subject:(Conceptual art)

University of Wollongong

1. 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…

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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Kreckler D. Ontological fragments: the construction of artworks beyond their materiality. [Internet] [Doctoral dissertation]. University of Wollongong; 2012. [cited 2021 Mar 02]. 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 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/4997

► 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/4997

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 March 02, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/35391/rec/4997.

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. 02 Mar 2021.

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 2021 Mar 02]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/35391/rec/4997.

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/4997

Louisiana State University

3. 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 March 02, 2021. etd-11152013-141532 ; https://digitalcommons.lsu.edu/gradschool_theses/698.

MLA Handbook (7^th Edition):

Alford, Michael. “Conditions Of My Release.” 2013. Web. 02 Mar 2021.

Vancouver:

Alford M. Conditions Of My Release. [Internet] [Masters thesis]. Louisiana State University; 2013. [cited 2021 Mar 02]. 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 British Columbia

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

Degree: MA- MA, Fine Arts, 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. (Masters Thesis). University of British Columbia. Retrieved from http://hdl.handle.net/2429/41950

Chicago Manual of Style (16^th Edition):

Mitchell, David Brian. “The art and language group : 1966 to 1973.” 1976. Masters Thesis, University of British Columbia. Accessed March 02, 2021. http://hdl.handle.net/2429/41950.

MLA Handbook (7^th Edition):

Mitchell, David Brian. “The art and language group : 1966 to 1973.” 1976. Web. 02 Mar 2021.

Vancouver:

Mitchell DB. The art and language group : 1966 to 1973. [Internet] [Masters thesis]. University of British Columbia; 1976. [cited 2021 Mar 02]. Available from: http://hdl.handle.net/2429/41950.

Council of Science Editors:

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

Rochester Institute of Technology

5. 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.

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 March 02, 2021. 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. 02 Mar 2021.

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 2021 Mar 02]. 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 Saskatchewan

6. 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 March 02, 2021. 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. 02 Mar 2021.

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 2021 Mar 02]. 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

Leiden University

7. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Iliopoulou AM. From Sculpture to Conceptual Art: A Transition in Curating Exhibitions [1960-1975]. [Internet] [Masters thesis]. Leiden University; 2015. [cited 2021 Mar 02]. 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 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Gollner A. Small Trinity . [Internet] [Thesis]. University of Ottawa; 2016. [cited 2021 Mar 02]. 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

AUT University

9. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Atkins M. The entropy of a closed system can only increase, and will never decrease . [Internet] [Thesis]. AUT University; 2011. [cited 2021 Mar 02]. 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

University of Oxford

10. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Hanson LM. Conceptual art : what is it?. [Internet] [Doctoral dissertation]. University of Oxford; 2011. [cited 2021 Mar 02]. 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

University of Sydney

11. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Williams BJ. 'A Hydrological Imaginary’ . [Internet] [Thesis]. University of Sydney; 2017. [cited 2021 Mar 02]. 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

Rochester Institute of Technology

12. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Heffernan E. Re learning to learn. [Internet] [Thesis]. Rochester Institute of Technology; 2011. [cited 2021 Mar 02]. 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

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

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 March 02, 2021. 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. 02 Mar 2021.

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 2021 Mar 02]. 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

Massey University

14. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Shepherd R. Running-room in the mangle of practice : contemporary art in the thick of things. [Internet] [Masters thesis]. Massey University; 2011. [cited 2021 Mar 02]. 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

Penn State University

15. Lucero, Jorge R. Ways of being: Conceptual art modes-of-operation for pedagogy as contemporary art practice .

Degree: 2011, Penn State University

URL: https://submit-etda.libraries.psu.edu/catalog/12537

► How can a pedagogical and creative practice coexist? Where are the interstices of these two practices that highlight both of their potentialities? How do pedagogy… (more)

