subject:(Fine Art)

University of Manitoba

1. Siwicki, Breanne. Never pass a mirror without looking in it.

Degree: School of Art, 2019, University of Manitoba

URL: http://hdl.handle.net/1993/34253

► Our bodies face continuous stress throughout a lifetime, physically and mentally deteriorating and changing as we age. As humans, we each have a unique vessel… (more)

Subjects/Keywords: Art; Fine Art

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APA (6^th Edition):

Siwicki, B. (2019). Never pass a mirror without looking in it. (Masters Thesis). University of Manitoba. Retrieved from http://hdl.handle.net/1993/34253

Chicago Manual of Style (16^th Edition):

Siwicki, Breanne. “Never pass a mirror without looking in it.” 2019. Masters Thesis, University of Manitoba. Accessed October 17, 2019. http://hdl.handle.net/1993/34253.

MLA Handbook (7^th Edition):

Siwicki, Breanne. “Never pass a mirror without looking in it.” 2019. Web. 17 Oct 2019.

Vancouver:

Siwicki B. Never pass a mirror without looking in it. [Internet] [Masters thesis]. University of Manitoba; 2019. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/1993/34253.

Council of Science Editors:

Siwicki B. Never pass a mirror without looking in it. [Masters Thesis]. University of Manitoba; 2019. Available from: http://hdl.handle.net/1993/34253

University of Saskatchewan

2. Peat, Nicholas 1988-. Not4Profit.

Degree: 2019, University of Saskatchewan

URL: http://hdl.handle.net/10388/12347

Not4Profit is a thesis pertaining to the art exhibition "Not4Profit" for fulfillment of M.F.A. requirements, which was held at the Kenderdine Art Gallery, Aug 19-30, 2019. Advisors/Committee Members: Graham, John David, Norlen, Alison, Birke, Lisa, Miller, Marcus, Bradford, Lori.

Subjects/Keywords: Art; Fine art

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APA (6^th Edition):

Peat, N. 1. (2019). Not4Profit. (Thesis). University of Saskatchewan. Retrieved from http://hdl.handle.net/10388/12347

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):

Peat, Nicholas 1988-. “Not4Profit.” 2019. Thesis, University of Saskatchewan. Accessed October 17, 2019. http://hdl.handle.net/10388/12347.

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

MLA Handbook (7^th Edition):

Peat, Nicholas 1988-. “Not4Profit.” 2019. Web. 17 Oct 2019.

Vancouver:

Peat N1. Not4Profit. [Internet] [Thesis]. University of Saskatchewan; 2019. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/10388/12347.

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

Council of Science Editors:

Peat N1. Not4Profit. [Thesis]. University of Saskatchewan; 2019. Available from: http://hdl.handle.net/10388/12347

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

University of KwaZulu-Natal

3. Moodley, Nalini. Culture, politics and identity in the visual art of Indian South African graduates from the University of Durban-Westville in KwaZulu-Natal, 1962-1999.

Degree: PhD, Fine art, 2012, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/10724

► The purpose of this research is to document the visual art production of Indian South Africans who graduated from the University of Durban-Westville (UDW) with… (more)

▼ The purpose of this research is to document the visual art production of Indian South Africans who graduated from the University of Durban-Westville (UDW) with a degree in Fine Art, and provide an explanation of how and why their art works are so poorly documented within a post-Apartheid art historical narrative. When South African Apartheid society was designed to promote Black intellectual underdevelopment, this Indian university provided a space for young Indian intellectuals from all fields to engage with the struggle politic of the country to envision a strategy for a liberated and democratic future. While the visual art in this country has provided powerful social commentary throughout the Apartheid years, the voice of the Indian artist has remained silent. Some students managed to complete their degrees and find a little recognition as artists; the majority, however, relegated their art-making to a pastime. Little is known about this body of graduates; hence this research attempts a systematic study about how Indian Fine Art graduates fell into silence upon the completion of their degrees. The rationale of this study is to determine in what ways the constructs of culture, politics and identity, as key environmental factors at UDW, impacted on the virtual absence of Indian artists from South Africa’s art history. To this end, the social history of education of Indian South Africans since their arrival in this country has been provided. The influential and historical location of the University College for Indians (UNICOL) and later UDW as a cultural and political construct is explored against the art production of its Fine Art Department. Thus, the geopolitical space of this university as a site of struggle is contextualised. Against this background, the varied life stories of the forty-three graduates presented in this study are contextualised within the framework of separate and segregated education. These stories illuminate the unfolding dynamics that shaped the directions they subsequently took. The significance of this study lies in its contribution of knowledge to the existing literature on Indian history in South Africa as well as on the art production of this community as students of the Fine Art Department at UDW and subsequently as a small body of practising, but not always exhibiting, artists. Through this study I suggest that some of these graduates became internal exiles, which positioned them on the margins of the art-producing community in this country. This position of marginality impacted on their representation within the South African art historical archive. The study makes a number of recommendations to bring these and other South African Indian artists into the picture again. Advisors/Committee Members: Leeb-du Toit, Juliette Cecile (advisor).

Subjects/Keywords: Fine art.

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APA (6^th Edition):

Moodley, N. (2012). Culture, politics and identity in the visual art of Indian South African graduates from the University of Durban-Westville in KwaZulu-Natal, 1962-1999. (Doctoral Dissertation). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/10724

Chicago Manual of Style (16^th Edition):

Moodley, Nalini. “Culture, politics and identity in the visual art of Indian South African graduates from the University of Durban-Westville in KwaZulu-Natal, 1962-1999.” 2012. Doctoral Dissertation, University of KwaZulu-Natal. Accessed October 17, 2019. http://hdl.handle.net/10413/10724.

MLA Handbook (7^th Edition):

Moodley, Nalini. “Culture, politics and identity in the visual art of Indian South African graduates from the University of Durban-Westville in KwaZulu-Natal, 1962-1999.” 2012. Web. 17 Oct 2019.

Vancouver:

Moodley N. Culture, politics and identity in the visual art of Indian South African graduates from the University of Durban-Westville in KwaZulu-Natal, 1962-1999. [Internet] [Doctoral dissertation]. University of KwaZulu-Natal; 2012. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/10413/10724.

Council of Science Editors:

Moodley N. Culture, politics and identity in the visual art of Indian South African graduates from the University of Durban-Westville in KwaZulu-Natal, 1962-1999. [Doctoral Dissertation]. University of KwaZulu-Natal; 2012. Available from: http://hdl.handle.net/10413/10724

University of KwaZulu-Natal

4. Omar, Fahmeeda. Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg.

Degree: M.A, Fine art, 2012, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/10622

► The aim of this dissertation is to contextualise the use of porcelain by the South African ceramist Thelma Marcuson (1919-2009). This paper focuses on her… (more)

