You searched for subject:(Regional Contemporary Art Fund FRAC ).
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1.
Bernard, Yves-Michel.
Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes : Origin and establishment of regional fund contemporary art in France : 1981-1986, years activists.
Degree: Docteur es, Histoire de l'art, 2013, Université Michel de Montaigne – Bordeaux III
URL: http://www.theses.fr/2013BOR30042 
► Cette thèse a pour objet l’étude de l’origine et de la création des fonds régionaux d’art contemporain (FRAC) entre 1981 et 1986. Le plan se…
(more)
▼ Cette thèse a pour objet l’étude de l’origine et de la création des fonds régionaux d’art contemporain (FRAC) entre 1981 et 1986. Le plan se divise en trois grandes parties. La première partie analyse les modes d’acquisitions et d’expositions qui, au cours du XX° siècle en France, ont été des modèles pour la constitution des FRAC. La seconde partie étudie l’engagement du ministère de la culture dans une politique ambitieuse qui aboutit à la création des FRAC après l’arrivée de la gauche au pouvoir en 1981. La troisième partie, à proprement parlée d’histoire de l’art, porte sur les collections des FRAC. Cette étude des collections a constitué l’essence de la recherche établie à partir de données informatiques de videomuseum qui a opéré un recensement de toutes les acquisitions. La thèse s’appuie également sur des documents d’archives, des travaux existants, une étude sur le terrain dans chaque collection de FRAC, d’entretiens et d’un dépouillement de la presse artistique. Issus des revendications politiques formulées dans le programme de la gauche1 pour les élections présidentielles de mai 1981, les FRAC, financés à parité par l’Etat et par les régions, constituent un exemple fort de la réussite d’une politique culturelle décentralisée. Entre 1983 (date des premières acquisitions) et mars 1986 (date de la défaite de la gauche aux élections législatives) les vingt et un FRAC en activité ont acquis un total de 5 438 oeuvres provenant de 1 377 artistes. Fonds d’exception dans le paysage culturel français, les FRAC sont l’aboutissement d’une volonté de démocratisation revendiquée depuis les années 60. Jusqu’en 1986, la croissance constante des crédits d’acquisition - autant du côté de l’Etat que des conseils régionaux - aurait pu conduire à l’établissement d’une esthétique officielle. Nous verrons qu’il y a eu tout au plus des « zones d’influence » qui sont apparues pour compenser de réelles absences dans les collections des musées en région. Toutefois, malgré cet incontestable investissement institutionnel, la puissance publique ne pouvait prétendre à devenir un acteur majeur dans l’histoire de l’art.
This thesis studies in depth, the origin and the creation of theRegional Contemporary Art Collection (FRAC) between 1981 and 1986. The plan is divided into three main parts. The first part analyses the patterns of acquisitions and eexhibitions, which were models for the formation of the FRAC during the twentieth century in France. The second part examines the commitment of the Ministry of Culture in an ambitious policy that led to the creation of the FRAC after the arrival of the labour party who came to power in 1981. The third part, strictly concerning the history of art, focuses on the collections of the FRAC. This study of the collections has been the core of the research, established from computer data created by Videomuseum, who made a census of all acquisitions. The thesis is also based on archival documents, existing works, an onsite study of each collection of the FRAC, interviews and a literature of artistic…
Advisors/Committee Members: Jarrassé, Dominique (thesis director).
Subjects/Keywords: Fonds régionaux d'art contemporain (FRAC); Videomuseum; Années militantes; Politique culturelle; Regional Contemporary Art Fund (FRAC); Videomuseum; Années militantes; Cultural policy
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APA (6th Edition):
Bernard, Y. (2013). Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes : Origin and establishment of regional fund contemporary art in France : 1981-1986, years activists. (Doctoral Dissertation). Université Michel de Montaigne – Bordeaux III. Retrieved from http://www.theses.fr/2013BOR30042
Chicago Manual of Style (16th Edition):
Bernard, Yves-Michel. “Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes : Origin and establishment of regional fund contemporary art in France : 1981-1986, years activists.” 2013. Doctoral Dissertation, Université Michel de Montaigne – Bordeaux III. Accessed December 08, 2019.
http://www.theses.fr/2013BOR30042.
MLA Handbook (7th Edition):
Bernard, Yves-Michel. “Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes : Origin and establishment of regional fund contemporary art in France : 1981-1986, years activists.” 2013. Web. 08 Dec 2019.
Vancouver:
Bernard Y. Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes : Origin and establishment of regional fund contemporary art in France : 1981-1986, years activists. [Internet] [Doctoral dissertation]. Université Michel de Montaigne – Bordeaux III; 2013. [cited 2019 Dec 08].
Available from: http://www.theses.fr/2013BOR30042.
Council of Science Editors:
Bernard Y. Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes : Origin and establishment of regional fund contemporary art in France : 1981-1986, years activists. [Doctoral Dissertation]. Université Michel de Montaigne – Bordeaux III; 2013. Available from: http://www.theses.fr/2013BOR30042
University of Georgia
2.
Hughes, Melissa Lynn.
Aesthetic qualities: enacting understanding in contemporary art endeavors.
Degree: PhD, Art Education, 2013, University of Georgia
URL: http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd
► Informed by a hermeneutic propensity, this arts-based autoethnography inquires into forms of social and participatory experience in contemporary art. A living art that uses people…
(more)
▼ Informed by a hermeneutic propensity, this arts-based autoethnography inquires into forms of social and participatory experience in
contemporary art. A living
art that uses people as the medium, this
art operates in a cultural context stretching possibilities of objects, spaces, relations, discourses, and experiences in
contemporary art. Often contested in
contemporary discourse, I am interested in the ways in which these participatory
art manifestations may be educative.
Reaching a critical juncture through participatory
art experience, I begin reexamining
art, aesthetics, and the conditions for making meaning with
art. Throughout this narrative inquiry, reflexively and hermeneutically begin to develop an emergently fluid range of aesthetic qualities for
art conceived through a political aesthetic. I then mindfully attend to participatory practices by experiencing myriad artistic endeavors in London, New York City, the fifty-fifth Venice Biennale, and beyond.
Engendering questions and confronting assumptions, while openly giving voice to my experiences verbally, poetically, and visually, I cautiously problematize the ways in which participatory practices in
contemporary art relate to our living. I open and invoke a pedagogical exploration of the educative implications for these practices in
art education and aesthetic education. In doing so, I revisit questions pertaining to participation, conditions for understanding, political aesthetics, aesthetic qualities, and education. The capacious possibilities of this inquiry become an invitation for us to critically negotiate potential significance of these
contemporary art practices, as well as aesthetic qualities in our lives.
Advisors/Committee Members: Tracie Costantino.
Subjects/Keywords: Contemporary art
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APA (6th Edition):
Hughes, M. L. (2013). Aesthetic qualities: enacting understanding in contemporary art endeavors. (Doctoral Dissertation). University of Georgia. Retrieved from http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd
Chicago Manual of Style (16th Edition):
Hughes, Melissa Lynn. “Aesthetic qualities: enacting understanding in contemporary art endeavors.” 2013. Doctoral Dissertation, University of Georgia. Accessed December 08, 2019.
http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd.
