subject:(Conceptual art)

Louisiana State University

1. Alford, Michael. Conditions Of My Release.

Degree: MFA, Fine Arts, 2013, Louisiana State University

URL: etd-11152013-141532 ; https://digitalcommons.lsu.edu/gradschool_theses/698

► ABSTRACT From the dawn of human history, technology has driven and shaped our evolution as a species. It has vastly accelerated our ability to communicate,… (more)

Subjects/Keywords: Duchampian; New Genre Conceptual Art

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APA (6^th Edition):

Alford, M. (2013). Conditions Of My Release. (Masters Thesis). Louisiana State University. Retrieved from etd-11152013-141532 ; https://digitalcommons.lsu.edu/gradschool_theses/698

Chicago Manual of Style (16^th Edition):

Alford, Michael. “Conditions Of My Release.” 2013. Masters Thesis, Louisiana State University. Accessed December 06, 2019. etd-11152013-141532 ; https://digitalcommons.lsu.edu/gradschool_theses/698.

MLA Handbook (7^th Edition):

Alford, Michael. “Conditions Of My Release.” 2013. Web. 06 Dec 2019.

Vancouver:

Alford M. Conditions Of My Release. [Internet] [Masters thesis]. Louisiana State University; 2013. [cited 2019 Dec 06]. Available from: etd-11152013-141532 ; https://digitalcommons.lsu.edu/gradschool_theses/698.

Council of Science Editors:

Alford M. Conditions Of My Release. [Masters Thesis]. Louisiana State University; 2013. Available from: etd-11152013-141532 ; https://digitalcommons.lsu.edu/gradschool_theses/698

University of Southern California

2. White, Adrienne M. Performed absence and a pre-formed audience: Martha Rosler's postcard novels and their implications for feminist art practice from the seventies to today.

Degree: Master of Public Art Studies, Public Art Studies, 2012, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/35391/rec/4992

► This study addresses Martha Rosler’s trilogy of postcard novels and her mode of distributing them between 1974 and 1976 as a conscious decision by a… (more)

Subjects/Keywords: fine arts; feminism; conceptual art

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APA (6^th Edition):

White, A. M. (2012). Performed absence and a pre-formed audience: Martha Rosler's postcard novels and their implications for feminist art practice from the seventies to today. (Masters Thesis). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/35391/rec/4992

Chicago Manual of Style (16^th Edition):

White, Adrienne M. “Performed absence and a pre-formed audience: Martha Rosler's postcard novels and their implications for feminist art practice from the seventies to today.” 2012. Masters Thesis, University of Southern California. Accessed December 06, 2019. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/35391/rec/4992.

MLA Handbook (7^th Edition):

White, Adrienne M. “Performed absence and a pre-formed audience: Martha Rosler's postcard novels and their implications for feminist art practice from the seventies to today.” 2012. Web. 06 Dec 2019.

Vancouver:

White AM. Performed absence and a pre-formed audience: Martha Rosler's postcard novels and their implications for feminist art practice from the seventies to today. [Internet] [Masters thesis]. University of Southern California; 2012. [cited 2019 Dec 06]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/35391/rec/4992.

Council of Science Editors:

White AM. Performed absence and a pre-formed audience: Martha Rosler's postcard novels and their implications for feminist art practice from the seventies to today. [Masters Thesis]. University of Southern California; 2012. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/35391/rec/4992

University of Wollongong

3. Kreckler, Derek. Ontological fragments: the construction of artworks beyond their materiality.

Degree: Doctor of Creative Arts, Faculty of Creative Arts, 2012, University of Wollongong

URL: 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/3681

► This study is an analysis of my research and working method in the production of ideas, objects and ephemera under the rubric of visual… (more)

▼ This study is an analysis of my research and working method in the production of ideas, objects and ephemera under the rubric of visual arts. In it I posit a way of making art that is an additive and intuitive process initiated by the maker and completed by the viewer. A constant theme throughout the thesis is an attempt to discuss the precise context and materials that go toward the making of an artwork, whilst recognising that art revels in many media and concepts and is not a static process. The evolution of sixteen artworks is considered including works from the Everyone Series (1977- 1990), The high cost of living (1992-2010) and my most recent series Appropriated Circumstance (2011-). The development of my artwork is discussed in relation to various processes including ideas about organisation and variety. Chance processes such as aleatory, indeterminacy, and probability are described and contextualised. In order to understand the context and ideas underpinning the doctoral exhibition, Appropriated Circumstance (2012) I have reflected on key works that mark transitions or changes in media, approach or content. This includes a discussion of two installations, Free Movies (SASA Adelaide 1978) and White Pointer (ICA PS1 New York 1992), in which the continuity of form is considered. Understanding the similarities of conceptual intent between these works, despite their different contexts and materiality, highlights the change in motivation and interactions of my oeuvre from 1977 – 2012. Artistic influences discussed are drawn from a range of disciplines, including the work and writings of Percy Grainger, and in particular, The Impress of personality in unwritten music (1915); Gertrude Steinʼs, What are master-pieces and why are there so few of them? (1936); Henri Bergsonʼs ideas on intuition and duration in The Creative Mind (1946); and John Cageʼs collection of essays, Silence (1961). Their ideas and influence is discussed in relation to several of my artworks. Sol LeWittʼs Sentences on Conceptual Art (1969), and Brian Enoʼs Organising and generating variety in the arts (1976) have constantly figured in my thinking over the last thirty-five years. Robert Pincus-Wittonʼs Theatre of The Conceptual: Autobiography and Myth (1973), and Postminimalism (1977) discovered during the research towards this thesis has contributed significantly to my thinking around the art-making process and context. This exegesis concludes by discussing the evolution and making of my most recent body of work, Appropriated Circumstance (2011 -) discussed in the context of artists, Thomas Struth, Peter Tyndall and Eugene von Guérard, as well as ideas informed by thinking and reading around the impact of European colonisation, Indigenous relationships to country, photography and landscape.

Subjects/Keywords: art; minimalism; conceptual; installation

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APA (6^th Edition):

Kreckler, D. (2012). Ontological fragments: the construction of artworks beyond their materiality. (Doctoral Dissertation). University of Wollongong. Retrieved from 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/3681

Chicago Manual of Style (16^th Edition):

Kreckler, Derek. “Ontological fragments: the construction of artworks beyond their materiality.” 2012. Doctoral Dissertation, University of Wollongong. Accessed December 06, 2019. 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/3681.

MLA Handbook (7^th Edition):

Kreckler, Derek. “Ontological fragments: the construction of artworks beyond their materiality.” 2012. Web. 06 Dec 2019.

Vancouver:

Kreckler D. Ontological fragments: the construction of artworks beyond their materiality. [Internet] [Doctoral dissertation]. University of Wollongong; 2012. [cited 2019 Dec 06]. Available from: 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/3681.

Council of Science Editors:

Kreckler D. Ontological fragments: the construction of artworks beyond their materiality. [Doctoral Dissertation]. University of Wollongong; 2012. Available from: 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/3681

University of British Columbia

4. Mitchell, David Brian. The art and language group : 1966 to 1973 .

Degree: 1976, University of British Columbia

URL: http://hdl.handle.net/2429/41950

► The history of Post-Object art can be dated from about 1966. The term Post-Object describes two classes of art activity: Post-Minimal and Conceptual. Post-Minimal art… (more)

Subjects/Keywords: Conceptual art

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APA (6^th Edition):

Mitchell, D. B. (1976). The art and language group : 1966 to 1973 . (Thesis). University of British Columbia. Retrieved from http://hdl.handle.net/2429/41950

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Mitchell, David Brian. “The art and language group : 1966 to 1973 .” 1976. Thesis, University of British Columbia. Accessed December 06, 2019. http://hdl.handle.net/2429/41950.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Mitchell, David Brian. “The art and language group : 1966 to 1973 .” 1976. Web. 06 Dec 2019.