▼ How can a pedagogical and creative practice coexist? Where are the interstices of these two practices that highlight both of their potentialities? How do pedagogy and contemporary art practices challenge and reflect each other to generate new ways of working? Is there a moment when pedagogy and art practice are the same thing? What type of agency can this pedagogy-art confluence create for a learner? This dissertation was conceptualized as a written artwork to make proposals around these topics. The author, coming from a studio art background and having taught at both the high school and college level proposes strategies for examining conceptual art in order to discover â€œways of beingâ€, which can merge the efforts of pedagogues and artists more readily. Examining how conceptual art affronts the entrenched labor-equals-rigor models of Western art, the author points to how these subversive modes of operation expand curricular practice. Conceptual art modes such as durational art, relational aesthetics, bricolage, and civic engagement art are placed alongside the non-linear concept of currere (Pinar and Grumet, 1976), or â€œliving curriculumâ€ in order to reconfigure pedagogy as contemporary art practice. Latin American conceptualism is examined as a mode that demarcates a local, hybridized pedagogy as conceptualist practice. Among others, the 1920â€™s work of Los Estridentistas and the contemporary conceptualism of Uruguayan artist Luis Camnitzer is examined. The dissertation also catalogues the authorâ€™s personal practice through pedagogy as contemporary art practice. Classroom and gallery projects are examined. The authorâ€™s collaboration with the Chicago performance group Goat Island, his research into the pedagogy of experimental composer John Cage, and one of the authorâ€™s own autoethnographic performance texts (Denzin, 2003) are included in this dissertation. An analysis of these modes of working is proposed, offering that a pedagogical practice imbricated with a conceptual art practice permits for a more emancipatory pedagogical and creative enterprise. The dissertation ends with evidence of the authorâ€™s critical discoveries as a first generation Mexican-American navigating the complexities of class, privilege, and race in American schoolingâ€”through art educationâ€”attaining agency and a more sentient presence in the world. Advisors/Committee Members: Charles R. Garoian, Committee Chair/Co-Chair, Yvonne M. Gaudelius, Committee Member, Irina Aristarkhova, Committee Member, Madhu S. Prakash, Committee Member.

Subjects/Keywords: performance art; conceptual art; pedagogy as contemporary art practice; emancipatory art education; participatory art practices

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

APA (6^th Edition):

Lucero, J. R. (2011). Ways of being: Conceptual art modes-of-operation for pedagogy as contemporary art practice . (Thesis). Penn State University. Retrieved from https://submit-etda.libraries.psu.edu/catalog/12537

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):

Lucero, Jorge R. “Ways of being: Conceptual art modes-of-operation for pedagogy as contemporary art practice .” 2011. Thesis, Penn State University. Accessed March 02, 2021. https://submit-etda.libraries.psu.edu/catalog/12537.

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

MLA Handbook (7^th Edition):

Lucero, Jorge R. “Ways of being: Conceptual art modes-of-operation for pedagogy as contemporary art practice .” 2011. Web. 02 Mar 2021.

Vancouver:

Lucero JR. Ways of being: Conceptual art modes-of-operation for pedagogy as contemporary art practice . [Internet] [Thesis]. Penn State University; 2011. [cited 2021 Mar 02]. Available from: https://submit-etda.libraries.psu.edu/catalog/12537.

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

Council of Science Editors:

Lucero JR. Ways of being: Conceptual art modes-of-operation for pedagogy as contemporary art practice . [Thesis]. Penn State University; 2011. Available from: https://submit-etda.libraries.psu.edu/catalog/12537

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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

López Aguayo J. Instalaciones artísticas de interacción: el espacio de la metáfora. [Internet] [Thesis]. Universitat de Barcelona; 2016. [cited 2021 Mar 02]. 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 · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Varas Alarcón P. Cartografía crítica del conceptualismo en América Latina : 1960-1980. [Internet] [Thesis]. Universitat de Barcelona; 2016. [cited 2021 Mar 02]. 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

18. 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 March 02, 2021. 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. 02 Mar 2021.