MLA Handbook (7th Edition):
Hughes, Melissa Lynn. “Aesthetic qualities: enacting understanding in contemporary art endeavors.” 2013. Web. 08 Dec 2019.
Vancouver:
Hughes ML. Aesthetic qualities: enacting understanding in contemporary art endeavors. [Internet] [Doctoral dissertation]. University of Georgia; 2013. [cited 2019 Dec 08].
Available from: http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd.
Council of Science Editors:
Hughes ML. Aesthetic qualities: enacting understanding in contemporary art endeavors. [Doctoral Dissertation]. University of Georgia; 2013. Available from: http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd
University of Southern California
3.
Kennedy, Sean.
Accumulation.
Degree: MFA, Fine Arts, 2012, University of Southern California
URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/376317/rec/480
► This paper should function, formally speaking, as an analog to the approach I take in producing art, which is to say that something that might…
(more)
▼ This paper should function, formally speaking, as an
analog to the approach I take in producing
art, which is to say
that something that might resemble a thesis or ideological
proposition is not explicitly stated, but must be extrapolated from
fragments layered upon each other within arbitrary limits. This
approach allows the ideas put forth to be imbued with the
anxieties, doubts and contradictions that characterize unedited
thought. A sense of time and inexhaustibility of content is to be
conveyed through an accumulative and meandering process, hence the
lack of a real beginning or end.
Advisors/Committee Members: Stark, Frances (Committee Chair), Fine, Jud (Committee Member), Tumlir, Jan (Committee Member).
Subjects/Keywords: contemporary art
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APA (6th Edition):
Kennedy, S. (2012). Accumulation. (Thesis). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/376317/rec/480
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Kennedy, Sean. “Accumulation.” 2012. Thesis, University of Southern California. Accessed December 08, 2019.
http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/376317/rec/480.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Kennedy, Sean. “Accumulation.” 2012. Web. 08 Dec 2019.
Vancouver:
Kennedy S. Accumulation. [Internet] [Thesis]. University of Southern California; 2012. [cited 2019 Dec 08].
Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/376317/rec/480.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Kennedy S. Accumulation. [Thesis]. University of Southern California; 2012. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/376317/rec/480
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Sydney
4.
Bohorquez Florez, Gloria Eugenia.
WE
.
Degree: 2014, University of Sydney
URL: http://hdl.handle.net/2123/12847
► This research paper in tandem with my artistic practice, investigates the mutual forces of interconnectivity which are intrinsic to the construction of the natural world…
(more)
▼ This research paper in tandem with my artistic practice, investigates the mutual forces of interconnectivity which are intrinsic to the construction of the natural world and the human relationship to that world. This dissertation will begin by establishing the human dilemma in which we endlessly strive to overcome and work outside the laws of nature. We are polarized by two opposites. One is a consumer culture; the other is a culture of ethics where we seek to live in accordance with the natural world. People who live by the ethical vision recognize that we are inseparable from nature, connected by a network of mutuality. Thus nature is not to be overcome, but rather to be worked with. The search for sustainable alternatives to unsustainable practices is evidence for our realization that changes must be made in the way we interact with nature if we are to evolve.
Mythology is of particular importance to the way we explore and understand our relationship with nature, this study will navigate two relevant texts: The Indra’s Net from the Hua-yen school of Chinese Buddhism and La Loba (The Wolf Woman) by the American poet Clarissa Pinkola Estés. Both stories reinforce the notion of the interconnectivity of humanity with the natural world.
The paper will investigate the work of philosophers and theorists who highlight the important role of ethics, sustainability and creativity in contemporary culture. The works of Paul Leslie Thiele, Maja and Reuben Fowkes, Alain de Botton, John Armstrong, Nicolas Bourriaud and Mircea Eliade will be referenced. To complement their theories, the work of artists Lyndal Jones, Olafur Eliasson, Cai Guo-Qiang, Shinji Turner-Yamamoto and Zhang Huan will also be analyzed. Aspects which are of particular relevance to this discussion are: the vital role of space and scale in Cai’s artworks; the way Turner-Yamamoto exhibited trees, rocks and dust in abandoned temples in his Global Tree Project, so as to depict a connection between the material and spiritual worlds, and how dust particles are used in Zhang Huan’s paintings and sculptures to reflect on and symbolize our transient existence. I reference these artists in order to give context and content to my own work. In my studio practice, I use bones, kombucha bacteria, feathers and ash in installations that reflect the ephemeral state of life in the natural world.
Subjects/Keywords: Contemporary art
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APA ·
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Export
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Manager
APA (6th Edition):
Bohorquez Florez, G. E. (2014). WE
. (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/12847
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Bohorquez Florez, Gloria Eugenia. “WE
.” 2014. Thesis, University of Sydney. Accessed December 08, 2019.
http://hdl.handle.net/2123/12847.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Bohorquez Florez, Gloria Eugenia. “WE
.” 2014. Web. 08 Dec 2019.
Vancouver:
Bohorquez Florez GE. WE
. [Internet] [Thesis]. University of Sydney; 2014. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/2123/12847.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Bohorquez Florez GE. WE
. [Thesis]. University of Sydney; 2014. Available from: http://hdl.handle.net/2123/12847
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Edinburgh
5.
Hood, Jennifer L.
The Ethics of Transgenic Art.
Degree: 2011, University of Edinburgh
URL: http://hdl.handle.net/1842/5196
► Is biotechnology an appropriate and ethical medium for contemporary art? In the past decade, the line between science and art has become increasingly blurred as…
(more)
▼ Is biotechnology an appropriate and ethical medium for
contemporary art? In the past decade, the line between science and
art has become increasingly blurred as artists have begun to harness the accelerating developments of the life-sciences to produce new breeds of living 'artworks'. Such endeavours likewise present new ethical complexities not previously encountered through traditional applications of biotechnology, thus requiring the development of a new normative approach to tackle this collision of aesthetics and ethics. Utilising the analytical and theoretical discourses of
art theory, animal ethics, bioethics and the philosophy of
art this dissertation considers the ethics, and value of, artistic practice, specifically transgenic
art, which utilises contentious forms of animal biotechnology for aesthetic purposes. Although demonstrably socially and cognitively valuable in instigating debate concerning our relationships with non-human life, through this analysis, particularly through the discourses of animal and bioethics, transgenic
art emerges as a methodologically deeply unethical practice due to its manipulative instrumentalisation of animal life. In determining this, it is then possible, through the lens of the philosophy of
art to consider more holistically the role which ethics should, or should not, play in regulating artistic practice, and the possibility of developing more ethical, and optimistic, approaches to the aesthetics of animal representation.
Advisors/Committee Members: Brady, Emily.