▼ The aim of this dissertation is to contextualise the use of porcelain by the South African ceramist Thelma Marcuson (1919-2009). This paper focuses on her ceramics in the Tatham Art Gallery’s Permanent Collection in Pietermaritzburg. I hope to give recognition to Marcuson as she is considered one of the pioneer South African studio potters by Garth Clark and Lynne Wagner’s in Potters of Southern Africa as she is ranked amongst the top fifteen in that distinct group (appendix 4: Potters’ art demo). This dissertation is divided into three chapters. Chapter one primarily focuses on the influence of contemporary European studio potters on Marcuson’s work, in particular that of Lucie Rie, Mary Rogers and Ruth Duckworth. This chapter also examines the development of ceramics from industrial ceramics, involving mass productions in factories, to the modernist revival of studio ceramics by Bernard Leach, where each piece was handmade and often regarded as an art form, as in the work of the twentieth century British ceramist William Staite-Murray. Chapter two focuses on Marcuson and South African studio ceramics and considers South African potters who had an influence on Marcuson’s early training, and also looks at her involvement with the Association of Potters of Southern Africa (APSA) founded in 1972. In the last section of this chapter I will discuss ceramic practices and technical issues about porcelain and high-firing glazes, specifying how they are made and used, with particular reference to South African developments and local studio potters. As Marcuson was particularly interested in porcelain, this chapter also outlines glaze applications with specific reference to porcelain and firing methods. Chapter three focuses on Marcuson’s ceramics and offers in particular an analysis of the nine pieces of her work in the Permanent Collection of the Tatham Art Gallery in Pietermaritzburg. Through my research I was able to acquire photographic documentation from other South African museums for comparative purposes, such as the Durban Art Gallery and the William Humphreys Art Gallery in Kimberley, as well as some private collections (see appendix 1). Advisors/Committee Members: Calder, Ian (advisor).

Subjects/Keywords: Fine art.

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APA (6^th Edition):

Omar, F. (2012). Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/10622

Chicago Manual of Style (16^th Edition):

Omar, Fahmeeda. “Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg.” 2012. Masters Thesis, University of KwaZulu-Natal. Accessed October 17, 2019. http://hdl.handle.net/10413/10622.

MLA Handbook (7^th Edition):

Omar, Fahmeeda. “Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg.” 2012. Web. 17 Oct 2019.

Vancouver:

Omar F. Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2012. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/10413/10622.

Council of Science Editors:

Omar F. Thelma Marcuson's porcelain vessels in the Tatham Art Gallery, Pietermaritzburg. [Masters Thesis]. University of KwaZulu-Natal; 2012. Available from: http://hdl.handle.net/10413/10622

University of KwaZulu-Natal

5. Fossey, Natalie. Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge.

Degree: MA, Fine art, 2012, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/10623

► Key words: William Hogarth Exhibition; Hogarth in Johannesburg (1987-1988) Series; A Rake’s Progress, Marriage-a-la-Mode and Industry and Idleness Artists; Robert Hodgins Deborah Bell William Kentridge… (more)

Subjects/Keywords: Fine art.

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APA (6^th Edition):

Fossey, N. (2012). Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/10623

Chicago Manual of Style (16^th Edition):

Fossey, Natalie. “Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge.” 2012. Masters Thesis, University of KwaZulu-Natal. Accessed October 17, 2019. http://hdl.handle.net/10413/10623.

MLA Handbook (7^th Edition):

Fossey, Natalie. “Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge.” 2012. Web. 17 Oct 2019.

Vancouver:

Fossey N. Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2012. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/10413/10623.

Council of Science Editors:

Fossey N. Sequential art and narrative in the prints of Hogarth in Johannesburg (1987) by Robert Hodgins, Deborah Bell and William Kentridge. [Masters Thesis]. University of KwaZulu-Natal; 2012. Available from: http://hdl.handle.net/10413/10623

University of KwaZulu-Natal

6. Motsamayi, Mathodi Freddie. The Bernstein Collection of Rorke's Drift ceramics at the University of KwaZulu-Natal : a catalogue raisonne.

Degree: MA, Fine art, 2012, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/9200

► The thesis will focus on documenting, analysing and interpreting the motifs for the ceramics of Rorke’s Drift Art and Craft Centre Ecumenical (Evangelical) Lutheran Church… (more)

Subjects/Keywords: Fine art.

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APA (6^th Edition):

Motsamayi, M. F. (2012). The Bernstein Collection of Rorke's Drift ceramics at the University of KwaZulu-Natal : a catalogue raisonne. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/9200

Chicago Manual of Style (16^th Edition):

Motsamayi, Mathodi Freddie. “The Bernstein Collection of Rorke's Drift ceramics at the University of KwaZulu-Natal : a catalogue raisonne.” 2012. Masters Thesis, University of KwaZulu-Natal. Accessed October 17, 2019. http://hdl.handle.net/10413/9200.

MLA Handbook (7^th Edition):

Motsamayi, Mathodi Freddie. “The Bernstein Collection of Rorke's Drift ceramics at the University of KwaZulu-Natal : a catalogue raisonne.” 2012. Web. 17 Oct 2019.

Vancouver:

Motsamayi MF. The Bernstein Collection of Rorke's Drift ceramics at the University of KwaZulu-Natal : a catalogue raisonne. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2012. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/10413/9200.

Council of Science Editors:

Motsamayi MF. The Bernstein Collection of Rorke's Drift ceramics at the University of KwaZulu-Natal : a catalogue raisonne. [Masters Thesis]. University of KwaZulu-Natal; 2012. Available from: http://hdl.handle.net/10413/9200

University of KwaZulu-Natal

7. Hall, Louise Gillian. Drawing as a generative medium in art making.

Degree: PhD, Fine art, 2013, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/9225

► The research of a practice led PhD in Fine Arts consists of interrelated artwork and writing (Macleod and Holdridge 2005:197). In the dual practical and… (more)

▼ The research of a practice led PhD in Fine Arts consists of interrelated artwork and writing (Macleod and Holdridge 2005:197). In the dual practical and theoretical research for this PhD I examined drawing as a generative medium in art making. This thesis constitutes the theoretical aspect of such research, which is rooted primarily in artistic practice and not in theory. As the other, practical aspect of this PhD I have produced and exhibited original art works, namely works in paint and drawing media. The thesis presented here is an integrative text supporting this practical aspect. It examines the role and process of drawing as a contemporary medium of artistic expression, and pays special attention to its generative nature. The focus on drawing stems from the fact that drawing plays a seminal role in all aspects of my art-making. The thesis examines the body of art works produced during this research as well as the artistic process and methodology used to produce it. It also contextualises the research within the contemporary Fine Art field where drawing has become an ascendant, primary and legitimate medium of artistic expression. In the history of mainly Western art since Classical Antiquity, drawing served an essential and predominantly, though not exclusively, preparatory function. In the last fifty years the status of drawing has shifted, so that it has become a legitimate primary medium of expression for many contemporary artists. The historical function of preparation is consequently no longer the primary guiding rationale for drawing. The status of drawing as secondary and incomplete is now also obsolete. As a consequence of this recent radical function and status shift, current drawing discourse and practice is continually open to question and exploration. Moreover, there is little consensus about the nature of drawing among key players in the Fine Art field. This, as well as the ambiguous nature of drawing which allows it to be a constituent of other media as well as an independent medium, complicates any attempt to define drawing strictly. Having given an outline of the parameters of my specific research topic and my rationale for choosing it, the text proffers a working definition of drawing. Notwithstanding the challenging nature of this task a working definition is necessary to discuss the focus of the research—drawing. The thesis next examines my idiosyncratic use of drawing. Lastly, I address the central question of the thesis, namely, what accounts for the generative nature of drawing? The title of the research, Drawing as a Generative Medium in Art Making, may seem to suggest that the generative potential of drawing is peculiar to the medium as a discrete entity. This research concluded that while drawing is indeed eminently suited to such a function, this exploratory and innovative capacity is the likely outcome of a complex of factors. These factors span artistic approach, drawing process and medium. These inextricably connected factors are difficult to treat discretely. Each of them plays an… Advisors/Committee Members: Gouws, Andries S (advisor), Armstrong, Juliet (advisor).