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 2021 Mar 02]. 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

Rochester Institute of Technology

19. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Metzgar R. Contextual trappings: a strategy of contradiction. [Internet] [Thesis]. Rochester Institute of Technology; 1991. [cited 2021 Mar 02]. 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

Penn State University

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

Degree: 2013, Penn State University

URL: https://submit-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. (Thesis). Penn State University. Retrieved from https://submit-etda.libraries.psu.edu/catalog/18955

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):

Espinoza, Elizabeth. “Hierophanic Architecture: The Space of Performance.” 2013. Thesis, Penn State University. Accessed March 02, 2021. https://submit-etda.libraries.psu.edu/catalog/18955.

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

MLA Handbook (7^th Edition):

Espinoza, Elizabeth. “Hierophanic Architecture: The Space of Performance.” 2013. Web. 02 Mar 2021.

Vancouver:

Espinoza E. Hierophanic Architecture: The Space of Performance. [Internet] [Thesis]. Penn State University; 2013. [cited 2021 Mar 02]. Available from: https://submit-etda.libraries.psu.edu/catalog/18955.

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

Council of Science Editors:

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

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

University of Ballarat

21. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Devrome K. The Oneiric Veil in contemporary Australian art. [Internet] [Doctoral dissertation]. University of Ballarat; 2012. [cited 2021 Mar 02]. 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 Melbourne

22. Homewood, David Robert. Painting the banal: Dale Hickey and Robert Hunter, 1966-1973.

Degree: 2019, University of Melbourne

URL: http://hdl.handle.net/11343/227654

► A significant development within art of the 1960s and 1970s was the dispersal of the traditional artistic mediums, and their replacement by a disparate array… (more)

▼ A significant development within art of the 1960s and 1970s was the dispersal of the traditional artistic mediums, and their replacement by a disparate array of installation, performance, documentary and theoretical practices that have come to define the landscape of contemporary art. This thesis examines the historical emergence of this contemporary ‘post-medium condition’ through the work of two Melbourne-based artists, Dale Hickey (born 1937) and Robert Hunter (1947–2014), from their hard-edge modernist painting of the mid 1960s, to their engagement with minimalism, post-minimalism and conceptual art at the end of that decade and the beginning of the next. During this period, Hickey and Hunter became key figures within an avant-garde scene increasingly hostile to the traditional forms and institutions of art. Yet in their work, painting, the most traditional form of all, did not disappear under the pressure of its avant-garde critique. Rather, issues related to the medium—including its ongoing viability—remained central to their work. The persistence of painterly concerns was crucial for both artists’ work, as was a preoccupation with ‘the banal’—manifest in Hickey’s depictions of domestic and suburban objects and Hunter’s exploration of the bare materials of painting within a restricted formal vocabulary. A principal argument of this thesis is that the emphasis on the banal in both artists’ works, rather than blurring the distinction between aesthetic activity and ordinary life, was coupled with an ideal of art as a vehicle for contemplation that has its roots in painting. Both artists’ work is shown to align with the mystical conception of art promoted by Bruce Pollard, who founded and operated Pinacotheca, the gallery with which the pair became associated in 1968. Positioned in dialogue with their dealer’s quasi-religious attitude towards aesthetic experience, and amidst the druggy, bohemian ambiance of his gallery, Hickey’s and Hunter’s traffic with illusion, contemplation and aura is understood not as an anomaly within the prevailing materialist and rationalist narratives of the end of modernism, but rather as integral to the local artistic and cultural context in which they worked.

Subjects/Keywords: Australian art; modernism; minimalism; conceptual art; Dale Hickey; Robert Hunter

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APA (6^th Edition):

Homewood, D. R. (2019). Painting the banal: Dale Hickey and Robert Hunter, 1966-1973. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/227654

Chicago Manual of Style (16^th Edition):

Homewood, David Robert. “Painting the banal: Dale Hickey and Robert Hunter, 1966-1973.” 2019. Doctoral Dissertation, University of Melbourne. Accessed March 02, 2021. http://hdl.handle.net/11343/227654.