Subjects/Keywords: biotechnology; Contemporary art
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Manager
APA (6th Edition):
Hood, J. L. (2011). The Ethics of Transgenic Art. (Thesis). University of Edinburgh. Retrieved from http://hdl.handle.net/1842/5196
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Hood, Jennifer L. “The Ethics of Transgenic Art.” 2011. Thesis, University of Edinburgh. Accessed December 08, 2019.
http://hdl.handle.net/1842/5196.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Hood, Jennifer L. “The Ethics of Transgenic Art.” 2011. Web. 08 Dec 2019.
Vancouver:
Hood JL. The Ethics of Transgenic Art. [Internet] [Thesis]. University of Edinburgh; 2011. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/1842/5196.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Hood JL. The Ethics of Transgenic Art. [Thesis]. University of Edinburgh; 2011. Available from: http://hdl.handle.net/1842/5196
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of New South Wales
6.
Araujo, Jorge.
The banal and the provisional : self-cancelling strategies in painting.
Degree: Art, 2012, University of New South Wales
URL: http://handle.unsw.edu.au/1959.4/51824
;
https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10491/SOURCE02?view=true
► This project conducts a series of investigations into the act of painting through zones characterized by the indefinite, the ordinary, the banal and the provisional,…
(more)
▼ This project conducts a series of investigations into the act of painting through zones characterized by the indefinite, the ordinary, the banal and the provisional, by the use of the photograph as source material, and includes other self-canceling strategies and acts of negation within the painting process.The research demonstrates how my investigation revolves around a state of conformity and compliance in relation to the creative act, characterized by a certain paralysis in the painter’s relationship with Art History, and the respective strategies to overcome this phenomenon. As such this investigation explores a way of working that is less defined by a particular strategy and more open to a playful engagement with the provisional, for painting’s continuity.
Subjects/Keywords: Contemporary; Painting; Art
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Araujo, J. (2012). The banal and the provisional : self-cancelling strategies in painting. (Masters Thesis). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/51824 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10491/SOURCE02?view=true
Chicago Manual of Style (16th Edition):
Araujo, Jorge. “The banal and the provisional : self-cancelling strategies in painting.” 2012. Masters Thesis, University of New South Wales. Accessed December 08, 2019.
http://handle.unsw.edu.au/1959.4/51824 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10491/SOURCE02?view=true.
MLA Handbook (7th Edition):
Araujo, Jorge. “The banal and the provisional : self-cancelling strategies in painting.” 2012. Web. 08 Dec 2019.
Vancouver:
Araujo J. The banal and the provisional : self-cancelling strategies in painting. [Internet] [Masters thesis]. University of New South Wales; 2012. [cited 2019 Dec 08].
Available from: http://handle.unsw.edu.au/1959.4/51824 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10491/SOURCE02?view=true.
Council of Science Editors:
Araujo J. The banal and the provisional : self-cancelling strategies in painting. [Masters Thesis]. University of New South Wales; 2012. Available from: http://handle.unsw.edu.au/1959.4/51824 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10491/SOURCE02?view=true
University of Sydney
7.
Hassanein, Saffaa.
We will play: protest, performance, and physical activism
.
Degree: 2014, University of Sydney
URL: http://hdl.handle.net/2123/12652
► This paper explores the politically charged topic of sport and gender in Saudi Arabia. Banning women and girls in Saudi from participating in organized sport…
(more)
▼ This paper explores the politically charged topic of sport and gender in Saudi Arabia. Banning women and girls in Saudi from participating in organized sport is largely, albeit erroneously, attributed to religion. This paper attempts to unravel some of the complex issues involved in the exclusion of women and girls from sport and physical education. We Will Play examines the intimate terrain of institutionalised discrimination and gender inequality, and the ways in which these are literally embodied. This project is a part of an ongoing series of protests and cultural activism that drive my art practice. We Will Play uses sport as a mode of entry into a much larger predicament. The studio component of this project entitled City for All references the proclaimed philosophy of ‘Sport for All’ in the way that both are yet to be globally realized. City for All is overtly critical of Saudi laws and social norms that discriminate against women and girls. While this project defies conformist thinking, it hopes to stimulate more dynamic and perhaps playful ways of looking at the issues facing Saudi women. Through this work I wish to inspire Saudi women and men to re-examine their own personal prejudices towards the pressing issues of gender discrimination in general and towards gender and sport specifically
Subjects/Keywords: Contemporary art;
Visual art
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Record Details
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APA ·
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MLA ·
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CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Hassanein, S. (2014). We will play: protest, performance, and physical activism
. (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/12652
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Hassanein, Saffaa. “We will play: protest, performance, and physical activism
.” 2014. Thesis, University of Sydney. Accessed December 08, 2019.
http://hdl.handle.net/2123/12652.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Hassanein, Saffaa. “We will play: protest, performance, and physical activism
.” 2014. Web. 08 Dec 2019.
Vancouver:
Hassanein S. We will play: protest, performance, and physical activism
. [Internet] [Thesis]. University of Sydney; 2014. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/2123/12652.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Hassanein S. We will play: protest, performance, and physical activism
. [Thesis]. University of Sydney; 2014. Available from: http://hdl.handle.net/2123/12652
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Indiana University of Pennsylvania
8.
Valentin, Sheila.
Keeper of Lost Things.
Degree: MFA, Art, 2019, Indiana University of Pennsylvania
URL: https://knowledge.library.iup.edu/etd/1693
► Keeper of Lost Things is an exhibition examining how memory, time, and space can affect self-conceptualization and shape one’s lived experiences. This art exhibition…
(more)
▼ Keeper of Lost Things is an exhibition examining how memory, time, and space can affect self-conceptualization and shape one’s lived experiences. This
art exhibition consists of sculptures that are interconnected through the use of language, materials, and space. My artwork draws from personal narratives of women who have struggled with loss and emotional pain, yet who have gained strength and comfort through their pursuit of self-identity. The constructed and assembled forms are made from building materials and found objects which reflect home and private spaces. Materials such as plaster, beeswax, and string are incorporated into the pieces to reflect the idea of kept memories and time passed. Overall, Keeper of Lost Things is a visual testimony of selected moments of women’s lives, a metaphorical journal.
Advisors/Committee Members: Sean Derry, Sharon Massey, BA Harrington.
Subjects/Keywords: contemporary art; sculpture; visual art
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APA ·
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Manager
APA (6th Edition):
Valentin, S. (2019). Keeper of Lost Things. (Thesis). Indiana University of Pennsylvania. Retrieved from https://knowledge.library.iup.edu/etd/1693
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Valentin, Sheila. “Keeper of Lost Things.” 2019. Thesis, Indiana University of Pennsylvania. Accessed December 08, 2019.
https://knowledge.library.iup.edu/etd/1693.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Valentin, Sheila. “Keeper of Lost Things.” 2019. Web. 08 Dec 2019.
Vancouver:
Valentin S. Keeper of Lost Things. [Internet] [Thesis]. Indiana University of Pennsylvania; 2019. [cited 2019 Dec 08].