Vancouver:

Mitchell DB. The art and language group : 1966 to 1973 . [Internet] [Thesis]. University of British Columbia; 1976. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/2429/41950.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Mitchell DB. The art and language group : 1966 to 1973 . [Thesis]. University of British Columbia; 1976. Available from: http://hdl.handle.net/2429/41950

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Oxford

5. Hanson, Louise Mary. Conceptual art : what is it?.

Degree: PhD, 2011, University of Oxford

URL: http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567918

► Conceptual Art (henceforth CA) has the peculiar status of being at once a neglected topic in philosophical aesthetics, and one on which a degree of… (more)

Subjects/Keywords: 709.04075; Philosophy; philosophy; aesthetics; Conceptual Art

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APA (6^th Edition):

Hanson, L. M. (2011). Conceptual art : what is it?. (Doctoral Dissertation). University of Oxford. Retrieved from http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567918

Chicago Manual of Style (16^th Edition):

Hanson, Louise Mary. “Conceptual art : what is it?.” 2011. Doctoral Dissertation, University of Oxford. Accessed December 06, 2019. http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567918.

MLA Handbook (7^th Edition):

Hanson, Louise Mary. “Conceptual art : what is it?.” 2011. Web. 06 Dec 2019.

Vancouver:

Hanson LM. Conceptual art : what is it?. [Internet] [Doctoral dissertation]. University of Oxford; 2011. [cited 2019 Dec 06]. Available from: http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567918.

Council of Science Editors:

Hanson LM. Conceptual art : what is it?. [Doctoral Dissertation]. University of Oxford; 2011. Available from: http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.567918

Leiden University

6. Iliopoulou, Anastasia Maria. From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975].

Degree: 2015, Leiden University

URL: http://hdl.handle.net/1887/36446

► This research looks at two parallel theoretical approaches. The first deals with contemporary exhibitions and the curatorial procedures that are introduced in the 1960s, while… (more)

Subjects/Keywords: Conceptual Art; Exhibitions; Sculpture; Stedelijk Museum; MoMA

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APA (6^th Edition):

Iliopoulou, A. M. (2015). From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975]. (Masters Thesis). Leiden University. Retrieved from http://hdl.handle.net/1887/36446

Chicago Manual of Style (16^th Edition):

Iliopoulou, Anastasia Maria. “From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975].” 2015. Masters Thesis, Leiden University. Accessed December 06, 2019. http://hdl.handle.net/1887/36446.

MLA Handbook (7^th Edition):

Iliopoulou, Anastasia Maria. “From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975].” 2015. Web. 06 Dec 2019.

Vancouver:

Iliopoulou AM. From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975]. [Internet] [Masters thesis]. Leiden University; 2015. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/1887/36446.

Council of Science Editors:

Iliopoulou AM. From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975]. [Masters Thesis]. Leiden University; 2015. Available from: http://hdl.handle.net/1887/36446

University of Saskatchewan

7. Partridge, Wenona. What's form got to do with it? : a discussion of the role played by form in our experience of art, viewed through the lens of modernist formalism and conceptual art.

Degree: 2014, University of Saskatchewan

URL: http://hdl.handle.net/10388/ETD-2014-06-1583

► My thesis explores the role played by form in our experience of objects of consciousness as art. In doing so, I look at the concept… (more)

▼ My thesis explores the role played by form in our experience of objects of consciousness as art. In doing so, I look at the concept of form as it was understood by prominent philosophers such as Plato and Aristotle, as well as form in Immanuel Kant’s aesthetics in The Critique of the Power of Judgment. My method is phenomenological and rooted in my experience of making and writing about art, as a student of studio art and of philosophy. To connect philosophical understandings of form to the experience of art in a way reflective of my experience, I show the connection between and influence on art critical understandings of form by philosophical understandings of form. In particular, I focus on Modernist formalism as Clive Bell, Roger Fry and Clement Greenberg articulated it. Modernist formalism played a role in the teaching style and content of art studio classes I attended. The role of form in our experience of art was problematized by Conceptual Art, which movement also deeply impacted the teaching style and content of my studio art classes. The tension I experienced between these two movements in art and its criticism led to my interest in this topic and informed my choice to limit the scope of my investigation to Modernist formalism and Conceptual Art. In particular, I focus on philosophically trained Conceptual Artists such as Adrian Piper and Joseph Kosuth. Changes in the way art was made and understood impacted the understanding of the concept of form not only for art critics, but also for philosophers. I include contemporary philosophical discussions of form by Bernard Freydberg and Rudolphe Gasché to show the movement and interrelatedness between art and philosophy about the concept of form. The conclusion I reach is that form in our experience of art is constructive of that experience if our consciousness of art objects is conceived of as an engaged, rather than disinterested. My rejection of disinterest in favour of engagement is adapted from Arnold Berleant’s account of the aesthetic experience. I retain a place for the object as it is given, using H.J. Gadamer’s terms “changing” and “unchanging aspects.” The object’s properties are its unchanging aspects while the shifting contextual ground on which art as an experience is built is the changing aspect. I conclude that form is a way of seeing that requires both of these aspects. Advisors/Committee Members: Regnier, Daniel, Pfeifer, Karl, Dayton, Eric, Shantz, Susan.

Subjects/Keywords: aesthetics; form; formalism; modernism; conceptual art

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APA (6^th Edition):

Partridge, W. (2014). What's form got to do with it? : a discussion of the role played by form in our experience of art, viewed through the lens of modernist formalism and conceptual art. (Thesis). University of Saskatchewan. Retrieved from http://hdl.handle.net/10388/ETD-2014-06-1583

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Partridge, Wenona. “What's form got to do with it? : a discussion of the role played by form in our experience of art, viewed through the lens of modernist formalism and conceptual art.” 2014. Thesis, University of Saskatchewan. Accessed December 06, 2019. http://hdl.handle.net/10388/ETD-2014-06-1583.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Partridge, Wenona. “What's form got to do with it? : a discussion of the role played by form in our experience of art, viewed through the lens of modernist formalism and conceptual art.” 2014. Web. 06 Dec 2019.

Vancouver:

Partridge W. What's form got to do with it? : a discussion of the role played by form in our experience of art, viewed through the lens of modernist formalism and conceptual art. [Internet] [Thesis]. University of Saskatchewan; 2014. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/10388/ETD-2014-06-1583.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Partridge W. What's form got to do with it? : a discussion of the role played by form in our experience of art, viewed through the lens of modernist formalism and conceptual art. [Thesis]. University of Saskatchewan; 2014. Available from: http://hdl.handle.net/10388/ETD-2014-06-1583

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Ottawa

8. Gollner, Adrian. Small Trinity .

Degree: 2016, University of Ottawa

URL: http://hdl.handle.net/10393/35201

► I have an interest in transposing elements of sound, time, and motion into other forms. The thesis exhibition, small Trinity, presents my efforts to capture… (more)

Subjects/Keywords: conceptual art; explosions; cast sculptures; Trinity

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APA (6^th Edition):

Gollner, A. (2016). Small Trinity . (Thesis). University of Ottawa. Retrieved from http://hdl.handle.net/10393/35201

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Gollner, Adrian. “Small Trinity .” 2016. Thesis, University of Ottawa. Accessed December 06, 2019. http://hdl.handle.net/10393/35201.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Gollner, Adrian. “Small Trinity .” 2016. Web. 06 Dec 2019.

Vancouver:

Gollner A. Small Trinity . [Internet] [Thesis]. University of Ottawa; 2016. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/10393/35201.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Gollner A. Small Trinity . [Thesis]. University of Ottawa; 2016. Available from: http://hdl.handle.net/10393/35201

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Rochester Institute of Technology

9. Ogden, Eve. "Click" (an experiment in virtual anthropology) or how I learned to stop worrying and love conceptual art.

Degree: School of Photographic Arts and Sciences (CIAS), 1997, Rochester Institute of Technology

URL: https://scholarworks.rit.edu/theses/421

Not provided. Advisors/Committee Members: Kelley, Angela, Starenko, Michael.

Subjects/Keywords: Photography; Conceptual art

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APA (6^th Edition):

Ogden, E. (1997). "Click" (an experiment in virtual anthropology) or how I learned to stop worrying and love conceptual art. (Thesis). Rochester Institute of Technology. Retrieved from https://scholarworks.rit.edu/theses/421

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Ogden, Eve. “"Click" (an experiment in virtual anthropology) or how I learned to stop worrying and love conceptual art.” 1997. Thesis, Rochester Institute of Technology. Accessed December 06, 2019. https://scholarworks.rit.edu/theses/421.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Ogden, Eve. “"Click" (an experiment in virtual anthropology) or how I learned to stop worrying and love conceptual art.” 1997. Web. 06 Dec 2019.