MLA Handbook (7^th Edition):

Homewood, David Robert. “Painting the banal: Dale Hickey and Robert Hunter, 1966-1973.” 2019. Web. 02 Mar 2021.

Vancouver:

Homewood DR. Painting the banal: Dale Hickey and Robert Hunter, 1966-1973. [Internet] [Doctoral dissertation]. University of Melbourne; 2019. [cited 2021 Mar 02]. Available from: http://hdl.handle.net/11343/227654.

Council of Science Editors:

Homewood DR. Painting the banal: Dale Hickey and Robert Hunter, 1966-1973. [Doctoral Dissertation]. University of Melbourne; 2019. Available from: http://hdl.handle.net/11343/227654

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 March 02, 2021. 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. 02 Mar 2021.

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 2021 Mar 02]. 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

Georgia State University

24. 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 March 02, 2021. 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. 02 Mar 2021.

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 2021 Mar 02]. 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

Cornell University

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

Degree: PhD, Romance Studies, 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: Bosteels, Bruno (chair), Waite, Geoffrey Carter W (committee member), McNulty, Tracy K. (committee member).

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. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34287

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. Doctoral Dissertation, Cornell University. Accessed March 02, 2021. http://hdl.handle.net/1813/34287.

MLA Handbook (7^th Edition):

Benezra, Karen. “A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile.” 2013. Web. 02 Mar 2021.

Vancouver:

Benezra K. A Semblance Of Politics: The Dematerialization Of Art And Labor In Argentina, Mexico And Chile. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Mar 02]. Available from: http://hdl.handle.net/1813/34287.

Council of Science Editors:

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

Princeton University

26. 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 March 02, 2021. 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. 02 Mar 2021.

Vancouver:

Kenny E. Vox Manet: Samuel Beckett’s Novels of Possession and Dispossession, 1938–1955 . [Internet] [Doctoral dissertation]. Princeton University; 2018. [cited 2021 Mar 02]. 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

Universiteit Utrecht

27. Noortmann, R. Art & Language, A reaction to the dematerialization of art.

Degree: 2012, Universiteit Utrecht

URL: http://dspace.library.uu.nl:8080/handle/1874/235273

► In this research I have focussed on the transatlantic art collective, Art and Language. This collective can be seen as a perfect example of the… (more)

▼ In this research I have focussed on the transatlantic art collective, Art and Language. This collective can be seen as a perfect example of the theoretical diversification in the second half of the twentieth century. They positioned themselves within the western artworld through their theoretical, formless art and, as analysed in this essay, their journal Art-Language. This journal was the vehicle for their continuing critique on different aspects of the world of art. Throughout the first decade of their existence, their critique remained the most important aspect of their movement. Although originating in the sphere of highly theoretical conceptual art, when faced with objections, critique and opinions towards their artworks, they found the need to position themselves within the artworld. Through their journal, they distinguished themselves from likeminded, though inferior, artists. This practice of distinction continued from the late-1960’s into the mid-1970’s, when the collective disintegrated under the mutual differences between its international members, leaving a mere total of three artists at its core. In short, in this essay I have presented several aspects of the 1960s as a transitional period on the basis of an analysis of Art and Language. First of all, their theoretical, formless works of art were, especially in the 1960’s, new, unique, experimental and subversive. However, exactly the formlessness of their artworks resulted in a lack of attention from critics and public alike. The need to remain subversive and controversial is best noticed in the first issues of Art-Language. In these issues, Art and Language positioned itself as the true conceptual, theoretical sovereignty, which was to be taken into account when considering the conceptual movement as a whole. Likewise, their continuing objections against Clement Greenberg and Marcel Duchamp can be accounted for by the need to position themselves. Through the rejection of both Greenberg’s and Duchamp’s status as key figures in the world of art they drew attention to themselves. Advisors/Committee Members: Segal, J..