Subjects/Keywords: Fine art.

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APA (6^th Edition):

Hall, L. G. (2013). Drawing as a generative medium in art making. (Doctoral Dissertation). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/9225

Chicago Manual of Style (16^th Edition):

Hall, Louise Gillian. “Drawing as a generative medium in art making.” 2013. Doctoral Dissertation, University of KwaZulu-Natal. Accessed October 17, 2019. http://hdl.handle.net/10413/9225.

MLA Handbook (7^th Edition):

Hall, Louise Gillian. “Drawing as a generative medium in art making.” 2013. Web. 17 Oct 2019.

Vancouver:

Hall LG. Drawing as a generative medium in art making. [Internet] [Doctoral dissertation]. University of KwaZulu-Natal; 2013. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/10413/9225.

Council of Science Editors:

Hall LG. Drawing as a generative medium in art making. [Doctoral Dissertation]. University of KwaZulu-Natal; 2013. Available from: http://hdl.handle.net/10413/9225

University of the Arts London

8. Christouli, Vasiliki. Site-specific art as an exploration of spatial and temporal limitations.

Degree: PhD, 2016, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010

► This practice-based thesis examines the relationship between space, time and the human presence. It is concerned with the dialectic exchanges between my work and the… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Christouli, V. (2016). Site-specific art as an exploration of spatial and temporal limitations. (Doctoral Dissertation). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010

Chicago Manual of Style (16^th Edition):

Christouli, Vasiliki. “Site-specific art as an exploration of spatial and temporal limitations.” 2016. Doctoral Dissertation, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010.

MLA Handbook (7^th Edition):

Christouli, Vasiliki. “Site-specific art as an exploration of spatial and temporal limitations.” 2016. Web. 17 Oct 2019.

Vancouver:

Christouli V. Site-specific art as an exploration of spatial and temporal limitations. [Internet] [Doctoral dissertation]. University of the Arts London; 2016. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010.

Council of Science Editors:

Christouli V. Site-specific art as an exploration of spatial and temporal limitations. [Doctoral Dissertation]. University of the Arts London; 2016. Available from: http://ualresearchonline.arts.ac.uk/12037/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738010

University of the Arts London

9. Hewlett, Katherine. Socio-cultural investigation of visual dyslexic cognition.

Degree: PhD, 2018, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/13924/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767416

► The thinking approaches of dyslexic visual artists in their creative production have been little analysed, either in isolation or in comparison with non-dyslexic artists. This… (more)

▼ The thinking approaches of dyslexic visual artists in their creative production have been little analysed, either in isolation or in comparison with non-dyslexic artists. This research investigates the nature of visual dyslexic cognition and tests for cognitive differences between dyslexic and non-dyslexic artists. It does so by systematically exploring their respective thinking approaches to creative visual production. The socio-cultural framework of investigation further argues the value of a distinctively dyslexic mode of visual thinking to mainstream education and society. The fieldwork included a purposive sampling of 44 artists with data collected and interpreted through mixed methods, using a range of tools. The research is positioned within cognitive and social constructivist perspectives, recognising that independent thinking is an integrated cognitive process of conceptualising inner, outer environments and complex social interactions. Thus the research methodology is both ethnographic and phenomenological. Dyslexic visual thinking within a sociocultural context is explored to give context to the concept of creativity, visual language and the value of arts education as enabling processes of thinking and conceptual development. The research focus emerged during the first stage of the fieldwork; the investigation of dyslexic artists indicated that their visual creative practice is produced through the skill of thinking within a multi-dimensional context. Through three stages of fieldwork, the research evidenced a dyslexic cognitive culture positioned within the dynamic of the 'outsider'. A triangulation of methods was used within the data collection and analysis to reach conclusive findings. The main research findings are: the dyslexic capacity for creative non-linear or 'flowed' visual cognition within a multi-dimensional conceptual framework; that this ability is so taken for granted that the dyslexic artists did not consider this to be different or of any greater value. The research found that dyslexic artists can have certain cognitive strategies, which may be underdeveloped in non-dyslexic artists yet these cognitive strategies can be taught to non-dyslexics. The research draws conclusions from these findings by further discussing the benefit of this thinking to education, the workplace and, also, to a technological and increasingly entrepreneurial society where divergent thinking contributes to creative production.

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Hewlett, K. (2018). Socio-cultural investigation of visual dyslexic cognition. (Doctoral Dissertation). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/13924/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767416

Chicago Manual of Style (16^th Edition):

Hewlett, Katherine. “Socio-cultural investigation of visual dyslexic cognition.” 2018. Doctoral Dissertation, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/13924/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767416.

MLA Handbook (7^th Edition):

Hewlett, Katherine. “Socio-cultural investigation of visual dyslexic cognition.” 2018. Web. 17 Oct 2019.

Vancouver:

Hewlett K. Socio-cultural investigation of visual dyslexic cognition. [Internet] [Doctoral dissertation]. University of the Arts London; 2018. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/13924/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767416.

Council of Science Editors:

Hewlett K. Socio-cultural investigation of visual dyslexic cognition. [Doctoral Dissertation]. University of the Arts London; 2018. Available from: http://ualresearchonline.arts.ac.uk/13924/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767416

University of the Arts London

10. Cope, Paul. Let me show you what I mean : changing perspectives on the artist-teacher and the classroom art demonstration.

Degree: PhD, 2018, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/13923/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767415

► This research aims to develop a theoretical and practical understanding of a situated and embodied artist-teacher practice by testing multiple models of teacher demonstration and… (more)

▼ This research aims to develop a theoretical and practical understanding of a situated and embodied artist-teacher practice by testing multiple models of teacher demonstration and exemplification. The intention was to find out the ways in which the classroom art demonstration can be construed as the basis for a participatory, dialogic, pedagogical art practice, using co-learning and experiential learning based approaches to school art making. By using the model of the classroom art demonstration, a tried and tested aspect of my teaching practice, and amplifying and expanding that into art practice, I proposed to investigate the ways in which the demonstration functions as an effective link between teaching and art practice. The research was a professional self-study carried out within the context of the author's art and teaching practice in a middle school classroom with students from age 9 to 13. As an artist, teacher, researcher and participant, I used a reiterative procedure, based on Shön's (1983) 'reflection-on-action', to design four case studies. Evidence was collected through the making and documentation of artefacts made during, and in relation to, demonstrations and modelling, including journals, sketchbooks, artworks, visual presentations, lesson plans, questionnaires, exhibitions in schools and other settings. A framework, based on Hetland et al.'s (2013) approach to 'habits of mind' was used to evaluate the outcomes, and this was used to construct a taxonomy of different purposes and functions for the demonstration which is dispersed throughout the case studies. The contribution to knowledge lies in the nuanced study of the uses of the art demonstration as exemplification, interpretation, collaboration and instantiation of art making and thinking in the classroom, exploring methods, means and ends. The demonstration examples, made as part of the practice-based research process, studied means of communication, sharing and thinking about art making in concert with students. The demonstration artworks also led to an understanding of the changing dynamics of the artist-teacher role over a significant period as the research progressed. Using the case studies, I argue that the processes of thinking and making, with students, artists and on my own behalf, helps to locate the classroom art demonstration in a new theoretical framework and taxonomy within an expanded field of socially engaged, dialogic and material-based art practice.