Vancouver:

Ogden E. "Click" (an experiment in virtual anthropology) or how I learned to stop worrying and love conceptual art. [Internet] [Thesis]. Rochester Institute of Technology; 1997. [cited 2019 Dec 06]. Available from: https://scholarworks.rit.edu/theses/421.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Ogden E. "Click" (an experiment in virtual anthropology) or how I learned to stop worrying and love conceptual art. [Thesis]. Rochester Institute of Technology; 1997. Available from: https://scholarworks.rit.edu/theses/421

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Sydney

10. Williams, Bryden John. 'A Hydrological Imaginary’ .

Degree: 2017, University of Sydney

URL: http://hdl.handle.net/2123/17891

► My work questions the ongoing dialogue between technology and nature. This dialogue is most evident in landscapes and their respective ecosystems, specifically rivers. These bodies… (more)

▼ My work questions the ongoing dialogue between technology and nature. This dialogue is most evident in landscapes and their respective ecosystems, specifically rivers. These bodies of water are a fluid mirror reflecting a wavering view of ourselves, a constructed human presence within the natural environment. This thesis offers a way of understanding these pipelines, dams, canals and attendant infrastructures in a conceptual manner. These encapsulating forms that interrupt, shape and utilise the natural realm are the facades of a hydrological imaginary. ‘A Hydrological Imaginary’ addresses this field of tension between the river and its artificial counterparts - canals, pipelines and human-made containments. The core of the thesis is a discussion of rivers, dams and water-based infrastructure that illustrates how environmentally engaged art discourses respond to the technological and sociocultural elements of water. This paper discusses the strategies of artists that work with bodies of water through photography, such as Australian artist David Stephenson and German artists Bernd and Hilla Becher along with my own photographic work. Multi-disciplinary artists such as UK artists Simon Starling and Rachel Whiteread are also discussed, along with the work of American artist Robert Smithson and American artist John Roloff. These conceptual art practices are to be connected to American writer David E. Nye and Scandinavian Professor Terje Tvedt’s ideas on the underlying histories of geopolitics, the technological sublime and Australian writer Martin Thomas’ ideas on the role of environmentalism in art. Thus, this thesis illustrates how art agitates the hydrological realm and contributes to the creation of new reflections, meanings and possibilities from the narratives of contained water, submerged histories and sociocultural attributes to the landscape. I have used my practice to bring context to these concepts around the ideas of contained nature and the movement of water in two solo exhibitions that featured video, photographic and kinetic sculptures created in a range of staged encounters with rivers in Eastern Australia. Alongside my previous work based on the Yangtze River in China in 2012, and work made within the Blue Mountains in 2012 – 2015 prior to commencing this Masters project, this thesis is a distillation of these seemingly disparate bodies of water. It is a narrative on historic systems, aesthetics and possibilities of the natural and the assisted movement of water.

Subjects/Keywords: Hydrological; Imaginary; Water; Art; Conceptual; River

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APA (6^th Edition):

Williams, B. J. (2017). 'A Hydrological Imaginary’ . (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/17891

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Williams, Bryden John. “'A Hydrological Imaginary’ .” 2017. Thesis, University of Sydney. Accessed December 06, 2019. http://hdl.handle.net/2123/17891.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Williams, Bryden John. “'A Hydrological Imaginary’ .” 2017. Web. 06 Dec 2019.

Vancouver:

Williams BJ. 'A Hydrological Imaginary’ . [Internet] [Thesis]. University of Sydney; 2017. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/2123/17891.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Williams BJ. 'A Hydrological Imaginary’ . [Thesis]. University of Sydney; 2017. Available from: http://hdl.handle.net/2123/17891

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

AUT University

11. Atkins, Michael. The entropy of a closed system can only increase, and will never decrease .

Degree: 2011, AUT University

URL: http://hdl.handle.net/10292/1123

► The aim of this practice-based art project is to explore the necessary absurdities of the established systems of scientific exploration, and how those absurdities are… (more)

Subjects/Keywords: Entropy; Art; Conceptual; Computer; Codes; Installation

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APA (6^th Edition):

Atkins, M. (2011). The entropy of a closed system can only increase, and will never decrease . (Thesis). AUT University. Retrieved from http://hdl.handle.net/10292/1123

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Atkins, Michael. “The entropy of a closed system can only increase, and will never decrease .” 2011. Thesis, AUT University. Accessed December 06, 2019. http://hdl.handle.net/10292/1123.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Atkins, Michael. “The entropy of a closed system can only increase, and will never decrease .” 2011. Web. 06 Dec 2019.

Vancouver:

Atkins M. The entropy of a closed system can only increase, and will never decrease . [Internet] [Thesis]. AUT University; 2011. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/10292/1123.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Atkins M. The entropy of a closed system can only increase, and will never decrease . [Thesis]. AUT University; 2011. Available from: http://hdl.handle.net/10292/1123

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Massey University

12. Shepherd, Richard. Running-room in the mangle of practice : contemporary art in the thick of things.

Degree: MFA, 2011, Massey University

URL: http://hdl.handle.net/10179/2347

► This document and the exhibited artwork it accompanies aims to perform a positive aesthetic of exile that enacts the dislocating and shattering strategies of spatial,… (more)

Subjects/Keywords: Space and time in art; Art installations; Conceptual art

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APA (6^th Edition):

Shepherd, R. (2011). Running-room in the mangle of practice : contemporary art in the thick of things. (Masters Thesis). Massey University. Retrieved from http://hdl.handle.net/10179/2347

Chicago Manual of Style (16^th Edition):

Shepherd, Richard. “Running-room in the mangle of practice : contemporary art in the thick of things.” 2011. Masters Thesis, Massey University. Accessed December 06, 2019. http://hdl.handle.net/10179/2347.

MLA Handbook (7^th Edition):

Shepherd, Richard. “Running-room in the mangle of practice : contemporary art in the thick of things.” 2011. Web. 06 Dec 2019.

Vancouver:

Shepherd R. Running-room in the mangle of practice : contemporary art in the thick of things. [Internet] [Masters thesis]. Massey University; 2011. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/10179/2347.

Council of Science Editors:

Shepherd R. Running-room in the mangle of practice : contemporary art in the thick of things. [Masters Thesis]. Massey University; 2011. Available from: http://hdl.handle.net/10179/2347

Columbia University

13. Frobes-Cross, Nicholas. Various Representational Tasks: Art and activism in the early work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976.

Degree: 2016, Columbia University

URL: https://doi.org/10.7916/D88K794J

► This dissertation presents the early work of Martha Rosler, Allan Sekula and Fred Lonidier as an attempt to intertwine political and aesthetic practice that was… (more)

▼ This dissertation presents the early work of Martha Rosler, Allan Sekula and Fred Lonidier as an attempt to intertwine political and aesthetic practice that was fundamentally distinct from the dominant, contemporaneous models of politicized avant-garde art. Throughout the first half of the 1970s these artists were in constant, close dialogue with one another, and, for the first time, this dissertation attempts to read their work during this period as a shared project. Considering the initial few years of their careers, it is an effort to understand how their practice emerged, and how it set itself apart from predominant forms of Conceptual art, post-Minimalism and institutional critique. In particular, it will explore how these three artists conceived of a relationship between political and aesthetic practice that was not dependent upon a self-reflexive investigation of their own art work's conditions of possibility. Drawing on realist and documentary traditions from the first half of the 20th century, Sekula, Rosler and Lonidier sought to create art that was always related to something beyond itself, developed in relation to the social world in which it existed. These artists neither assumed dependence on a given institutional, discursive formation, nor held out for an absolute escape from the institutions of the art world. Instead, they moved strategically between various locations, various publics and various discourses in a continual attempt to speak intelligibly within those sites most relevant to the political struggles they addressed. In order to understand this strategic movement, it is necessary to read these artists’ works as utterances within momentary, contested discursive fields. As a result, this dissertation will provide close readings of several works through a detailed consideration of the particular situations in which they were created, displayed and received. Whether as flyers handed out at protests or self-consciously gallery friendly photo-text works, every piece will be read as a precise intervention within a specific location. Following this approach, each chapter focuses on a small number of works and reads them within the social and political events they both instigate and enter into, whether those are, as in the first chapter, a public dispute over the nature of art between two academic departments, or, as in the second chapter, the protests against the Vietnam War. Through each of these analyses this dissertation outlines these artists' shared attempt to produce art that only emerges through the discourses into which it enters, but is never entirely home wherever it might find itself. By describing this fundamental premise of Rosler, Sekula and Lonidier's work, this dissertation both seeks to provide a more adequate accounting of this group’s shared project, and an alternative model for conceiving of the relation between political engagement and the post-war avant-garde.

