 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676636
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Open Access Theses and Dissertations