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Cope, P. (2018). Let me show you what I mean : changing perspectives on the artist-teacher and the classroom art demonstration. (Doctoral Dissertation). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/13923/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767415

Chicago Manual of Style (16^th Edition):

Cope, Paul. “Let me show you what I mean : changing perspectives on the artist-teacher and the classroom art demonstration.” 2018. Doctoral Dissertation, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/13923/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767415.

MLA Handbook (7^th Edition):

Cope, Paul. “Let me show you what I mean : changing perspectives on the artist-teacher and the classroom art demonstration.” 2018. Web. 17 Oct 2019.

Vancouver:

Cope P. Let me show you what I mean : changing perspectives on the artist-teacher and the classroom art demonstration. [Internet] [Doctoral dissertation]. University of the Arts London; 2018. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/13923/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767415.

Council of Science Editors:

Cope P. Let me show you what I mean : changing perspectives on the artist-teacher and the classroom art demonstration. [Doctoral Dissertation]. University of the Arts London; 2018. Available from: http://ualresearchonline.arts.ac.uk/13923/ ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767415

University of the Arts London

11. Papadopoulos, Theokritos. The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma.

Degree: 2013, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/6470/

► This research project, driven by my on-going practice, seeks to identify the role of non-traditional materials such as ephemera, debris, waste and historical archive footage… (more)

▼ This research project, driven by my on-going practice, seeks to identify the role of non-traditional materials such as ephemera, debris, waste and historical archive footage in order to produce art installations for investigating trauma, especially in moments of social crisis. My art practice is informed by Sigmund Freud’s notion of the ‘death drive’ in his book Beyond the Pleasure Principle. Freud’s story about his grandson’s fort-da game provided the context in my research for examining the use of ephemeral everyday materials and historical archive footage within this psychoanalytical interpretation. Freud’s concept of the death drive provided my enquiry with a reflective methodology for addressing my own installation practice. I was able to combine this with reflection upon traumatic situations in Greek history, especially the Greek Civil War. As a result of completing the above procedure, I realised the importance of everyday ephemeral materials and archive footage in the creation of an object or installation to which artists attach their subjectivity in moments when society is in crisis. In my own installations using historical archives from Greek Civil War, through the method of cut and paste, I have tried to create new images reusing photographic archives laden with historical, social and political meaning. This action was my subjective way to deal with collective trauma and loss, to create my own version of Freud’s fort-da game by turning installations into a theatrical space in which this action was presented and communicated with the viewers. In addressing research through practice, connections between trauma, the use of heterogeneous materials and the development of the avant-garde movement, particularly in Greece, have become paramount. Despite the research undertaken by Greek academics on the Greek Civil War (1944–1949), little is known about the importance of this period in relation to the development of avant-garde in Greece. My research concludes that the study of the history of the Greek avant-garde provides a new understanding of the development of collage, assemblage and the use of found objects after the Second World War by Greek artists. During my investigation, I realised that these techniques were first used by exiled artists in 1948 during the Greek Civil War, and later developed in the mid-1950s by Greek artists to become one of their main methods of producing art. During this period, Greek artists began to produce works that reflected a fragmentary vision in contrast to the hitherto classic aesthetics of the whole. Ostensibly, this was a reflection of the impossibility of a whole that war had created; the relationship of the individual within society had crumbled as civil war raged and society’s values, which had been based on the Orthodox Christian tradition, disintegrated. The use of found objects by Greek artists during this period expressed transgression as a way to deal with the main concerns of Greek culture.

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Papadopoulos, T. (2013). The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma. (Thesis). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/6470/

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):

Papadopoulos, Theokritos. “The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma.” 2013. Thesis, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/6470/.

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

MLA Handbook (7^th Edition):

Papadopoulos, Theokritos. “The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma.” 2013. Web. 17 Oct 2019.

Vancouver:

Papadopoulos T. The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma. [Internet] [Thesis]. University of the Arts London; 2013. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/6470/.

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

Council of Science Editors:

Papadopoulos T. The Aesthetics of Waste: Investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma. [Thesis]. University of the Arts London; 2013. Available from: http://ualresearchonline.arts.ac.uk/6470/

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

University of the Arts London

12. Hart, Emma. How To Do Things With Cameras.

Degree: 2013, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/8744/

► The primary site for this research is artistic production, through exhibitions and performances presented in galleries between 2008-2012. The written thesis closely examines the large… (more)

▼ The primary site for this research is artistic production, through exhibitions and performances presented in galleries between 2008-2012. The written thesis closely examines the large body of practical work I have made through discussions with Dean Kenning, a viewer to all the artworks submitted. This is combined with a contextual analysis reflecting on the research behind and ideas provoked by this practical work. The research aims to create an encounter with the photograph or video where the lens-based image, still or moving, is not a window onto a world but operates as a presence sharing the viewer’s time and space. I name this changed manner of encounter a live mode of address. I begin the thesis by describing video and films I feel go beyond providing a description and are experienced as a presence. Through looking at the work of Spartacus Chetwynd, John Smith, Laure Provoust, and Ryan Trecartin, I locate reasons for why my concept of a live mode of address happens. I then bring together the different ways it works and greatly expand its limits and possibilities through my own art making. The thesis operates within the field of fine art yet I am challenging the consumption of lens-based images within wider visual culture. This enquiry does not set out to change how the camera works, or question our conventional understanding of what a camera does; its mission is to change how we encounter what it produces. How can I, as an artist operating with a camera - a machine that can only repeat, describe and represent things from the past - engender a live mode of address between a viewer and a lens-based artwork? It is through the production of artwork that this question is explored. In this thesis the artworks are examined in the order they were made, as each one evaluates and takes forward research and ideas present in the previous work. They build on each other to form a cohesive and staged investigation, culminating with my exhibition TO DO (2011) Matt’s Gallery. J.L. Austin’s theory of performative speech is an important theoretical tool for this thesis. In his series of lectures How To Do Things With Words, Austin asked whether words can produce a reality rather than describe one? I pitch this question not to words, but to the lens-based image and the title of my thesis How To Do Things With Cameras reflects this performative investigation. I go on to examine how the performative use of the camera impacts on a live mode of address and, through considering work by artists including Vito Acconci and John Baldessari,how this must stretch beyond the making of the work to incorporate the artwork’s installation. The major element of this PhD submission is the exhibition TO DO (2011) at Matt’s Gallery, London. Bertolt Brecht’s ‘Learning Plays’ are considered alongside production for this exhibition. TO DO (2011) produces a live mode of address and my examination of how this operates reveals a complicated exchange between the artwork and viewer. The experience of the lens-based images within TO DO (2011) are…

Subjects/Keywords: Fine Art

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

APA (6^th Edition):

Hart, E. (2013). How To Do Things With Cameras. (Thesis). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/8744/

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):

Hart, Emma. “How To Do Things With Cameras.” 2013. Thesis, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/8744/.

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

MLA Handbook (7^th Edition):

Hart, Emma. “How To Do Things With Cameras.” 2013. Web. 17 Oct 2019.

Vancouver:

Hart E. How To Do Things With Cameras. [Internet] [Thesis]. University of the Arts London; 2013. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/8744/.