Subjects/Keywords: Conceptual art; Art – Political aspects; Art; Sekula, Allan

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APA (6^th Edition):

Frobes-Cross, N. (2016). Various Representational Tasks: Art and activism in the early work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D88K794J

Chicago Manual of Style (16^th Edition):

Frobes-Cross, Nicholas. “Various Representational Tasks: Art and activism in the early work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976.” 2016. Doctoral Dissertation, Columbia University. Accessed December 06, 2019. https://doi.org/10.7916/D88K794J.

MLA Handbook (7^th Edition):

Frobes-Cross, Nicholas. “Various Representational Tasks: Art and activism in the early work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976.” 2016. Web. 06 Dec 2019.

Vancouver:

Frobes-Cross N. Various Representational Tasks: Art and activism in the early work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976. [Internet] [Doctoral dissertation]. Columbia University; 2016. [cited 2019 Dec 06]. Available from: https://doi.org/10.7916/D88K794J.

Council of Science Editors:

Frobes-Cross N. Various Representational Tasks: Art and activism in the early work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976. [Doctoral Dissertation]. Columbia University; 2016. Available from: https://doi.org/10.7916/D88K794J

Rochester Institute of Technology

14. Heffernan, Erika. Re learning to learn.

Degree: School of Photographic Arts and Sciences (CIAS), 2011, Rochester Institute of Technology

URL: https://scholarworks.rit.edu/theses/5226

► This thesis follows the personal story of a struggle with a learning disability and the resultant creation of a conceptual body of visual artwork titled… (more)

Subjects/Keywords: Art; Conceptual art; Disability; Interactive art; Learning; Working memory

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APA (6^th Edition):

Heffernan, E. (2011). Re learning to learn. (Thesis). Rochester Institute of Technology. Retrieved from https://scholarworks.rit.edu/theses/5226

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Heffernan, Erika. “Re learning to learn.” 2011. Thesis, Rochester Institute of Technology. Accessed December 06, 2019. https://scholarworks.rit.edu/theses/5226.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Heffernan, Erika. “Re learning to learn.” 2011. Web. 06 Dec 2019.

Vancouver:

Heffernan E. Re learning to learn. [Internet] [Thesis]. Rochester Institute of Technology; 2011. [cited 2019 Dec 06]. Available from: https://scholarworks.rit.edu/theses/5226.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Heffernan E. Re learning to learn. [Thesis]. Rochester Institute of Technology; 2011. Available from: https://scholarworks.rit.edu/theses/5226

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of California – San Diego

15. Walker, Evelyn. I'm the Dummy, You're the Dummy.

Degree: Visual Arts, 2018, University of California – San Diego

URL: http://www.escholarship.org/uc/item/3n3666zr

► This essay is best experienced in tandem with Evelyn Walker’s MFA thesis exhibition I’m the Dummy, You’re the Dummy. The paper has a split personality:… (more)

Subjects/Keywords: Art criticism; Conceptual Art; Performance Art; Puppet; Sculptural Art; Uncanny; Visual Art

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APA (6^th Edition):

Walker, E. (2018). I'm the Dummy, You're the Dummy. (Thesis). University of California – San Diego. Retrieved from http://www.escholarship.org/uc/item/3n3666zr

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Walker, Evelyn. “I'm the Dummy, You're the Dummy.” 2018. Thesis, University of California – San Diego. Accessed December 06, 2019. http://www.escholarship.org/uc/item/3n3666zr.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Walker, Evelyn. “I'm the Dummy, You're the Dummy.” 2018. Web. 06 Dec 2019.

Vancouver:

Walker E. I'm the Dummy, You're the Dummy. [Internet] [Thesis]. University of California – San Diego; 2018. [cited 2019 Dec 06]. Available from: http://www.escholarship.org/uc/item/3n3666zr.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Walker E. I'm the Dummy, You're the Dummy. [Thesis]. University of California – San Diego; 2018. Available from: http://www.escholarship.org/uc/item/3n3666zr

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Universitat de Barcelona

16. López Aguayo, Josefina. Instalaciones artísticas de interacción: el espacio de la metáfora.

Degree: Departament de Disseny i Imatge, 2016, Universitat de Barcelona

URL: http://hdl.handle.net/10803/384322

► Interactive art installations, a novel form of expression, have their roots in experimental art forms from the first decades of the XXth century. Thanks to… (more)

▼ Interactive art installations, a novel form of expression, have their roots in experimental art forms from the first decades of the XXth century. Thanks to recent developments in robotics, artificial intelligence and neuroscience, such installations have reached a new, highly sophis-ticated level of human-machine interactions. For such 'intelligent' spaces I use the term: Performative-Interactive Art Installations (P-IAIs). Due to the relative novelty of P-IAIs, there are no studies analyzing them from the human agent's perspective so far. For this purpose, I have reviewed the utility of three related cognitive linguistics frameworks: the Conceptual Metaphor Theory (Lakoff and Johnson), image schemas (Johnson) and the Conceptual Integration (Blending) Theory (Fauconnier and Turner) using twelve P-IAIs. The symbolic meanings of the analyzed P-IAIs have been converted into linguistics metaphors using Lakoffian models, which has turned out to be a useful but incomplete approach. The understanding of P-IAIs was subsequently improved by using tools from the Blending Theory (BT). BT combines present and the past contextual information of the agent, highlighting compression of vital relationships between these input mental spaces and producing so called blend. The study analyzes agent's sensorial processes (in particular: sensorimotor), perception, metaphor processing and emotional responses. The main results are: (i) automatic sensorimotor reactions invoked by the relevant subset of analyzed P-IAIs are important for understanding the implications of such P-IAIs; (ii) such installations induce sensorial and subsequent perceptive changes within the agent specific to P-IAIs. Finally, I propose that the Conceptual Integration Theory is an useful tool for interpreting agent's cognitive responses to IAI-P. Advisors/Committee Members: [email protected] (authoremail), false (authoremailshow), Vela, Alicia (director), Casacuberta, David, 1967- (director), Agustí, Eugènia (tutor), true (authorsendemail).

Subjects/Keywords: Art contemporani; Arte contemporáneo; Contemporary art; Instal·lacions (Art); Instalaciones (Arte); Installations (Art); Art conceptual; Arte conceptual; Conceptual art; Ciències Humanes i Socials; 7

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

López Aguayo, J. (2016). Instalaciones artísticas de interacción: el espacio de la metáfora. (Thesis). Universitat de Barcelona. Retrieved from http://hdl.handle.net/10803/384322

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

López Aguayo, Josefina. “Instalaciones artísticas de interacción: el espacio de la metáfora.” 2016. Thesis, Universitat de Barcelona. Accessed December 06, 2019. http://hdl.handle.net/10803/384322.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

López Aguayo, Josefina. “Instalaciones artísticas de interacción: el espacio de la metáfora.” 2016. Web. 06 Dec 2019.