Available from: https://knowledge.library.iup.edu/etd/1693.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Valentin S. Keeper of Lost Things. [Thesis]. Indiana University of Pennsylvania; 2019. Available from: https://knowledge.library.iup.edu/etd/1693
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Minnesota
9.
Heer, Melissa.
The Breath Within the Breath: Contemporary Performance Art Practices in India.
Degree: PhD, Art History, 2015, University of Minnesota
URL: http://hdl.handle.net/11299/174854
► This dissertation examines contemporary performance art practices in India, with a particular focus on the work of three artists with diverse approaches to this ever-evolving…
(more)
▼ This dissertation examines contemporary performance art practices in India, with a particular focus on the work of three artists with diverse approaches to this ever-evolving art form: Ratnabali Kant, Samudra Kajal Saikia and Nikhil Chopra. The performances that serve as the focus of my analysis took place during the period of 1985 to 2012. In my examination of specific performances, I weave together strands of performance studies, histories of performance art and theater, and a theoretical analysis of “the performative” nature of society at large. The works I examine question the ways in which historical memory is itself performed through national spectacle, the reiteration of social norms, and the production of subject formations.
Subjects/Keywords: Contemporary Art; India; Performance Art
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APA (6th Edition):
Heer, M. (2015). The Breath Within the Breath: Contemporary Performance Art Practices in India. (Doctoral Dissertation). University of Minnesota. Retrieved from http://hdl.handle.net/11299/174854
Chicago Manual of Style (16th Edition):
Heer, Melissa. “The Breath Within the Breath: Contemporary Performance Art Practices in India.” 2015. Doctoral Dissertation, University of Minnesota. Accessed December 08, 2019.
http://hdl.handle.net/11299/174854.
MLA Handbook (7th Edition):
Heer, Melissa. “The Breath Within the Breath: Contemporary Performance Art Practices in India.” 2015. Web. 08 Dec 2019.
Vancouver:
Heer M. The Breath Within the Breath: Contemporary Performance Art Practices in India. [Internet] [Doctoral dissertation]. University of Minnesota; 2015. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/11299/174854.
Council of Science Editors:
Heer M. The Breath Within the Breath: Contemporary Performance Art Practices in India. [Doctoral Dissertation]. University of Minnesota; 2015. Available from: http://hdl.handle.net/11299/174854
University of Southern California
10.
McCarthy, Kiley Anna.
Ritual, nourishment, and caregiving: the performances of
Barbara T. Smith and Linda Montano.
Degree: MA, Public Art Studies, 2013, University of Southern California
URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599
► This thesis examines feminist performance artists Barbara T. Smith and Linda Montano, and the artists’ respective use of biography as political statement in themes of…
(more)
▼ This thesis examines feminist performance artists
Barbara T. Smith and Linda Montano, and the artists’ respective use
of biography as political statement in themes of ritual,
nourishment, and caregiving. Through the specific analysis of
Smith’s Ritual Meal, Celebration of the Holy Squash, and Feed Me
and Montano’s Chicken Woman, 14 Years of Living
Art, and Dad
Art,
one may see how these themes central to the human experience and
are revealed through individualized feminist approaches to personal
narrative. Smith and Montano’s work is framed in the context of
feminist artistic practices of the 1970s that utilize biography and
ritual. The stakes of Smith and Montano’s continuing
contemporary
practices are analyzed in terms of audience, space, and
public.
Advisors/Committee Members: (Committee Chair), Moss, Karen (Committee Member), Butler, Connie (Committee Member), Hudson, Suzanne P. (Committee Member).
Subjects/Keywords: performance art; contemporary art
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MLA ·
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APA (6th Edition):
McCarthy, K. A. (2013). Ritual, nourishment, and caregiving: the performances of
Barbara T. Smith and Linda Montano. (Masters Thesis). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599
Chicago Manual of Style (16th Edition):
McCarthy, Kiley Anna. “Ritual, nourishment, and caregiving: the performances of
Barbara T. Smith and Linda Montano.” 2013. Masters Thesis, University of Southern California. Accessed December 08, 2019.
http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599.
MLA Handbook (7th Edition):
McCarthy, Kiley Anna. “Ritual, nourishment, and caregiving: the performances of
Barbara T. Smith and Linda Montano.” 2013. Web. 08 Dec 2019.
Vancouver:
McCarthy KA. Ritual, nourishment, and caregiving: the performances of
Barbara T. Smith and Linda Montano. [Internet] [Masters thesis]. University of Southern California; 2013. [cited 2019 Dec 08].
Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599.
Council of Science Editors:
McCarthy KA. Ritual, nourishment, and caregiving: the performances of
Barbara T. Smith and Linda Montano. [Masters Thesis]. University of Southern California; 2013. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599
Delft University of Technology
11.
Sintra Magalhaes, B.M.
Novel Simulator for Wireline Mini-Fracture Testing:.
Degree: 2012, Delft University of Technology
URL: http://resolver.tudelft.nl/uuid:20f991b9-d731-4139-b938-7636a52eeb76
► Wireline Mini-Fracture testing jobs consist of a short duration, small volume fracturing operation inside an open-hole borehole, where a certain amount of fluid is injected…
(more)
▼ Wireline Mini-Fracture testing jobs consist of a short duration, small volume fracturing operation inside an open-hole borehole, where a certain amount of fluid is injected into the formation at constant rate using a Wireline Modular conveyed tool as a source of hydraulic power to pressurize the wellbore.
The tool is configured with an inflatable straddle packer and an internal pump, which inflate/deflates the packers and supplies pressure to the formation until a hydraulic fracture is induced.
This procedure is used to determine in–situ formation breakdown and closure pressure also known as minimum horizontal closure pressure. This provides vital information regarding hydraulic fracture design, water and gas injection management, fault re-activation, wellbore stability, sand production, rock mechanical properties, casing string design, cap and base rock integrity and gas storage design.
Geomechanical and operational parameters such as, elastic properties, poro-elasticity, rock strength, formation pore pressure, far field horizontal stress, permeability/porosity distributions, borehole fluid properties among others, influences the performance of the Mini-
Frac Jobs.
In many cases poor understanding of the reservoir response to the fracture process, caused that the hydraulic fracture did not propagate deep into the formation. In other cases the pressure applied to the formation might be insufficient to break down the formation, leading to unsatisfactory application of the Mini-Fracture technique in the process.
The objective of this thesis is to develop a Mini-Facture application simulator that uses the geomechanical and operational parameters that control the performance of a Mini-Fracture job and estimate the possibility of the occurrence of a tensile failure in the formation. The simulator is then validated by comparing its output with the results of stress test done in the field.
With this simulator petrotechnical professionals and field engineers will have a platform that simulates the pressure responses and fracture initialization during Mini-
Frac treatments, incorporating all the variables affecting a Wireline Mini-Fracture job, helping the design engineer to make key decisions about the ultimate or required fracture plan.
Furthermore the simulator will reduce the uncertainties that limit the reliability of the Wireline Mini-Fracture treatment by allowing the selection of appropriate tool configuration based on the job objectives and the geological environmental conditions.