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

Council of Science Editors:

Hart E. How To Do Things With Cameras. [Thesis]. University of the Arts London; 2013. Available from: http://ualresearchonline.arts.ac.uk/8744/

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

University of the Arts London

13. Kassianidou, Marina. Between Marks and Surfaces: Indiscernibility, Subjectivity, and Otherness.

Degree: 2015, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/8935/

► This practice-based research examines the notion of the in-between of mark and surface within visual art. Drawing on Bracha L. Ettinger’s Matrixial theory, I approach… (more)

▼ This practice-based research examines the notion of the in-between of mark and surface within visual art. Drawing on Bracha L. Ettinger’s Matrixial theory, I approach the in-between as a non-oppositional state that has the potential to redefine relationships between self and other in art practice. The questions I focus on are: How can the relationship between the artist’s marks and the surface move beyond an opposition or clear overlay such that an in-between state may be accessed? How can the relationship between work and space shift in a similar manner? How does accessing this in-between change the relationships between subject and object and self and other (understood, initially, in terms of mark and surface and artist and materials)? What are the implications for the artist when her marks become nearly indiscernible from the surface (as a result of approaching an in-between state)? Finally, what are some implications for the audience when they cannot immediately see or identify a work of art? The methodological framework, which emerged through the research, involves the interweaving of three spaces: my own practice, other artists’ practices, and theory. Through my practice, I looked for marks that approached each surface I worked with. This approaching occurred on several levels: visual, material, and conceptual. The marking methods I developed are juxtaposed with theoretical concepts, mainly from Bracha L. Ettinger, Gilles Deleuze and Félix Guattari, Jacques Derrida, and C. S. Peirce, and with works by artists Susan Collis, Louise Hopkins, and Bracha L. Ettinger. Through these juxtapositions, I investigate the operations of the resulting marks, their relationships with the surface, and how those relationships tend towards an in-between. I argue that the destabilisation of a clear distinction between mark and surface and work and space may lead to visual and conceptual indiscernibility. This, in turn, leads to a rethinking of the relationship between subject and object and self and other on several levels. The contribution of the research lies in adding to the discussion surrounding the relationship between mark and surface by specifically focusing on the in-between and indiscernibility. This addition occurs through practice as well as through this text, which attempts to activate concepts that enable the conceptualisation of an in-between state/space.

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Kassianidou, M. (2015). Between Marks and Surfaces: Indiscernibility, Subjectivity, and Otherness. (Thesis). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/8935/

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):

Kassianidou, Marina. “Between Marks and Surfaces: Indiscernibility, Subjectivity, and Otherness.” 2015. Thesis, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/8935/.

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

MLA Handbook (7^th Edition):

Kassianidou, Marina. “Between Marks and Surfaces: Indiscernibility, Subjectivity, and Otherness.” 2015. Web. 17 Oct 2019.

Vancouver:

Kassianidou M. Between Marks and Surfaces: Indiscernibility, Subjectivity, and Otherness. [Internet] [Thesis]. University of the Arts London; 2015. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/8935/.

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

Council of Science Editors:

Kassianidou M. Between Marks and Surfaces: Indiscernibility, Subjectivity, and Otherness. [Thesis]. University of the Arts London; 2015. Available from: http://ualresearchonline.arts.ac.uk/8935/

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

University of the Arts London

14. Edwardes, Christian. Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art.

Degree: 2016, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/9192/

► For some art historians the notion of geography has never had as much importance in art as in recent years. At the same time numerous… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Edwardes, C. (2016). Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art. (Thesis). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/9192/

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):

Edwardes, Christian. “Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art.” 2016. Thesis, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/9192/.

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

MLA Handbook (7^th Edition):

Edwardes, Christian. “Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art.” 2016. Web. 17 Oct 2019.

Vancouver:

Edwardes C. Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art. [Internet] [Thesis]. University of the Arts London; 2016. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/9192/.

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

Council of Science Editors:

Edwardes C. Peregrinations With Maps And Landscapes: Narrating the Spaces of Practice in Fine Art. [Thesis]. University of the Arts London; 2016. Available from: http://ualresearchonline.arts.ac.uk/9192/

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

University of the Arts London

15. Christouli, Vasiliki. Site-Specific Art as an Exploration of Spatial and Temporal Limitations.

Degree: 2016, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/12037/

► This practice-based thesis examines the relationship between space, time and the human presence. It is concerned with the dialectic exchanges between my work and the… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Christouli, V. (2016). Site-Specific Art as an Exploration of Spatial and Temporal Limitations. (Thesis). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/12037/

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):

Christouli, Vasiliki. “Site-Specific Art as an Exploration of Spatial and Temporal Limitations.” 2016. Thesis, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/12037/.

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

MLA Handbook (7^th Edition):

Christouli, Vasiliki. “Site-Specific Art as an Exploration of Spatial and Temporal Limitations.” 2016. Web. 17 Oct 2019.

Vancouver:

Christouli V. Site-Specific Art as an Exploration of Spatial and Temporal Limitations. [Internet] [Thesis]. University of the Arts London; 2016. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/12037/.

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

Council of Science Editors:

Christouli V. Site-Specific Art as an Exploration of Spatial and Temporal Limitations. [Thesis]. University of the Arts London; 2016. Available from: http://ualresearchonline.arts.ac.uk/12037/

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

University of the Arts London

16. Hartley, John. The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse.

Degree: 2015, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/13332/

► The sea changes in many ways and on many levels. These changes are complex and highly connected and as a result are hard to predict… (more)

▼ The sea changes in many ways and on many levels. These changes are complex and highly connected and as a result are hard to predict Connected, changing systems of different scale are found in many areas of life. As well as physical systems such as the sea, they are apparent in emerging and collapsing ecological systems (Gunderson, Holling 2002), in systems of human ideas such as the philosophy of Deleuze and Guattari and, as I argue, in arts practice. Although attempts to know the sea are inherently difficult, they also offer opportunities. For example, if we were better able to perceive the changes of the sea, we might better approach other pressing problems that categorise our current age, such as climate change and the threat of collapse within other socio-ecological systems. A sea-centred form of ecological thinking could promote awareness of change and connection on different scales in varied realms. I demonstrate how forms of change, initially familiar through the movements of the sea, can be understood through arts practice. I refer to this sea-centred, ecological perception as ‘thalassocentric', (from the Greek thalassa, sea). This term denotes an outlook that (in some way) originates within the sea, even if it then addresses land, social arrangements or human imagination. Although thalassocentric understanding is derived from the movement of waves, I show that the concept can be developed as a useful tool for understanding changes beyond the oceans. Having analysed a number of key creative practices that engage with the contexts described, I develop an arts-centred use of the term 'apparatus'. I show that art apparatuses can be considered to move and change in ways that are also thalassocentric. This model is tested and applied through a series of creative projects which suggest that changes within art apparatuses can help us understand changes elsewhere. It therefore offers a valuable model that can contribute to our knowledge and understanding of other complex systems.

Subjects/Keywords: Fine Art

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

APA (6^th Edition):

Hartley, J. (2015). The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse. (Thesis). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/13332/

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):

Hartley, John. “The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse.” 2015. Thesis, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/13332/.

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

MLA Handbook (7^th Edition):

Hartley, John. “The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse.” 2015. Web. 17 Oct 2019.

Vancouver:

Hartley J. The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse. [Internet] [Thesis]. University of the Arts London; 2015. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/13332/.