Vancouver:

López Aguayo J. Instalaciones artísticas de interacción: el espacio de la metáfora. [Internet] [Thesis]. Universitat de Barcelona; 2016. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/10803/384322.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

López Aguayo J. Instalaciones artísticas de interacción: el espacio de la metáfora. [Thesis]. Universitat de Barcelona; 2016. Available from: http://hdl.handle.net/10803/384322

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Universitat de Barcelona

17. Varas Alarcón, Paulina. Cartografía crítica del conceptualismo en América Latina : 1960-1980.

Degree: Departament d'Història de l'Art, 2016, Universitat de Barcelona

URL: http://hdl.handle.net/10803/399648

► This research focuses on the complex territory that determines artistic practices between 1960 and 1980, a period during which the development of conceptualisms took place.… (more)

▼ This research focuses on the complex territory that determines artistic practices between 1960 and 1980, a period during which the development of conceptualisms took place. There has been a series of transits, displacements, exiles and problems that push the boundaries and overflow toward other territorialities that exceed the world order that kept conceptualism in a fixed place. This study investigates the following points: The itineraries of the notion of ideological conceptualism, from its origins and its subsequent usages; the debates linking discourse, moments, historical episodes and conceptual disputes regarding the internationalization of conceptualism in Latin America; and the conflicts in the transits of Latin American conceptualism with regard to its entering the canon of hegemonic conceptual art. This research argues that the identitary construction of some artistic practices under specific terminology has been an attempt to domesticate difference and to normalize the intrinsic threat that some works pose to the international system of art. One of the notions explored in this research is that of ideological conceptualism, which clearly appears as insufficient to refer to the modes of artistic production emerging in the seventies and eighties in Latin America. This issue has been reviewed with different intensities and by different authors in the recent years, something which is accounted for in this study. The aim of this research was to review the historiography of the artistic conceptualisms in Latin America, showing how such inquiries allow to compose a critical cartography, that is, a map that overflows territorial boundaries, it expands them, it renders them more complex, it blurs them, and, above all, it shows a glimpse of the circuits of power within which the main narratives have influenced the definition of what conceptualism is or is not in Latin America. The objective was to explore theses terms, address its currency for them to be used in the future with respect to other cases or episodes which haven’t been mentioned so far, and which demand a redefinition of the terms in order to engage in a dialogue with productions that share a common and specific time and space. This impossibility of showing the complete territory in one map, of the actual size of the territory, is what moved us to think of some examples, some transits that disrupt the map traced by the official narratives of what conceptualism should be, compared to what it could be. In this sense, this work shows how that transformative power would animate new routes, problematic and resistant ways to access now an indefinite territory, to come back to review and look at that which seemed so definite, so accessible, and at the same time, so closed. Advisors/Committee Members: [email protected] (authoremail), false (authoremailshow), Guasch, Anna Maria, 1953- (director), true (authorsendemail).

Subjects/Keywords: Art conceptual; Arte conceptual; Conceptual art; Amèrica Llatina; América latina; Latin America; Ciències Humanes i Socials; 7

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APA (6^th Edition):

Varas Alarcón, P. (2016). Cartografía crítica del conceptualismo en América Latina : 1960-1980. (Thesis). Universitat de Barcelona. Retrieved from http://hdl.handle.net/10803/399648

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Varas Alarcón, Paulina. “Cartografía crítica del conceptualismo en América Latina : 1960-1980.” 2016. Thesis, Universitat de Barcelona. Accessed December 06, 2019. http://hdl.handle.net/10803/399648.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Varas Alarcón, Paulina. “Cartografía crítica del conceptualismo en América Latina : 1960-1980.” 2016. Web. 06 Dec 2019.

Vancouver:

Varas Alarcón P. Cartografía crítica del conceptualismo en América Latina : 1960-1980. [Internet] [Thesis]. Universitat de Barcelona; 2016. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/10803/399648.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Varas Alarcón P. Cartografía crítica del conceptualismo en América Latina : 1960-1980. [Thesis]. Universitat de Barcelona; 2016. Available from: http://hdl.handle.net/10803/399648

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

The Ohio State University

18. Langille, Nicole. Of Measure and Material.

Degree: MFA, Art, 2009, The Ohio State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956

► Measure and material are both the physical and conceptual components of my work. Using the body and other substances, the intangible elements of space, time,… (more)

Subjects/Keywords: Art History; visual art; performance art; conceptual art; time; movement; space; gravity

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APA (6^th Edition):

Langille, N. (2009). Of Measure and Material. (Masters Thesis). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956

Chicago Manual of Style (16^th Edition):

Langille, Nicole. “Of Measure and Material.” 2009. Masters Thesis, The Ohio State University. Accessed December 06, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.

MLA Handbook (7^th Edition):

Langille, Nicole. “Of Measure and Material.” 2009. Web. 06 Dec 2019.

Vancouver:

Langille N. Of Measure and Material. [Internet] [Masters thesis]. The Ohio State University; 2009. [cited 2019 Dec 06]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.

Council of Science Editors:

Langille N. Of Measure and Material. [Masters Thesis]. The Ohio State University; 2009. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956

19. Pereira Medina, Fernanda. L’art conceptuel, la psychanalyse et les paradoxes du langage : un dialogue entre Joseph Kosuth et Sigmund Freud : The conceptual art, the psychoanalysis and the paradoxes of language : a dialogue between Joseph Kosuth and Sigmund Freud.

Degree: Docteur es, Histoire de l'art, 2017, Rennes 2

URL: http://www.theses.fr/2017REN20034

►

La thèse prétend discuter des analogies intimes révélées entre le travail de l’art conceptuel tel qu’il est conçu par Joseph Kosuth, comme un processus de… (more)

▼

La thèse prétend discuter des analogies intimes révélées entre le travail de l’art conceptuel tel qu’il est conçu par Joseph Kosuth, comme un processus de production de sens, et le travail analytique tel qu’il est élaboré par Sigmund Freud. Elle travaille donc à partir de l’interface entre l’art et la psychanalyse comme deux expériences de production de signification. Elle interroge le sens à partir des particularités inhérentes à chacun des discours et des pratiques concernés, mais aussi à partir de ce qui semble les réunir, à savoir : les mécanismes impliqués dans la production de sens au sein de l’art conceptuel comme de la psychanalyse conduisent à une expression hybride relevant des rapports entre le langage et l’image, entre un discours qui se poste aux limites du dicible et une image qui se place aux limites du visible.L’hybridité du sens relève d’une incertitude intellectuelle, d’un franchissement des limites et d’une ambiguïté impliqués dans la notion de l’Unheimlich. Cette dimension singulière de l’expérience humaine concerne le sujet de l’inconscient et la création artistique. En suivant les déclarations de Joseph Kosuth lui-même, son travail relèverait de l’Unheimlich. La thèse analyse ainsi l’expérience procurée par l’art conceptuel à partir de cette notion qui apparaît dans l’oeuvre freudienne en 1919 dans le cadre d’une investigation sur l’esthétique.Freud ne parle de l’esthétique en tant que théorie du beau mais comme effet affectif procuré par l’oeuvre d’art. De notre côté, nous soutenons l’idée selon laquelle la création artistique relèverait toujours de l’affectivité, même si cette question peut s’avérer controversée dans le contexte de l’art conceptuel. C’est dans ce sens que nous analysons l’expérience procurée par le travail de Kosuth, c’est-à-dire comme une expérience affective de l’ordre de l’Unheimlich

This thesis proposes to discuss the analogies revealed between conceptual art work, as it is conceived by Joseph Kosuth, as a meaning production process, and the analytical work as elaborated by Sigmund Freud. We then work from the interface between art and psychoanalysis as two meaning producing experiences. We question the meaning from the particularities inherent in each of these discourses and practices involved, but also from what it seems to bring them together, namely: the mechanisms involved in the production of meaning in conceptual art as well as in psychoanalysis lead to a hybrid expression indicating the relationship between language and image, between a discourse that lies within the limits of the sayable and an image that is located within the limits of the visible.The hybridity of sense sends us to an intellectual uncertainty, a crossing of limits and an ambiguity that are related to the notion of Unheimlich. This singular dimension of human experience concerns the subject of the unconscious and artistic creation. Following the statements of Joseph Kosuth himself, his work fits into the dimension of Unheimlich. This thesis then analyzes the experience raised by conceptual art…

Advisors/Committee Members: Frangne, Pierre-Henry (thesis director).

Subjects/Keywords: Art contemporain; Das Unheimliche; Art conceptuel; Contemporary art; Psychoanalysis; Conceptual art; 701

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APA (6^th Edition):

Pereira Medina, F. (2017). L’art conceptuel, la psychanalyse et les paradoxes du langage : un dialogue entre Joseph Kosuth et Sigmund Freud : The conceptual art, the psychoanalysis and the paradoxes of language : a dialogue between Joseph Kosuth and Sigmund Freud. (Doctoral Dissertation). Rennes 2. Retrieved from http://www.theses.fr/2017REN20034

Chicago Manual of Style (16^th Edition):

Pereira Medina, Fernanda. “L’art conceptuel, la psychanalyse et les paradoxes du langage : un dialogue entre Joseph Kosuth et Sigmund Freud : The conceptual art, the psychoanalysis and the paradoxes of language : a dialogue between Joseph Kosuth and Sigmund Freud.” 2017. Doctoral Dissertation, Rennes 2. Accessed December 06, 2019. http://www.theses.fr/2017REN20034.