Finally this project demonstrates that combining the appropriate constitutive relations that reflect the coupling among the tool operational performance with wellbore flow, reservoir and geomechanics modelling a Mini-Fracture simulator can be developed.
Advisors/Committee Members: Zitha, P.L.J., Barnhoorn, A., Subbiah, S.K..
Subjects/Keywords: mini-frac
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APA (6th Edition):
Sintra Magalhaes, B. M. (2012). Novel Simulator for Wireline Mini-Fracture Testing:. (Masters Thesis). Delft University of Technology. Retrieved from http://resolver.tudelft.nl/uuid:20f991b9-d731-4139-b938-7636a52eeb76
Chicago Manual of Style (16th Edition):
Sintra Magalhaes, B M. “Novel Simulator for Wireline Mini-Fracture Testing:.” 2012. Masters Thesis, Delft University of Technology. Accessed December 08, 2019.
http://resolver.tudelft.nl/uuid:20f991b9-d731-4139-b938-7636a52eeb76.
MLA Handbook (7th Edition):
Sintra Magalhaes, B M. “Novel Simulator for Wireline Mini-Fracture Testing:.” 2012. Web. 08 Dec 2019.
Vancouver:
Sintra Magalhaes BM. Novel Simulator for Wireline Mini-Fracture Testing:. [Internet] [Masters thesis]. Delft University of Technology; 2012. [cited 2019 Dec 08].
Available from: http://resolver.tudelft.nl/uuid:20f991b9-d731-4139-b938-7636a52eeb76.
Council of Science Editors:
Sintra Magalhaes BM. Novel Simulator for Wireline Mini-Fracture Testing:. [Masters Thesis]. Delft University of Technology; 2012. Available from: http://resolver.tudelft.nl/uuid:20f991b9-d731-4139-b938-7636a52eeb76
University of Manitoba
12.
Buzzi, Gayle.
Accidental landscapes.
Degree: School of Art, 2019, University of Manitoba
URL: http://hdl.handle.net/1993/34274
► This paper describes and explains my thesis installation through the context of the Western world’s perceived culture vs nature binary. The history of nature in…
(more)
▼ This paper describes and explains my thesis installation through the context of the Western world’s perceived culture vs nature binary. The history of nature in Western philosophy as well as the history of European park design, and my own personal experiences with nature in both rural and urban settings, inform the final exhibition and writing. I describe the artistic process I developed to create my glass sculptures and address numerous artists working with similar mediums or content. The relationships that the specific animals depicted have with humans living in urban areas is explained, justifying their inclusion in the installation.
Advisors/Committee Members: Neufeld, Mark (School of Art) (supervisor), Kelly, Kevin (School of Art) (examiningcommittee), Fraser, Kevin (Biological Sciences) (examiningcommittee), Thorkelsson, Ione (Independent Artist) (guestmembers).
Subjects/Keywords: Glass art; Sculpture; Fine art; Contemporary art
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APA (6th Edition):
Buzzi, G. (2019). Accidental landscapes. (Masters Thesis). University of Manitoba. Retrieved from http://hdl.handle.net/1993/34274
Chicago Manual of Style (16th Edition):
Buzzi, Gayle. “Accidental landscapes.” 2019. Masters Thesis, University of Manitoba. Accessed December 08, 2019.
http://hdl.handle.net/1993/34274.
MLA Handbook (7th Edition):
Buzzi, Gayle. “Accidental landscapes.” 2019. Web. 08 Dec 2019.
Vancouver:
Buzzi G. Accidental landscapes. [Internet] [Masters thesis]. University of Manitoba; 2019. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/1993/34274.
Council of Science Editors:
Buzzi G. Accidental landscapes. [Masters Thesis]. University of Manitoba; 2019. Available from: http://hdl.handle.net/1993/34274
Georgia Southern University
13.
Hall, Kristina B.
Change Does Not Wait.
Degree: Master of Fine Arts (M.F.A.), Department of Art, 2011, Georgia Southern University
URL: https://digitalcommons.georgiasouthern.edu/etd/151
► The changes found in the growth patterns of trees, as they are impacted by their environment, can be seen as reflecting the journey that one…
(more)
▼ The changes found in the growth patterns of trees, as they are impacted by their environment, can be seen as reflecting the journey that one progresses through over their own life. This thesis is the result of inner revelations that led the author to create a series of images that depict connections made between the movements found in trees that can be paralleled to the stresses in our own lives brought on by circumstance and experience. Correlations between human experience and nature are illuminated through the discussion of color usage, composition, historical
art reference and development of personal artistic techniques.
Advisors/Committee Members: Bruce Little, Tiffanie Townsend.
Subjects/Keywords: ETD; Southeast Georgia; Oil painting; Tree; Landscape; Color; Ossabaw; Change; Time; Regional art; Contemporary art; Jack N. Averitt College of Graduate Studies, Electronic Theses & Dissertations, ETDs, Student Research
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APA (6th Edition):
Hall, K. B. (2011). Change Does Not Wait. (Masters Thesis). Georgia Southern University. Retrieved from https://digitalcommons.georgiasouthern.edu/etd/151
Chicago Manual of Style (16th Edition):
Hall, Kristina B. “Change Does Not Wait.” 2011. Masters Thesis, Georgia Southern University. Accessed December 08, 2019.
https://digitalcommons.georgiasouthern.edu/etd/151.
MLA Handbook (7th Edition):
Hall, Kristina B. “Change Does Not Wait.” 2011. Web. 08 Dec 2019.
Vancouver:
Hall KB. Change Does Not Wait. [Internet] [Masters thesis]. Georgia Southern University; 2011. [cited 2019 Dec 08].
Available from: https://digitalcommons.georgiasouthern.edu/etd/151.
Council of Science Editors:
Hall KB. Change Does Not Wait. [Masters Thesis]. Georgia Southern University; 2011. Available from: https://digitalcommons.georgiasouthern.edu/etd/151
University of Louisville
14.
Sevilla, Madison DeAnna.
Transversal approaches and ecological artwork.
Degree: MA, 2017, University of Louisville
URL: 10.18297/etd/2722
;
https://ir.library.louisville.edu/etd/2722
► This work explores systematic ecology as it relates to sculpture and language. This project exists in two parts: a written thesis and a thesis…
(more)
▼ This work explores systematic ecology as it relates to sculpture and language. This project exists in two parts: a written thesis and a thesis exhibition. Although both works explore ecological systems,
Unseen: Visualizing Ecological Systems investigates visualizations and concepts of the ecological, whereas this thesis continues the exploration into the ramifications of disruptions in systems. Ecological systems such as the environmental, social/mental, economic, and political define the foundations of our known world and encapsulate all regions of society. No single system can function independently of the rest and all systems contain some aspect of human-system involvement. By using the work of environmental and conceptual artists, this thesis studies the limits of systems and examines artwork that seeks to reveal and conceal unrecognized human interaction. In the following chapters, I will examine the work of these artists through an ecological mindset as laid out by philosophers and theorists to showcase the varying degrees of ecological efficacy.