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

Council of Science Editors:

Hartley J. The Thalassocentric Apparatus: Connected art processes from the sea showing multi-scale changes through their own emergence and collapse. [Thesis]. University of the Arts London; 2015. Available from: http://ualresearchonline.arts.ac.uk/13332/

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

University of the Arts London

17. Locke, Lana. The Feral, the Art Object and the Social.

Degree: 2017, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/13476/

► This practice-based research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and… (more)

▼ This practice-based research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised. The page is also constructed materially, as a space where heterogeneous elements meet: different voices expressed through the writing and images of my practice. In claiming the feral as a critical concept, I reject its more common, derogatory, usage. In particular, during the 2011 London riots, the former British Lord Chancellor Kenneth Clarke labelled the rioters a “feral underclass”, seeking to fix them in this uncivilised, abject position. I unfix this separation, through a feral interpretation of my objects, as they interpenetrate domestic, institutional, and civilised public spheres. Mother’s milk solidifies as plaster-filled condom bombs, at once phallic and breast-like, poised to ignite a pyre of social theory texts in a gallery project space, a former factory; haphazard conglomerations of plant matter and urban debris are strung together in bunting on an inner-city community hall. The feral becomes here a rival concept to Julia Kristeva’s formulation of abjection, as the seeping bodily organs evoked by my objects are not defined in terms of the individual, but reflected on through the formless mass of the social body, the displaced undercommons of Stefano Harney and Fred Moten, the wild of Jack Halberstam, the rioters of Joshua Clover. The feral has an antagonistic quality, but it cannot fit the relational models of art put forward by Chantal Mouffe and Claire Bishop that seek to civilise this antagonism. Neither can the positivity of Rosi Braidotti’s posthuman new materialism extract the hybridity of materials I use from the precariousness of the social conditions from which they are drawn. My practice, like the feral, resists these separations.

Subjects/Keywords: Fine Art

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

APA (6^th Edition):

Locke, L. (2017). The Feral, the Art Object and the Social. (Thesis). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/13476/

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):

Locke, Lana. “The Feral, the Art Object and the Social.” 2017. Thesis, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/13476/.

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

MLA Handbook (7^th Edition):

Locke, Lana. “The Feral, the Art Object and the Social.” 2017. Web. 17 Oct 2019.

Vancouver:

Locke L. The Feral, the Art Object and the Social. [Internet] [Thesis]. University of the Arts London; 2017. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/13476/.

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

Council of Science Editors:

Locke L. The Feral, the Art Object and the Social. [Thesis]. University of the Arts London; 2017. Available from: http://ualresearchonline.arts.ac.uk/13476/

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

University of the Arts London

18. Hewlett, Katherine. Socio - cultural investigation of visual dyslexic cognition.

Degree: 2018, University of the Arts London

URL: http://ualresearchonline.arts.ac.uk/13924/

► The thinking approaches of dyslexic visual artists in their creative production have been little analysed, either in isolation or in comparison with non-dyslexic artists. This… (more)

▼ The thinking approaches of dyslexic visual artists in their creative production have been little analysed, either in isolation or in comparison with non-dyslexic artists. This research investigates the nature of visual dyslexic cognition and tests for cognitive differences between dyslexic and non-dyslexic artists. It does so by systematically exploring their respective thinking approaches to creative visual production. The socio-cultural framework of investigation further argues the value of a distinctively dyslexic mode of visual thinking to mainstream education and society. The fieldwork included a purposive sampling of 44 artists with data collected and interpreted through mixed methods, using a range of tools. The research is positioned within cognitive and social constructivist perspectives, recognising that independent thinking is an integrated cognitive process of conceptualising inner, outer environments and complex social interactions. Thus the research methodology is both ethnographic and phenomenological. Dyslexic visual thinking within a sociocultural context is explored to give context to the concept of creativity, visual language and the value of arts education as enabling processes of thinking and conceptual development. The research focus emerged during the first stage of the fieldwork; the investigation of dyslexic artists indicated that their visual creative practice is produced through the skill of thinking within a multi-dimensional context. Through three stages of fieldwork, the research evidenced a dyslexic cognitive culture positioned within the dynamic of the ‘outsider’. A triangulation of methods was used within the data collection and analysis to reach conclusive findings. The main research findings are: the dyslexic capacity for creative non-linear or ‘flowed’ visual cognition within a multi-dimensional conceptual framework; that this ability is so taken for granted that the dyslexic artists did not consider this to be different or of any greater value. The research found that dyslexic artists can have certain cognitive strategies, which may be underdeveloped in non-dyslexic artists yet these cognitive strategies can be taught to non-dyslexics. The research draws conclusions from these findings by further discussing the benefit of this thinking to education, the workplace and, also, to a technological and increasingly entrepreneurial society where divergent thinking contributes to creative production

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Hewlett, K. (2018). Socio - cultural investigation of visual dyslexic cognition. (Thesis). University of the Arts London. Retrieved from http://ualresearchonline.arts.ac.uk/13924/

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):

Hewlett, Katherine. “Socio - cultural investigation of visual dyslexic cognition.” 2018. Thesis, University of the Arts London. Accessed October 17, 2019. http://ualresearchonline.arts.ac.uk/13924/.

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

MLA Handbook (7^th Edition):

Hewlett, Katherine. “Socio - cultural investigation of visual dyslexic cognition.” 2018. Web. 17 Oct 2019.

Vancouver:

Hewlett K. Socio - cultural investigation of visual dyslexic cognition. [Internet] [Thesis]. University of the Arts London; 2018. [cited 2019 Oct 17]. Available from: http://ualresearchonline.arts.ac.uk/13924/.

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

Council of Science Editors:

Hewlett K. Socio - cultural investigation of visual dyslexic cognition. [Thesis]. University of the Arts London; 2018. Available from: http://ualresearchonline.arts.ac.uk/13924/

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

University of Cape Town

19. Duncan, Suzanne. Dust imagined : a creative reflection on mortality, anxiety and process.

Degree: Image, Michaelis School of Fine Art, 2014, University of Cape Town

URL: http://hdl.handle.net/11427/13074

► Why do skin, hair and fingernails that are desirable objects, belonging to a whole body and adding to its decoration, cause disgust and become markers… (more)

Subjects/Keywords: Fine Art

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

APA (6^th Edition):

Duncan, S. (2014). Dust imagined : a creative reflection on mortality, anxiety and process. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/13074

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):

Duncan, Suzanne. “Dust imagined : a creative reflection on mortality, anxiety and process.” 2014. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/13074.

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

MLA Handbook (7^th Edition):

Duncan, Suzanne. “Dust imagined : a creative reflection on mortality, anxiety and process.” 2014. Web. 17 Oct 2019.

Vancouver:

Duncan S. Dust imagined : a creative reflection on mortality, anxiety and process. [Internet] [Thesis]. University of Cape Town; 2014. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/13074.

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

Council of Science Editors:

Duncan S. Dust imagined : a creative reflection on mortality, anxiety and process. [Thesis]. University of Cape Town; 2014. Available from: http://hdl.handle.net/11427/13074

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

University of Cape Town

20. Mahashe, George. Dithugula tÅ¡a Malefokana: paying libation in the photographic archive made by anthropologists E.J. & J.D. Krige in 1930s Bolobedu, under Queen Modjadji III.