MLA Handbook (7^th Edition):

Pereira Medina, Fernanda. “L’art conceptuel, la psychanalyse et les paradoxes du langage : un dialogue entre Joseph Kosuth et Sigmund Freud : The conceptual art, the psychoanalysis and the paradoxes of language : a dialogue between Joseph Kosuth and Sigmund Freud.” 2017. Web. 06 Dec 2019.

Vancouver:

Pereira Medina F. L’art conceptuel, la psychanalyse et les paradoxes du langage : un dialogue entre Joseph Kosuth et Sigmund Freud : The conceptual art, the psychoanalysis and the paradoxes of language : a dialogue between Joseph Kosuth and Sigmund Freud. [Internet] [Doctoral dissertation]. Rennes 2; 2017. [cited 2019 Dec 06]. Available from: http://www.theses.fr/2017REN20034.

Council of Science Editors:

Pereira Medina F. L’art conceptuel, la psychanalyse et les paradoxes du langage : un dialogue entre Joseph Kosuth et Sigmund Freud : The conceptual art, the psychoanalysis and the paradoxes of language : a dialogue between Joseph Kosuth and Sigmund Freud. [Doctoral Dissertation]. Rennes 2; 2017. Available from: http://www.theses.fr/2017REN20034

University of Technology, Sydney

20. Sivanesan, S. Discourse and effect : politics after art.

Degree: 2014, University of Technology, Sydney

URL: http://hdl.handle.net/10453/30394

► NO FULL TEXT AVAILABLE. This thesis contains 3rd party copyright material. – – This exegesis is a critical reflection on my practice-led investigations into cultural… (more)

▼ NO FULL TEXT AVAILABLE. This thesis contains 3rd party copyright material. – – This exegesis is a critical reflection on my practice-led investigations into cultural strategies for decolonisation through discursive practices in contemporary art. Between 2010–2012 I produced a series of performance-lectures: What’s Eating Gilberto Gil? (2010–11), The Digger You Love to Hate (2011–12), Lost limbs (2011) and The Anticolonials (2012), to unpack ideas of decolonisation, transnational politics and necropolitics in art and academic contexts. Following a visit to an ancestral home in Sri Lanka 2011, my research resolved to consider my Tamil heritage alongside recent performances of Tamil subjectivity in art and popular culture and to read this as a decolonial discourse. Sri Lanka is an island nation that suffered almost thirty years of civil war, most often framed as an ethnic conflict between a Sinhala-Buddhist majority population and a separatist Tamil minority. The war was brought to a historical conclusion in May 2009 with the total defeat of the separationist Liberation Tigers of Tamil Eelam by Sri Lankan forces, during which tens of thousands of Tamil civilians died. These events provoked certain diaspora Tamils to perform on the global stage. The British-Tamil pop star M.I.A., born Mathangi ‘Maya’ Arulpragasam, sensationalised the plight of Sri Lankan Tamils in her media appearances, performances and commercial output. The asylum seeker Sanjeev ‘Alex’ Kuhendrarajah gained international media attention and notoriety as a spokesperson for 255 Tamils caught in a stand-off between Australian and Indonesian authorities at the port of Merak, Java. More recently the British-Tamil artist Christopher Kulendran Thomas has won kudos for his antagonistic enterprise that purports to exploit the difference between contemporary art markets in the Sri Lankan capital of Colombo and those in the art centres of Europe and North America to fund an online performance platform that would empower marginalised Tamils. I read these figures, performances and actions as a heightened public discourse, recasting Tamil diaspora concerns as a popular politics of migration, global justice and human rights. Overall my research contributes to a body of knowledge that seeks to deconstruct and dismantle the associated violence of colonialism, nationalism and borders, by using the platform of art as a space for political experimentation and inquiry. By emphasising art’s effect of producing politics and critique over material production I approach a notion of ‘art after the Contemporary’. I have worked with texts by the art theorists Claire Bishop, David Joselit, Pavle Levi and Simon Sheikh and the artist/writer Hito Steyerl, and concepts developed by the cultural theorists Angela Mitropoulos, Brett Neilson and Suvendrini Perera. My exegesis was completed in conjunction with the performance-lecture, Alex & I (2013–ongoing).

Subjects/Keywords: Tamil.; Performance art.; Sri Lanka.; Asylum seekers.; Conceptual art.; Refugees.

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APA (6^th Edition):

Sivanesan, S. (2014). Discourse and effect : politics after art. (Thesis). University of Technology, Sydney. Retrieved from http://hdl.handle.net/10453/30394

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Sivanesan, S. “Discourse and effect : politics after art.” 2014. Thesis, University of Technology, Sydney. Accessed December 06, 2019. http://hdl.handle.net/10453/30394.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Sivanesan, S. “Discourse and effect : politics after art.” 2014. Web. 06 Dec 2019.

Vancouver:

Sivanesan S. Discourse and effect : politics after art. [Internet] [Thesis]. University of Technology, Sydney; 2014. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/10453/30394.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Sivanesan S. Discourse and effect : politics after art. [Thesis]. University of Technology, Sydney; 2014. Available from: http://hdl.handle.net/10453/30394

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Georgia State University

21. Sharratt, Nathan. Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University.

Degree: MFA, Art and Design, 2016, Georgia State University

URL: https://scholarworks.gsu.edu/art_design_theses/210

► Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts degree of Georgia State University, is a multidiscipline and multiplatform exhibition of post-institutional… (more)

Subjects/Keywords: Installation; Conceptual art; Performance art; Institutional critique; Social media; Commodity

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APA (6^th Edition):

Sharratt, N. (2016). Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University. (Thesis). Georgia State University. Retrieved from https://scholarworks.gsu.edu/art_design_theses/210

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Sharratt, Nathan. “Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University.” 2016. Thesis, Georgia State University. Accessed December 06, 2019. https://scholarworks.gsu.edu/art_design_theses/210.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Sharratt, Nathan. “Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University.” 2016. Web. 06 Dec 2019.

Vancouver:

Sharratt N. Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University. [Internet] [Thesis]. Georgia State University; 2016. [cited 2019 Dec 06]. Available from: https://scholarworks.gsu.edu/art_design_theses/210.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Sharratt N. Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University. [Thesis]. Georgia State University; 2016. Available from: https://scholarworks.gsu.edu/art_design_theses/210

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Penn State University

22. Espinoza, Elizabeth. Hierophanic Architecture: The Space of Performance.

Degree: M. Arch., Architecture, 2013, Penn State University

URL: https://etda.libraries.psu.edu/catalog/18955

► Antonin Artaud described theater as a way to penetrate the audience’s subconscious causing a transformation within them through visceral experience of space and performance. He… (more)

Subjects/Keywords: performance; conceptual art; performance art; uncanny space; space of the other

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APA (6^th Edition):

Espinoza, E. (2013). Hierophanic Architecture: The Space of Performance. (Masters Thesis). Penn State University. Retrieved from https://etda.libraries.psu.edu/catalog/18955

Chicago Manual of Style (16^th Edition):

Espinoza, Elizabeth. “Hierophanic Architecture: The Space of Performance.” 2013. Masters Thesis, Penn State University. Accessed December 06, 2019. https://etda.libraries.psu.edu/catalog/18955.

MLA Handbook (7^th Edition):

Espinoza, Elizabeth. “Hierophanic Architecture: The Space of Performance.” 2013. Web. 06 Dec 2019.

Vancouver:

Espinoza E. Hierophanic Architecture: The Space of Performance. [Internet] [Masters thesis]. Penn State University; 2013. [cited 2019 Dec 06]. Available from: https://etda.libraries.psu.edu/catalog/18955.

Council of Science Editors:

Espinoza E. Hierophanic Architecture: The Space of Performance. [Masters Thesis]. Penn State University; 2013. Available from: https://etda.libraries.psu.edu/catalog/18955

Massey University

23. Warren, Brinkley. Real art isn't : an eisegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts, Massey University, Wellington, New Zealand .