Advisors/Committee Members: Reitz, Chris, Fulton, Christopher, Fulton, Christopher, Kantardzic, Mehmed.
Subjects/Keywords: contemporary art; ecology; sculpture; earth art; Contemporary Art
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APA (6th Edition):
Sevilla, M. D. (2017). Transversal approaches and ecological artwork. (Masters Thesis). University of Louisville. Retrieved from 10.18297/etd/2722 ; https://ir.library.louisville.edu/etd/2722
Chicago Manual of Style (16th Edition):
Sevilla, Madison DeAnna. “Transversal approaches and ecological artwork.” 2017. Masters Thesis, University of Louisville. Accessed December 08, 2019.
10.18297/etd/2722 ; https://ir.library.louisville.edu/etd/2722.
MLA Handbook (7th Edition):
Sevilla, Madison DeAnna. “Transversal approaches and ecological artwork.” 2017. Web. 08 Dec 2019.
Vancouver:
Sevilla MD. Transversal approaches and ecological artwork. [Internet] [Masters thesis]. University of Louisville; 2017. [cited 2019 Dec 08].
Available from: 10.18297/etd/2722 ; https://ir.library.louisville.edu/etd/2722.
Council of Science Editors:
Sevilla MD. Transversal approaches and ecological artwork. [Masters Thesis]. University of Louisville; 2017. Available from: 10.18297/etd/2722 ; https://ir.library.louisville.edu/etd/2722
University of Wollongong
15.
Sprague, Quentin.
Making in translation: the intercultural broker in indigenous Australian art.
Degree: PhD, 2016, University of Wollongong
URL: 190102
Art
History,
190104
Visual
Cultures
;
https://ro.uow.edu.au/theses/4807
► This thesis examines the role of intercultural brokerage in the production and mediation of indigenous contemporary art in Australia. It aims to illuminate something…
(more)
▼ This thesis examines the role of intercultural brokerage in the production and mediation of indigenous contemporary art in Australia. It aims to illuminate something of the broader movement by way of third party brokers – in most cases non-Aboriginal – who have acted between the art world on the one hand, and on the other the local contexts within which remotely-based Aboriginal artists work. These figures are varied, but include curators and – more prominently – art coordinators (a key position within remote community Aboriginal art centres).
In the literature on indigenous contemporary art in Australia, sustained examination of such intermediaries remains largely absent, regardless of the often-central role they have played. This thesis intends to undertake initial steps towards addressing this oversight through a review of a number of critical and historical precedents and through three sustained contemporary case studies that draw upon interviews with key brokers.
In doing so, it asks a central question: How might we model, and thus articulate, the role of third party brokerage within the broader network of authorial agencies that surround indigenous contemporary art in Australia?
Subjects/Keywords: contemporary art; Aboriginal art; indigenous contemporary art; intercutural brokerage
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APA (6th Edition):
Sprague, Q. (2016). Making in translation: the intercultural broker in indigenous Australian art. (Doctoral Dissertation). University of Wollongong. Retrieved from 190102 Art History, 190104 Visual Cultures ; https://ro.uow.edu.au/theses/4807
Chicago Manual of Style (16th Edition):
Sprague, Quentin. “Making in translation: the intercultural broker in indigenous Australian art.” 2016. Doctoral Dissertation, University of Wollongong. Accessed December 08, 2019.
190102 Art History, 190104 Visual Cultures ; https://ro.uow.edu.au/theses/4807.
MLA Handbook (7th Edition):
Sprague, Quentin. “Making in translation: the intercultural broker in indigenous Australian art.” 2016. Web. 08 Dec 2019.
Vancouver:
Sprague Q. Making in translation: the intercultural broker in indigenous Australian art. [Internet] [Doctoral dissertation]. University of Wollongong; 2016. [cited 2019 Dec 08].
Available from: 190102 Art History, 190104 Visual Cultures ; https://ro.uow.edu.au/theses/4807.
Council of Science Editors:
Sprague Q. Making in translation: the intercultural broker in indigenous Australian art. [Doctoral Dissertation]. University of Wollongong; 2016. Available from: 190102 Art History, 190104 Visual Cultures ; https://ro.uow.edu.au/theses/4807
16.
Karpman, Deborah I.
Regalia and Repetition.
Degree: MFA, Art, 2009, University of Massachusetts
URL: https://scholarworks.umass.edu/theses/296
► My thesis investigates some of the conceptual ideas related to my studio work, both in terms of theory and contemporary practice. This thesis focuses how…
(more)
▼ My thesis investigates some of the conceptual ideas related to my studio work, both in terms of theory and
contemporary practice. This thesis focuses how the visual images formally operate, as well as the larger framework of discourse that surrounds my practice. In my work, the habitual, incessant process of cutting and extraction and the subsequent meticulous reconfiguring use the strategies of repetition and labor. These sustained, ongoing acts have the possibility to be generative or transformative rather than simply repetitive. This thesis also explores the found object, complicating the classification and knowledge systems of the source image with odd juxtapositions and reconfigurements. This body of work presents and develops several contradictions: the gimmick or lure of the initial appearance versus the underlying reality; the paradox between the promise of beauty or pleasure, and the sense of antagonism or disruption embedded in these images.
Advisors/Committee Members: Shona Macdonald.
Subjects/Keywords: collage; contemporary art; paper; Art Practice; Contemporary Art
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APA (6th Edition):
Karpman, D. I. (2009). Regalia and Repetition. (Masters Thesis). University of Massachusetts. Retrieved from https://scholarworks.umass.edu/theses/296
Chicago Manual of Style (16th Edition):
Karpman, Deborah I. “Regalia and Repetition.” 2009. Masters Thesis, University of Massachusetts. Accessed December 08, 2019.
https://scholarworks.umass.edu/theses/296.
MLA Handbook (7th Edition):
Karpman, Deborah I. “Regalia and Repetition.” 2009. Web. 08 Dec 2019.
Vancouver:
Karpman DI. Regalia and Repetition. [Internet] [Masters thesis]. University of Massachusetts; 2009. [cited 2019 Dec 08].
Available from: https://scholarworks.umass.edu/theses/296.
Council of Science Editors:
Karpman DI. Regalia and Repetition. [Masters Thesis]. University of Massachusetts; 2009. Available from: https://scholarworks.umass.edu/theses/296
University of Alberta
17.
Talbot, Jacques P.
Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century.
Degree: MA, Department of Art and Design, 2016, University of Alberta
URL: https://era.library.ualberta.ca/files/cpr76f347q
► This thesis examines the emergence and proliferation of installation art in the 20th Century and the ways in which its complexities have been contended through…
(more)
▼ This thesis examines the emergence and proliferation
of installation art in the 20th Century and the ways in which its
complexities have been contended through the establishment of three
frameworks that establish categories belonging to the genre.