Degree: Image, Michaelis School of Fine Art, 2012, University of Cape Town

URL: http://hdl.handle.net/11427/14569

► How, and in what ways, might a visually - and artistically - inclined person gain knowledge from a body of ethnographic photographic objects? I approach… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Mahashe, G. (2012). Dithugula tÅ¡a Malefokana: paying libation in the photographic archive made by anthropologists E.J. & J.D. Krige in 1930s Bolobedu, under Queen Modjadji III. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/14569

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):

Mahashe, George. “Dithugula tÅ¡a Malefokana: paying libation in the photographic archive made by anthropologists E.J. & J.D. Krige in 1930s Bolobedu, under Queen Modjadji III.” 2012. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/14569.

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

MLA Handbook (7^th Edition):

Mahashe, George. “Dithugula tÅ¡a Malefokana: paying libation in the photographic archive made by anthropologists E.J. & J.D. Krige in 1930s Bolobedu, under Queen Modjadji III.” 2012. Web. 17 Oct 2019.

Vancouver:

Mahashe G. Dithugula tÅ¡a Malefokana: paying libation in the photographic archive made by anthropologists E.J. & J.D. Krige in 1930s Bolobedu, under Queen Modjadji III. [Internet] [Thesis]. University of Cape Town; 2012. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/14569.

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

Council of Science Editors:

Mahashe G. Dithugula tÅ¡a Malefokana: paying libation in the photographic archive made by anthropologists E.J. & J.D. Krige in 1930s Bolobedu, under Queen Modjadji III. [Thesis]. University of Cape Town; 2012. Available from: http://hdl.handle.net/11427/14569

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

University of Cape Town

21. Dooley, Jeffrey. Revisiting the future.

Degree: Image, Michaelis School of Fine Art, 2013, University of Cape Town

URL: http://hdl.handle.net/11427/14151

► Revisiting the future re-examines some ideas of the Italian Futurist painters Boccioni, Balla, Carra, Russolo and Severini. These ideas included multiplied sensations and states of… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Dooley, J. (2013). Revisiting the future. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/14151

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):

Dooley, Jeffrey. “Revisiting the future.” 2013. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/14151.

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

MLA Handbook (7^th Edition):

Dooley, Jeffrey. “Revisiting the future.” 2013. Web. 17 Oct 2019.

Vancouver:

Dooley J. Revisiting the future. [Internet] [Thesis]. University of Cape Town; 2013. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/14151.

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

Council of Science Editors:

Dooley J. Revisiting the future. [Thesis]. University of Cape Town; 2013. Available from: http://hdl.handle.net/11427/14151

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

University of Cape Town

22. Macdonald, James. Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/23452

► In this research I consider ways in which black South African artists working during and after apartheid have both revised and symbolically redeployed the Stations… (more)

▼ In this research I consider ways in which black South African artists working during and after apartheid have both revised and symbolically redeployed the Stations of the Cross - and more broadly, the iconographic tradition of the Passion cycle. In so doing, I demonstrate the strategic application of Christ's episodic sufferings as a means of both analogously chronicling situations of historical trauma, as well as articulating more aspirant narratives of political resistance, selfliberation and reconciliation. Concentrating initially on church-commissioned projects realised in the late 1950s and early 1960s, I trace the reinterpretation (or 'Africanisation') of the Stations of the Cross by artists such as Bernard Gcwensa, Ruben Xulu and Sydney Kumalo. Noting the emergence of a black Christ and a localised Passion, I emphasise the complex cultural and political implications of this iconographic transformation - arguing that its hybrid realisation undermined the cultural bias of a European-styled Christianity, and the racial hierarchies of colonialism and apartheid. Following this, considered in more detail are the secular reimaginings of Sokhaya Charles Nkosi's Crucifixion (1976) and Azaria Mbatha's Stations of the Cross for Africa (1995) - as series wherein the episodes of Christ's Passion are consciously and symbolically redeployed. In the case of Nkosi's Crucifixion, I show as covertly documented in a black Christ's sufferings the incarceration and torture of political activists in apartheid South Africa. On a more ideological level, I demonstrate also, as embodied in the series, the aspirant directives of Black Consciousness and Black Theology. Turning to Mbatha's Stations of the Cross for Africa, I present its visual narrative as analogously envisioning, as well as critically rethinking, the mutually embedded traumas of slavery, colonialism and apartheid. Significant to my analysis is the future vision of reconciliation posited by Mbatha, and the extent to which it both reflects and challenges that maintained within the 'transformative' programme of the South African Truth and Reconciliation Commission. Demonstrated in my evaluation of these appropriative projects is the way in which a traditionally European iconographic tradition is critically redeployed - in chronicling situations of historical trauma, as well as in the envisioning of alternative futures. As such, I hope to afford a more nuanced and challenging appreciation of these reimagined Passion narratives, as significant projects of cultural and postcolonial memory. In keeping with this, I advance in conclusion a 'rethinking of pilgrimage'. Recalling the culture of participative witness associated with devotional programmes like the Stations of the Cross, I propose that in the case of both Nkosi's Crucifixion and Mbatha's Stations of the Cross for Africa, extended to viewers is a certain imperative: to imaginatively revisit, and rethink within the present, traumatic histories of black suffering and resistance. Advisors/Committee Members: Skotnes, Pippa (advisor), MacKenny, Virginia (advisor), Bogues, Anthony (advisor).

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Macdonald, J. (2016). Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/23452

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):

Macdonald, James. “Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha.” 2016. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/23452.

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

MLA Handbook (7^th Edition):

Macdonald, James. “Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha.” 2016. Web. 17 Oct 2019.

Vancouver:

Macdonald J. Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/23452.

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

Council of Science Editors:

Macdonald J. Tracing the passion of a black Christ: critical reflections on the iconographic revision and symbolic redeployment of the Stations of the Cross and Passion cycle by South African artists Sydney Kumalo, Sokhaya Charles Nkosi and Azaria Mbatha. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/23452

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

University of Cape Town

23. Froneman, Nadine. Obsessive collecting : curiosity of lost objects and unknown narratives, an archive of carte de visites.

Degree: Image, Michaelis School of Fine Art, 2014, University of Cape Town

URL: http://hdl.handle.net/11427/13254

► This project is an investigation of a community of cartes de visite. Cartes de visiteare 10,5cm high by 6,5cm wide cards, which have extremely detailed… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Froneman, N. (2014). Obsessive collecting : curiosity of lost objects and unknown narratives, an archive of carte de visites. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/13254

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):

Froneman, Nadine. “Obsessive collecting : curiosity of lost objects and unknown narratives, an archive of carte de visites.” 2014. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/13254.

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

MLA Handbook (7^th Edition):

Froneman, Nadine. “Obsessive collecting : curiosity of lost objects and unknown narratives, an archive of carte de visites.” 2014. Web. 17 Oct 2019.

Vancouver:

Froneman N. Obsessive collecting : curiosity of lost objects and unknown narratives, an archive of carte de visites. [Internet] [Thesis]. University of Cape Town; 2014. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/13254.

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

Council of Science Editors:

Froneman N. Obsessive collecting : curiosity of lost objects and unknown narratives, an archive of carte de visites. [Thesis]. University of Cape Town; 2014. Available from: http://hdl.handle.net/11427/13254

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

University of Cape Town

24. Higgins, Josephine. Seeing death : portraiture in contemporary postmortem photography.

Degree: Image, Michaelis School of Fine Art, 2013, University of Cape Town

URL: http://hdl.handle.net/11427/14152

► This thesis focuses on the aesthetics of the photographic representation of the actual dead body in Elizabeth Heyert's The Travelers (2004), Pieter Hugo's The Bereaved… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Higgins, J. (2013). Seeing death : portraiture in contemporary postmortem photography. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/14152

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):

Higgins, Josephine. “Seeing death : portraiture in contemporary postmortem photography.” 2013. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/14152.