Subjects/Keywords: Art & Language; conceptual art; art discours; distinction; Arthur Danto; Joseph Kosuth; Clement Greenberg

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APA (6^th Edition):

Noortmann, R. (2012). Art & Language, A reaction to the dematerialization of art. (Masters Thesis). Universiteit Utrecht. Retrieved from http://dspace.library.uu.nl:8080/handle/1874/235273

Chicago Manual of Style (16^th Edition):

Noortmann, R. “Art & Language, A reaction to the dematerialization of art.” 2012. Masters Thesis, Universiteit Utrecht. Accessed March 02, 2021. http://dspace.library.uu.nl:8080/handle/1874/235273.

MLA Handbook (7^th Edition):

Noortmann, R. “Art & Language, A reaction to the dematerialization of art.” 2012. Web. 02 Mar 2021.

Vancouver:

Noortmann R. Art & Language, A reaction to the dematerialization of art. [Internet] [Masters thesis]. Universiteit Utrecht; 2012. [cited 2021 Mar 02]. Available from: http://dspace.library.uu.nl:8080/handle/1874/235273.

Council of Science Editors:

Noortmann R. Art & Language, A reaction to the dematerialization of art. [Masters Thesis]. Universiteit Utrecht; 2012. Available from: http://dspace.library.uu.nl:8080/handle/1874/235273

University of California – Riverside

28. Williams, Sarah Bay. A Language of Rebuilt Reality: The Photography of Robert Cumming in the 1970s.

Degree: Art History, 2012, University of California – Riverside

URL: http://www.escholarship.org/uc/item/39c3413r

A Language of Rebuilt Reality: The Photography of Robert Cumming in the 1970s explores the artist's development from sculptor to photographer, his move to Southern California, and the elements of the area that inspired his fabricated tableaux and imaginary scenarios that engage plays on perception, absurdity, and humor.

Subjects/Keywords: Art history; 1970s; Conceptual Art; Contemporary Art; Los Angeles; Photography; Robert Cumming

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APA (6^th Edition):

Williams, S. B. (2012). A Language of Rebuilt Reality: The Photography of Robert Cumming in the 1970s. (Thesis). University of California – Riverside. Retrieved from http://www.escholarship.org/uc/item/39c3413r

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, Sarah Bay. “A Language of Rebuilt Reality: The Photography of Robert Cumming in the 1970s.” 2012. Thesis, University of California – Riverside. Accessed March 02, 2021. http://www.escholarship.org/uc/item/39c3413r.

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, Sarah Bay. “A Language of Rebuilt Reality: The Photography of Robert Cumming in the 1970s.” 2012. Web. 02 Mar 2021.

Vancouver:

Williams SB. A Language of Rebuilt Reality: The Photography of Robert Cumming in the 1970s. [Internet] [Thesis]. University of California – Riverside; 2012. [cited 2021 Mar 02]. Available from: http://www.escholarship.org/uc/item/39c3413r.

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

Council of Science Editors:

Williams SB. A Language of Rebuilt Reality: The Photography of Robert Cumming in the 1970s. [Thesis]. University of California – Riverside; 2012. Available from: http://www.escholarship.org/uc/item/39c3413r

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

UCLA

29. Moon, Kavior. From Site to Comparative Relations: Works by Michael Asher, 1976–1998.

Degree: Art History, 2016, UCLA

URL: http://www.escholarship.org/uc/item/58q545mr

► This dissertation is a study of how U.S. artist Michael Asher (1943–2012) integrated what he called a “logic of comparative relations” into his situational, site-based… (more)