Degree: 2013, Massey University

URL: http://hdl.handle.net/10179/4498

No abstract

Subjects/Keywords: Conceptual art; Art installations

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APA (6^th Edition):

Warren, B. (2013). Real art isn't : an eisegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts, Massey University, Wellington, New Zealand . (Thesis). Massey University. Retrieved from http://hdl.handle.net/10179/4498

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Warren, Brinkley. “Real art isn't : an eisegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts, Massey University, Wellington, New Zealand .” 2013. Thesis, Massey University. Accessed December 06, 2019. http://hdl.handle.net/10179/4498.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Warren, Brinkley. “Real art isn't : an eisegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts, Massey University, Wellington, New Zealand .” 2013. Web. 06 Dec 2019.

Vancouver:

Warren B. Real art isn't : an eisegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts, Massey University, Wellington, New Zealand . [Internet] [Thesis]. Massey University; 2013. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/10179/4498.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Warren B. Real art isn't : an eisegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts, Massey University, Wellington, New Zealand . [Thesis]. Massey University; 2013. Available from: http://hdl.handle.net/10179/4498

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Cornell University

24. Benezra, Karen. A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile .

Degree: 2013, Cornell University

URL: http://hdl.handle.net/1813/34287

► This dissertation studies the purported political radicalization of experimental art and design in the late 1960s and 1970s in Argentina, Mexico and Chile. Through the… (more)

▼ This dissertation studies the purported political radicalization of experimental art and design in the late 1960s and 1970s in Argentina, Mexico and Chile. Through the examination of artists, designers and critics including the Grupo Arte de los Medios, Oscar Masotta, Octavio Paz, Oscar Bony, Felipe Ehrenberg, the Groups Movement, Gui Bonsiepe and the cybernetic management project Cybersyn, I study how terms and problems such as the avant-garde, the socialization of art and the mutual implication of industrial design and management contemplated art's relationship to the social relations of production at a moment in which the challenge to art's traditional supports and the intensified socialization of productive labor made these two realms increasingly difficult to distinguish. In the Argentinean case, I show how Oscar Masotta and the Grupo Arte de los Medios pointed to the de-naturalization of ideology as the task of the avant-garde and, at the same time, to the limit of this same procedure in the inseparability of image and enjoyment. In the Mexican case, I argue that the Groups addressed the Revolutionary legacy of art's socialization by simultaneously inhabiting the form of the artists' collective and re-defining both art and artistic labor as cultural work within the social relations of production. The Groups thus point to the political potential inherent in their organizational form both through and against the muralist legacy. In the Chilean case, I argue that Cybersyn consummated the fraught relationship between art and industry that defined the avant-garde of the Bauhaus and Ulm School of Design by transforming the sticky question of style into the infrastructure of subjectivation in the management of the Chilean workforce. Style thus marks the thin line joining and separating auto-poiesis and praxis. Whether through the intervention into the mass media, the collectivization of cultural work or the making operative of style through the infrastructural function of industrial design, I argue that each case points to a form of ideological mediation that cleaves close to the figure and process of capitalist selfreproduction while still insisting on this slight subjective gap as the space of its potential politicization and critique. Advisors/Committee Members: Waite, Geoffrey Carter W (committeeMember), McNulty, Tracy K. (committeeMember).

Subjects/Keywords: avant-garde; conceptual art; 20th C. Latin American Art; Politics; Psychoanalysis

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APA (6^th Edition):

Benezra, K. (2013). A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile . (Thesis). Cornell University. Retrieved from http://hdl.handle.net/1813/34287

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Benezra, Karen. “A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile .” 2013. Thesis, Cornell University. Accessed December 06, 2019. http://hdl.handle.net/1813/34287.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Benezra, Karen. “A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile .” 2013. Web. 06 Dec 2019.

Vancouver:

Benezra K. A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile . [Internet] [Thesis]. Cornell University; 2013. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/1813/34287.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Benezra K. A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile . [Thesis]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34287

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Rochester Institute of Technology

25. Metzgar, Richard. Contextual trappings: a strategy of contradiction.

Degree: School of Art (CIAS), 1991, Rochester Institute of Technology

URL: https://scholarworks.rit.edu/theses/4944

► The focus of this thesis is to examine a multiplicity of ideas in which the presence of contradiction is the unifying component. This "process" of… (more)

Subjects/Keywords: Conceptual art; Modern art

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APA (6^th Edition):

Metzgar, R. (1991). Contextual trappings: a strategy of contradiction. (Thesis). Rochester Institute of Technology. Retrieved from https://scholarworks.rit.edu/theses/4944

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Metzgar, Richard. “Contextual trappings: a strategy of contradiction.” 1991. Thesis, Rochester Institute of Technology. Accessed December 06, 2019. https://scholarworks.rit.edu/theses/4944.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Metzgar, Richard. “Contextual trappings: a strategy of contradiction.” 1991. Web. 06 Dec 2019.

Vancouver:

Metzgar R. Contextual trappings: a strategy of contradiction. [Internet] [Thesis]. Rochester Institute of Technology; 1991. [cited 2019 Dec 06]. Available from: https://scholarworks.rit.edu/theses/4944.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Metzgar R. Contextual trappings: a strategy of contradiction. [Thesis]. Rochester Institute of Technology; 1991. Available from: https://scholarworks.rit.edu/theses/4944

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Ballarat

26. Devrome, Kelly. The Oneiric Veil in contemporary Australian art.

Degree: PhD, 2012, University of Ballarat

URL: http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170

►

The Oneiric Veil in Contemporary Australian Art researches the use of the veil in modernist art and its generative capacity to visually evoke an oneiric… (more)

Subjects/Keywords: The Oneiric Veil; Contemporary Australian Art; Conceptual approaches; Visual art

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APA (6^th Edition):

Devrome, K. (2012). The Oneiric Veil in contemporary Australian art. (Doctoral Dissertation). University of Ballarat. Retrieved from http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170

Chicago Manual of Style (16^th Edition):

Devrome, Kelly. “The Oneiric Veil in contemporary Australian art.” 2012. Doctoral Dissertation, University of Ballarat. Accessed December 06, 2019. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170.

MLA Handbook (7^th Edition):

Devrome, Kelly. “The Oneiric Veil in contemporary Australian art.” 2012. Web. 06 Dec 2019.

Vancouver:

Devrome K. The Oneiric Veil in contemporary Australian art. [Internet] [Doctoral dissertation]. University of Ballarat; 2012. [cited 2019 Dec 06]. Available from: http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170.

Council of Science Editors:

Devrome K. The Oneiric Veil in contemporary Australian art. [Doctoral Dissertation]. University of Ballarat; 2012. Available from: http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170

University of Texas – Austin

27. -3741-1052. What does the body know?.

Degree: MFA, Studio Art, 2018, University of Texas – Austin

URL: http://hdl.handle.net/2152/67655

► This Master’s Report summarizes the aims of my research and studio practice as it has developed during my study at the University of Texas. My… (more)

Subjects/Keywords: Embodiment; Perception; Performance art; Conceptual art; Gender; Trauma; Healing

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APA (6^th Edition):

-3741-1052. (2018). What does the body know?. (Masters Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/67655

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

Chicago Manual of Style (16^th Edition):

-3741-1052. “What does the body know?.” 2018. Masters Thesis, University of Texas – Austin. Accessed December 06, 2019. http://hdl.handle.net/2152/67655.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

MLA Handbook (7^th Edition):

-3741-1052. “What does the body know?.” 2018. Web. 06 Dec 2019.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

Vancouver:

-3741-1052. What does the body know?. [Internet] [Masters thesis]. University of Texas – Austin; 2018. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/2152/67655.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

Council of Science Editors:

-3741-1052. What does the body know?. [Masters Thesis]. University of Texas – Austin; 2018. Available from: http://hdl.handle.net/2152/67655

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

Princeton University

28. Kenny, Eva. Vox Manet: Samuel Beckett’s Novels of Possession and Dispossession, 1938–1955 .

Degree: PhD, 2018, Princeton University

URL: http://arks.princeton.edu/ark:/88435/dsp016395w9878

► ABSTRACT This dissertation examines possession and dispossession in Samuel Beckett’s novels and prose texts, from his English-language novel Murphy, published in 1938, to the end… (more)