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

MLA Handbook (7^th Edition):

Higgins, Josephine. “Seeing death : portraiture in contemporary postmortem photography.” 2013. Web. 17 Oct 2019.

Vancouver:

Higgins J. Seeing death : portraiture in contemporary postmortem photography. [Internet] [Thesis]. University of Cape Town; 2013. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/14152.

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

Council of Science Editors:

Higgins J. Seeing death : portraiture in contemporary postmortem photography. [Thesis]. University of Cape Town; 2013. Available from: http://hdl.handle.net/11427/14152

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

University of Cape Town

25. Dickerson, Catherine. Salvaging meaning : exploring the language of inflatable kinetic sculptures and the materiality of plastic.

Degree: Image, Michaelis School of Fine Art, 2010, University of Cape Town

URL: http://hdl.handle.net/11427/10408

► Inflatable sculpture is often seen as absurd, comic or light-hearted, but it can also convey a darker, more serious tone. The inflatable sculptures created in… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Dickerson, C. (2010). Salvaging meaning : exploring the language of inflatable kinetic sculptures and the materiality of plastic. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/10408

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):

Dickerson, Catherine. “Salvaging meaning : exploring the language of inflatable kinetic sculptures and the materiality of plastic.” 2010. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/10408.

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

MLA Handbook (7^th Edition):

Dickerson, Catherine. “Salvaging meaning : exploring the language of inflatable kinetic sculptures and the materiality of plastic.” 2010. Web. 17 Oct 2019.

Vancouver:

Dickerson C. Salvaging meaning : exploring the language of inflatable kinetic sculptures and the materiality of plastic. [Internet] [Thesis]. University of Cape Town; 2010. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/10408.

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

Council of Science Editors:

Dickerson C. Salvaging meaning : exploring the language of inflatable kinetic sculptures and the materiality of plastic. [Thesis]. University of Cape Town; 2010. Available from: http://hdl.handle.net/11427/10408

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

University of Cape Town

26. Siwani, Buhlebezwe. Imfihlo.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/20623

► The discourses of ritual, culture and ethics has, over the years, been a primarily ethnographic, philosophical and dramaturgical concern. Secrecy seems central in setting boundaries.… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Siwani, B. (2016). Imfihlo. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/20623

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):

Siwani, Buhlebezwe. “Imfihlo.” 2016. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/20623.

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

MLA Handbook (7^th Edition):

Siwani, Buhlebezwe. “Imfihlo.” 2016. Web. 17 Oct 2019.

Vancouver:

Siwani B. Imfihlo. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/20623.

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

Council of Science Editors:

Siwani B. Imfihlo. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/20623

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

University of Cape Town

27. Bolton, Ingrid. Crossing the Ecoline: a visual response to increasing levels of ocean acidification.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/20654

► This text is presented in conjunction with my exhibition Crossing the Ecoline and is a visual response to changing levels of ocean acidification. My art… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Bolton, I. (2016). Crossing the Ecoline: a visual response to increasing levels of ocean acidification. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/20654

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):

Bolton, Ingrid. “Crossing the Ecoline: a visual response to increasing levels of ocean acidification.” 2016. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/20654.

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

MLA Handbook (7^th Edition):

Bolton, Ingrid. “Crossing the Ecoline: a visual response to increasing levels of ocean acidification.” 2016. Web. 17 Oct 2019.

Vancouver:

Bolton I. Crossing the Ecoline: a visual response to increasing levels of ocean acidification. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/20654.

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

Council of Science Editors:

Bolton I. Crossing the Ecoline: a visual response to increasing levels of ocean acidification. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/20654

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

University of Cape Town

28. Gauld, Quanta. Desperate whispers : empathy in the context of an ecological crisis.

Degree: Image, Michaelis School of Fine Art, 2015, University of Cape Town

URL: http://hdl.handle.net/11427/13696

► In his text Invisible Cities, Italo Calvino (1974) describes the fictional city of Baucis, a land suspended in the clouds, in which humans maintain a… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Gauld, Q. (2015). Desperate whispers : empathy in the context of an ecological crisis. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/13696

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):

Gauld, Quanta. “Desperate whispers : empathy in the context of an ecological crisis.” 2015. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/13696.

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

MLA Handbook (7^th Edition):

Gauld, Quanta. “Desperate whispers : empathy in the context of an ecological crisis.” 2015. Web. 17 Oct 2019.

Vancouver:

Gauld Q. Desperate whispers : empathy in the context of an ecological crisis. [Internet] [Thesis]. University of Cape Town; 2015. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/13696.

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

Council of Science Editors:

Gauld Q. Desperate whispers : empathy in the context of an ecological crisis. [Thesis]. University of Cape Town; 2015. Available from: http://hdl.handle.net/11427/13696

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

University of Cape Town

29. Stielau, Anna. Double agents : queer citizenship(s) in contemporary South African visual culture.

Degree: Image, Michaelis School of Fine Art, 2016, University of Cape Town

URL: http://hdl.handle.net/11427/20625

► South Africa claims the most progressive constitution on the African continent, extending protections to all citizens regardless of race, gender, ability or sexual orientation. Much… (more)

Subjects/Keywords: Fine Art

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APA (6^th Edition):

Stielau, A. (2016). Double agents : queer citizenship(s) in contemporary South African visual culture. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/20625

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):

Stielau, Anna. “Double agents : queer citizenship(s) in contemporary South African visual culture.” 2016. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/20625.

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

MLA Handbook (7^th Edition):

Stielau, Anna. “Double agents : queer citizenship(s) in contemporary South African visual culture.” 2016. Web. 17 Oct 2019.

Vancouver:

Stielau A. Double agents : queer citizenship(s) in contemporary South African visual culture. [Internet] [Thesis]. University of Cape Town; 2016. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/20625.

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

Council of Science Editors:

Stielau A. Double agents : queer citizenship(s) in contemporary South African visual culture. [Thesis]. University of Cape Town; 2016. Available from: http://hdl.handle.net/11427/20625

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

University of Cape Town

30. Joubert, Jill. Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance.

Degree: Image, Michaelis School of Fine Art, 2013, University of Cape Town

URL: http://hdl.handle.net/11427/13098

► The submission for my Master of Fine Art degree, which is devoted to the interpretation and transformation of the Italian fairy tale, Apple Girl, into… (more)

Subjects/Keywords: Fine Art

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

APA (6^th Edition):

Joubert, J. (2013). Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance. (Thesis). University of Cape Town. Retrieved from http://hdl.handle.net/11427/13098

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):

Joubert, Jill. “Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance.” 2013. Thesis, University of Cape Town. Accessed October 17, 2019. http://hdl.handle.net/11427/13098.

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

MLA Handbook (7^th Edition):

Joubert, Jill. “Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance.” 2013. Web. 17 Oct 2019.

Vancouver:

Joubert J. Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance. [Internet] [Thesis]. University of Cape Town; 2013. [cited 2019 Oct 17]. Available from: http://hdl.handle.net/11427/13098.

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

Council of Science Editors:

Joubert J. Apple girl : ingesting and transforming Apple girl from fairy tale into sculpture and performance. [Thesis]. University of Cape Town; 2013. Available from: http://hdl.handle.net/11427/13098

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

Open Access Theses and Dissertations