Frameworks by Nicolas de Oliveira, Mark Rosenthal, and Claire
Bishop are compared and contrasted in order to ascertain those
hardy attributes belonging to installation art that have prevailed
as the genre continues to diversify into the 21st Century. The
contributions of de Oliveira, Rosenthal, and Bishop are
consolidated in my revised framework in the Experiential Site and
Interactive Site categories. The third category of my framework,
the Representational Site, argues for the import of acknowledging
the role of photography as it continues to mediate the
proliferation and understanding of installation art, unaccounted
for in frameworks to date. Examining the merits and limitations of
the photograph as a mediating platform for installation art, I will
argue for the purposefulness of photographic representation of
installation as an alternative to their material reprise,
specifically in circumstances where refabricating the no longer
extant installation would be to jeopardize the site-specific
integrity of the work as this relates to a conception of
site-specificity informed by the emergence of the
genre.
Subjects/Keywords: framework; site; contemporary art; installation
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APA ·
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MLA ·
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Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Talbot, J. P. (2016). Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century. (Masters Thesis). University of Alberta. Retrieved from https://era.library.ualberta.ca/files/cpr76f347q
Chicago Manual of Style (16th Edition):
Talbot, Jacques P. “Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century.” 2016. Masters Thesis, University of Alberta. Accessed December 08, 2019.
https://era.library.ualberta.ca/files/cpr76f347q.
MLA Handbook (7th Edition):
Talbot, Jacques P. “Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century.” 2016. Web. 08 Dec 2019.
Vancouver:
Talbot JP. Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century. [Internet] [Masters thesis]. University of Alberta; 2016. [cited 2019 Dec 08].
Available from: https://era.library.ualberta.ca/files/cpr76f347q.
Council of Science Editors:
Talbot JP. Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century. [Masters Thesis]. University of Alberta; 2016. Available from: https://era.library.ualberta.ca/files/cpr76f347q
Universidade Nova
18.
Marçal, Hélia Pereira.
Embracing transience and subjectivity in the conservation of complex contemporary artworks: contributions from ethnographic and psychological paradigms.
Degree: 2012, Universidade Nova
URL: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/8467
► Dissertação para obtenção do Grau de Mestre em Conservação e Restauro, Perfil Ciências da Conservação Especialização em Arte Contemporânea
Drawing from philosophy and social sciences,…
(more)
▼ Dissertação para obtenção do Grau de Mestre em Conservação e Restauro, Perfil Ciências da Conservação Especialização em Arte Contemporânea
Drawing from philosophy and social sciences, mainly ethnography and psychology, this
dissertation explores new roles that conservators often assume, while proposing new methodologies for artist’s interviews.
In order to preserve complex artworks, such as installations or performances, conservation theory needs to embrace transience, and therefore suggest new and more adequate methodologies. Several authors already accepted change, and proposed concepts that acknowledge artworks’ trajectories.
However, currently applied methodologies do not follow that perspective and endanger preservation of such complex artworks.
Through a comparison between ethnographic objects and complex artworks, ethnographic methods showed promise for extrapolation into the conservation field. Examples from Bali’s cremation rituals and the Portuguese artist Francisco Tropa (b. 1968, Lisbon) helped illustrate this question.
Ethnographic methods applied for interviewing and analysing the artist’s discourse were of great value, as they provide for validation and data reproducibility. From these methods, content analysis stood out by allowing a better structuration and validation of the artist’s discourse.
During this process, conservators’ role was re-considered. Substantially different tasks and decisions are for conservators to make. Ultimately, are they interpreters, performers, executers, reporters, archivists, actants?
Inevitably, this study held more questions than offered answers. However, it is by challenging currents practices, placing them constantly under scrutiny, that possibilities emerge. New theories for
contemporary art preservation, contemporary in themselves, need to be uncovered in order to, subsequently, being questioned again. It is only through this demanding process that contemporary art conservation can continue to be propelled forward.
Advisors/Committee Members: Macedo, Rita, Duarte, António.
Subjects/Keywords: Subjectivity; Contemporary art; Conservation; Ethnography
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MLA ·
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Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Marçal, H. P. (2012). Embracing transience and subjectivity in the conservation of complex contemporary artworks: contributions from ethnographic and psychological paradigms. (Thesis). Universidade Nova. Retrieved from http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/8467
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Marçal, Hélia Pereira. “Embracing transience and subjectivity in the conservation of complex contemporary artworks: contributions from ethnographic and psychological paradigms.” 2012. Thesis, Universidade Nova. Accessed December 08, 2019.
http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/8467.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Marçal, Hélia Pereira. “Embracing transience and subjectivity in the conservation of complex contemporary artworks: contributions from ethnographic and psychological paradigms.” 2012. Web. 08 Dec 2019.
Vancouver:
Marçal HP. Embracing transience and subjectivity in the conservation of complex contemporary artworks: contributions from ethnographic and psychological paradigms. [Internet] [Thesis]. Universidade Nova; 2012. [cited 2019 Dec 08].
Available from: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/8467.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Marçal HP. Embracing transience and subjectivity in the conservation of complex contemporary artworks: contributions from ethnographic and psychological paradigms. [Thesis]. Universidade Nova; 2012. Available from: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/8467
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
California State University – Sacramento
19.
Blackmon, Tavarus.
The politics of the cartoon and contemporary art.
Degree: MA, Art Studio, 2015, California State University – Sacramento
URL: http://hdl.handle.net/10211.3/139447
► Painting, for me, is essential. Through digital processes, I find another way to visually express myself. Mixed media, assemblage and sculpture, are disciplines with which…
(more)
▼ Painting, for me, is essential. Through digital processes, I find another way to visually express myself. Mixed media, assemblage and sculpture, are disciplines with which I am interested and find even more ways to make visual marks. Informally, I educated myself in comic books, animation, video-game
art, illustration, stop-motion film and cinematic production design. Where is the space for the
art that I learned from an interest in visual media? If one were to believe, that as much truth could be found in the scrawling of a bathroom stall confession as in the cultured wings of the finest museum, I would like people to know that my work is honest.
Advisors/Committee Members: Harvey, Ian, 1953-.
Subjects/Keywords: Contemporary art; Painting; Cartoons
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APA (6th Edition):
Blackmon, T. (2015). The politics of the cartoon and contemporary art. (Masters Thesis). California State University – Sacramento. Retrieved from http://hdl.handle.net/10211.3/139447
Chicago Manual of Style (16th Edition):
Blackmon, Tavarus. “The politics of the cartoon and contemporary art.” 2015. Masters Thesis, California State University – Sacramento. Accessed December 08, 2019.
http://hdl.handle.net/10211.3/139447.
MLA Handbook (7th Edition):
Blackmon, Tavarus. “The politics of the cartoon and contemporary art.” 2015. Web. 08 Dec 2019.
Vancouver:
Blackmon T. The politics of the cartoon and contemporary art. [Internet] [Masters thesis]. California State University – Sacramento; 2015. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/10211.3/139447.