▼ This dissertation is a study of how U.S. artist Michael Asher (1943–2012) integrated what he called a “logic of comparative relations” into his situational, site-based method from the mid-1970s to the end of the 1990s. Art historians have canonized Asher as a pivotal artist who developed the Minimalist strategy of site-specificity into a conceptual critique of art institutions. Asher is largely understood today through his early architectural interventions in the “white cube” space of galleries and museums in the late 1960s and 1970s, in which pre-existing elements found on-site were temporarily removed or rearranged to reveal the physical, social, and/or economic systems on which the commissioning art institution depended in order to function. This dissertation brings into view how Asher’s concept of site transformed by the end of the 1990s to encompass a greater range of spatial, historical, and discursive references by producing comparative relations between elements found at an institutional site to those outside of it, which in turn determined the institutional site in some foundational way.By using “comparative relations” to juxtapose elements found inside and outside an institutional site, Asher’s later works used a relational logic to redefine site as a location that could be understood through both local and global perspectives and as a point in time linked to both the past and the future. Each chapter of this dissertation is devoted to the conceptualization, production, materialization, and interpretation of one work by Asher, covering the arc of the work’s history from its inception to reception. The chapters examine the following artworks: Asher’s “Installation Mï¿½nster” (1977, 1987, 1997) for Skulptur Projekte in Mï¿½nster, Germany, a recurring exhibition of outdoor public art; his untitled work (1991) for the Stuart Collection at the University of California, San Diego, a permanent collection of site-specific art; and his untitled installation (1998) for the 24th Sï¿½o Paulo Bienal in Brazil, an international contemporary art biennial.

Subjects/Keywords: Art history; Asher; Michael; Conceptual art; contemporary art; institutional critique; site-specificity

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APA (6^th Edition):

Moon, K. (2016). From Site to Comparative Relations: Works by Michael Asher, 1976–1998. (Thesis). UCLA. Retrieved from http://www.escholarship.org/uc/item/58q545mr

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):

Moon, Kavior. “From Site to Comparative Relations: Works by Michael Asher, 1976–1998.” 2016. Thesis, UCLA. Accessed March 02, 2021. http://www.escholarship.org/uc/item/58q545mr.

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

MLA Handbook (7^th Edition):

Moon, Kavior. “From Site to Comparative Relations: Works by Michael Asher, 1976–1998.” 2016. Web. 02 Mar 2021.

Vancouver:

Moon K. From Site to Comparative Relations: Works by Michael Asher, 1976–1998. [Internet] [Thesis]. UCLA; 2016. [cited 2021 Mar 02]. Available from: http://www.escholarship.org/uc/item/58q545mr.

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

Council of Science Editors:

Moon K. From Site to Comparative Relations: Works by Michael Asher, 1976–1998. [Thesis]. UCLA; 2016. Available from: http://www.escholarship.org/uc/item/58q545mr

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

University of California – San Diego

30. Garay, Gary Albert. Sal Si Puedes.

Degree: Visual Arts, 2014, University of California – San Diego

URL: http://www.escholarship.org/uc/item/5rr2b8qq

► This project is an exploration of the aesthetics of the subaltern and how I am abstracting and deploying these ideas in my work. In my… (more)

Subjects/Keywords: Fine arts; Chicano Art; conceptual art; high-low culture; Latin American Art; painting; sculpture

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APA (6^th Edition):

Garay, G. A. (2014). Sal Si Puedes. (Thesis). University of California – San Diego. Retrieved from http://www.escholarship.org/uc/item/5rr2b8qq

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):

Garay, Gary Albert. “Sal Si Puedes.” 2014. Thesis, University of California – San Diego. Accessed March 02, 2021. http://www.escholarship.org/uc/item/5rr2b8qq.

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

MLA Handbook (7^th Edition):

Garay, Gary Albert. “Sal Si Puedes.” 2014. Web. 02 Mar 2021.

Vancouver:

Garay GA. Sal Si Puedes. [Internet] [Thesis]. University of California – San Diego; 2014. [cited 2021 Mar 02]. Available from: http://www.escholarship.org/uc/item/5rr2b8qq.

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

Council of Science Editors:

Garay GA. Sal Si Puedes. [Thesis]. University of California – San Diego; 2014. Available from: http://www.escholarship.org/uc/item/5rr2b8qq

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

Open Access Theses and Dissertations