▼ ABSTRACT This dissertation examines possession and dispossession in Samuel Beckett’s novels and prose texts, from his English-language novel Murphy, published in 1938, to the end of the series of novels comprising Watt, Molloy, Malone Dies and The Unnamable and the short Texts for Nothing, published in 1955. The first chapter, “Echo’s Bones,” is concerned with possession. It examines Beckett’s translations of surrealist poetry and prose in the early 1930s for a special issue, edited by André Breton, of the Paris magazine This Quarter. The surrealist use of automatic writing, represented here in particular by a set of texts called Les Possessions, made a huge impression on Beckett, and I argue that his curiously old-fashioned translation of these texts emphasized the surrealist reliance on the clinical methods of nineteenth-century French psychiatry, particularly those associated with so-called degeneracy. In Chapter Two, “Were Turned to Stone,” on dispossession, I argue that Beckett wrote Watt and the Three Novels as if “possessed,” under the aegis of this surrealist preoccupation with automatic, spontaneous text, and wrote Watt and the French-language novels as a self-styled degenerate, using linguistic impediments, tics and repetitions in order to address the dispossession of the Anglo-Irish literary tradition after Irish Independence. This is done in the Three Novels by means of an increasing attention to emblematic objects – the stone, the stick, the pencil – and their loss and disappearance, until, at the end of The Unnamable, “only a voice remains.” Chapter Three, “Vox Manet,” shows how these novels therefore allowed American artists and art historians to narrate another dispossession, the so-called dematerialization of the artwork, from the object-focused Minimal Art to language-based Conceptual Art, in the 1960s and 1970s in New York. Advisors/Committee Members: Heller-Roazen, Daniel (advisor), DiBattista, Maria (advisor).

Subjects/Keywords: Beckett; Conceptual Art; Minimal art; Rosalind Krauss; Surrealism; Translation

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APA (6^th Edition):

Kenny, E. (2018). Vox Manet: Samuel Beckett’s Novels of Possession and Dispossession, 1938–1955 . (Doctoral Dissertation). Princeton University. Retrieved from http://arks.princeton.edu/ark:/88435/dsp016395w9878

Chicago Manual of Style (16^th Edition):

Kenny, Eva. “Vox Manet: Samuel Beckett’s Novels of Possession and Dispossession, 1938–1955 .” 2018. Doctoral Dissertation, Princeton University. Accessed December 06, 2019. http://arks.princeton.edu/ark:/88435/dsp016395w9878.

MLA Handbook (7^th Edition):

Kenny, Eva. “Vox Manet: Samuel Beckett’s Novels of Possession and Dispossession, 1938–1955 .” 2018. Web. 06 Dec 2019.

Vancouver:

Kenny E. Vox Manet: Samuel Beckett’s Novels of Possession and Dispossession, 1938–1955 . [Internet] [Doctoral dissertation]. Princeton University; 2018. [cited 2019 Dec 06]. Available from: http://arks.princeton.edu/ark:/88435/dsp016395w9878.

Council of Science Editors:

Kenny E. Vox Manet: Samuel Beckett’s Novels of Possession and Dispossession, 1938–1955 . [Doctoral Dissertation]. Princeton University; 2018. Available from: http://arks.princeton.edu/ark:/88435/dsp016395w9878

Leiden University

29. Zhang, Junkai. Photographer’s Ideas and Constructed Social Reality: Conceptual Photography of Jeff Wall.

Degree: 2018, Leiden University

URL: http://hdl.handle.net/1887/57770

► Depictive power of photography has to a great extent constrained people's perspectives on photography. Also, it is the reality that photography cannot dispense from depiction.… (more)

Subjects/Keywords: conceptual art; conceptual photography; constructed photography; intentions; ideas; Jeff Wall; social reality

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APA (6^th Edition):

Zhang, J. (2018). Photographer’s Ideas and Constructed Social Reality: Conceptual Photography of Jeff Wall. (Masters Thesis). Leiden University. Retrieved from http://hdl.handle.net/1887/57770

Chicago Manual of Style (16^th Edition):

Zhang, Junkai. “Photographer’s Ideas and Constructed Social Reality: Conceptual Photography of Jeff Wall.” 2018. Masters Thesis, Leiden University. Accessed December 06, 2019. http://hdl.handle.net/1887/57770.

MLA Handbook (7^th Edition):

Zhang, Junkai. “Photographer’s Ideas and Constructed Social Reality: Conceptual Photography of Jeff Wall.” 2018. Web. 06 Dec 2019.

Vancouver:

Zhang J. Photographer’s Ideas and Constructed Social Reality: Conceptual Photography of Jeff Wall. [Internet] [Masters thesis]. Leiden University; 2018. [cited 2019 Dec 06]. Available from: http://hdl.handle.net/1887/57770.

Council of Science Editors:

Zhang J. Photographer’s Ideas and Constructed Social Reality: Conceptual Photography of Jeff Wall. [Masters Thesis]. Leiden University; 2018. Available from: http://hdl.handle.net/1887/57770

30. Louzada, Heloisa Olivi. Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970.

Degree: Mestrado, Estética e História da Arte, 2013, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;

►

A arte brasileira durante a década de 1970 se destacou pelo alto grau de experimentalismo e de contestação aos cânones tanto artísticos como museológicos. As… (more)

▼

A arte brasileira durante a década de 1970 se destacou pelo alto grau de experimentalismo e de contestação aos cânones tanto artísticos como museológicos. As exposições anuais Panorama da Arte Atua Brasileira e Jovem Arte Contemporânea, organizadas respectivamente pelo Museu de Arte Moderna de São Paulo e pelo Museu de Arte Contemporânea da Universidade de São Paulo, se dedicaram a expor e legitimar determinadas tendências da arte dita jovem e atual durante esse período. A análise comparativa proposta por essa pesquisa revela e discute os mecanismos de seleção, organização, premiação e apresentação de obras em ambas as exposições. O foco da pesquisa dá-se no ano de 1972, momento em que a edição da Jovem Arte Contemporânea apresenta grandes inovações, ano de intenso crescimento do mercado de artes paulistano, auge da repressão militar e em que o Panorama discute as categorias escultura e objeto. Buscou-se analisar as exposições dentro desse contexto maior, apontando como referências os encontros internacionais de diretores de museus e outras exposições paradigmáticas para o período realizadas na Europa e na América Latina.

Brazilian art from the 1970s is known for its high degree of experimentation and for challenging both artistic and museological canons. The annual exhibitions Panorama da Arte atual Brasileira and Jovem Arte Contemporânea, organized respectively by the Museum of Modern Art of São Paulo and the Museum of Contemporary Art of the University of São Paulo, are dedicated to exposing and legitimizing certain art trends during this period. The comparative analysis proposed by this research reveals and discusses the mechanisms of selection, organization, and presentation works in both exhibitions. The focus of the research takes place in 1972, when the show Jovem Arte Contemporânea presents major innovations and the Panorama discusses sculpture and object categories, the year is also marked by intense growth of the a São Paulo art market, the increase of military repression. We sought to examine the exhibitions within this larger context, taking as references the discussions that occurred in the international encounters of museums directors, and also other paradigmatic exhibitions for the period held in Europe and Latin America.

Advisors/Committee Members: Freire, Maria Cristina Machado.

Subjects/Keywords: Art exhibitions; Art museums; Arte conceitual; Conceptual art; Exposições; Museus se arte

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APA (6^th Edition):

Louzada, H. O. (2013). Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;

Chicago Manual of Style (16^th Edition):

Louzada, Heloisa Olivi. “Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970.” 2013. Masters Thesis, University of São Paulo. Accessed December 06, 2019. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;.

MLA Handbook (7^th Edition):

Louzada, Heloisa Olivi. “Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970.” 2013. Web. 06 Dec 2019.

Vancouver:

Louzada HO. Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970. [Internet] [Masters thesis]. University of São Paulo; 2013. [cited 2019 Dec 06]. Available from: http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;.

Council of Science Editors:

Louzada HO. Contrastes na cena artística paulistana: MAC USP e MAM SP nos anos 1970. [Masters Thesis]. University of São Paulo; 2013. Available from: http://www.teses.usp.br/teses/disponiveis/93/93131/tde-18112013-173923/ ;

Open Access Theses and Dissertations