Council of Science Editors:
Blackmon T. The politics of the cartoon and contemporary art. [Masters Thesis]. California State University – Sacramento; 2015. Available from: http://hdl.handle.net/10211.3/139447
Southern Cross University
20.
Delaney, Cornelius.
A farewell to meat : rendering ambivalence & transgression.
Degree: 2008, Southern Cross University
URL: https://epubs.scu.edu.au/theses/11
► This exegesis speaks to the body of work constructed over three years between February 2004 and April 2007, assembled and exhibited at the Lismore Regional…
(more)
▼ This exegesis speaks to the body of work constructed over three years between February 2004 and April 2007, assembled and exhibited at the Lismore Regional Gallery in May 2007 under the title A Farewell To Meat: Rendering Ambivalence and Transgression. Written concurrently with the production of the paintings, this writing maps the literature surveyed and documents the studio research undertaken. This research consisted of collecting imagery from a wide range of sites and allowing it to trigger abductive pictorial responses. Erupting from this collecting process, social texts such as TV and radio news, cultural texts such as cinema and literature, and the subtext formed by my own dreams and nightmares were conflated to become a kind of mythology that informs the paintings and artist books in the exhibition. My studio research on one level, became a kind of phenomenological investigation that probed and responded to a media saturated consumer culture, whilst on another level, it seeks to facilitate the injection of an element of cognitive dissonance back into this culture. The resultant creative output utilises the efficacy of the image and the subversive power of metaphor to engage with several interconnected themes. These range from the dialectic of truth and illusion in the painted space, to power relations, marginalisation and the possibility of finding holes in that maze without exits we call ‘capitalism’. An ostensibly atavistic utilisation of figuration and oil paint is intended as a lucid rebuttal of 20th Century/modernist notions of minimalism and the so-called ‘end of painting’. The relationship within the paintings between the medium and the message (the paint and the illusion) seeks to operate like the drapery found in paintings from the Baroque era that antinomically both reveals and conceals the forms beneath it. This scopic contradiction serves as an anamorphosistic mirror which, in my own work, highlights the subterfuge and legerdemain currently operating behind the veil constituted by technology and contemporary mass culture. The goofy, cartoon-like nature of the paintings and the aleatory strategies deployed in their construction, bear witness to the profundity of play in contrast to the burdensome yoke of labour. The artist books articulate more fully the innovative nature of the research and complement the paintings in a way that adds the dynamic of a digital dimension to the more traditional methods of oil painting on canvas. As a crassly instrumental reason insists on tightening its grip on human affairs, everywhere emphasising efficiency over playfulness, and as coercive structures of order continue to reduce my ontic options to an ever-diminishing range of superlatively insipid and uninteresting purchasing ‘choices’, the capacity for play, for ridiculousness, for absurdity, noise and laziness, for me, became symbolically central.
Subjects/Keywords: Contemporary Art
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APA (6th Edition):
Delaney, C. (2008). A farewell to meat : rendering ambivalence & transgression. (Thesis). Southern Cross University. Retrieved from https://epubs.scu.edu.au/theses/11
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Delaney, Cornelius. “A farewell to meat : rendering ambivalence & transgression.” 2008. Thesis, Southern Cross University. Accessed December 08, 2019.
https://epubs.scu.edu.au/theses/11.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Delaney, Cornelius. “A farewell to meat : rendering ambivalence & transgression.” 2008. Web. 08 Dec 2019.
Vancouver:
Delaney C. A farewell to meat : rendering ambivalence & transgression. [Internet] [Thesis]. Southern Cross University; 2008. [cited 2019 Dec 08].
Available from: https://epubs.scu.edu.au/theses/11.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Delaney C. A farewell to meat : rendering ambivalence & transgression. [Thesis]. Southern Cross University; 2008. Available from: https://epubs.scu.edu.au/theses/11
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
California State University – Chico
21.
Sharkey, Willow.
Love meetings: impersonality and intimacy in the art of Sharon Hayes
.
Degree: 2013, California State University – Chico
URL: http://hdl.handle.net/10211.4/516
► The study that follows establishes the work of contemporary artist Sharon Hayes as critically engaged with some of modern art???s central concerns. Hayes???s art asserts…
(more)
▼ The study that follows establishes the work of
contemporary artist Sharon
Hayes as critically engaged with some of modern
art???s central concerns. Hayes???s
art asserts
itself principally in terms of vying to produce a field of relations directed toward
creating collective form, and it explores varied tones, performances, and uses of language
as the substantive sources of connection.
Sharon Hayes???s
art speaks to possibilities of a creating a connected public in
what is increasingly understood as a sustained state of crisis that characterizes and consumes
living in the
contemporary world. It asks how best to use
art???s concrete signs in
their specificity and abstraction to speak to or construct this public, and it considers
whether beings in the present can be productively optimistic or inevitably remain situated
in loss and longing. Some viewers have interpreted Hayes???s body of work as in essence about failure. Developing this project means opening up the possibility that
along with showing a viewer failure, Hayes also offers forms that make connectivity
and possibility available. In this study I will investigate how Hayes???s
art engages
art???s
audience with the immediacy of the intimate language found in what the artist terms
???love addresses.??? With its simultaneous presentation of these and universalizing aesthetic
forms that register modernist aspirations to make collective social form, such
art
also explores how the conditions for publicness can be developed in the present.
Advisors/Committee Members: Archias, S. Elise (advisor).
Subjects/Keywords: Sharon Hayes;
Contemporary art
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APA ·
Chicago ·
MLA ·
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CSE |
Export
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Manager
APA (6th Edition):
Sharkey, W. (2013). Love meetings: impersonality and intimacy in the art of Sharon Hayes
. (Thesis). California State University – Chico. Retrieved from http://hdl.handle.net/10211.4/516
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Sharkey, Willow. “Love meetings: impersonality and intimacy in the art of Sharon Hayes
.” 2013. Thesis, California State University – Chico. Accessed December 08, 2019.
http://hdl.handle.net/10211.4/516.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Sharkey, Willow. “Love meetings: impersonality and intimacy in the art of Sharon Hayes
.” 2013. Web. 08 Dec 2019.
Vancouver:
Sharkey W. Love meetings: impersonality and intimacy in the art of Sharon Hayes
. [Internet] [Thesis]. California State University – Chico; 2013. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/10211.4/516.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Sharkey W. Love meetings: impersonality and intimacy in the art of Sharon Hayes
. [Thesis]. California State University – Chico; 2013. Available from: http://hdl.handle.net/10211.4/516
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Melbourne
22.
Sawrey, Anthony Raoul.
Rain skating.
Degree: 2009, University of Melbourne
URL: http://hdl.handle.net/11343/35482
► In the Twenty First Century, cheap digital video has challenged the photograph for the distribution of visual ideas. Clip sharing sites such as YouTube now…
(more)
▼ In the Twenty First Century, cheap digital video has challenged the photograph for the distribution of visual ideas. Clip sharing sites such as YouTube now receive up to two hundred thousand uploads per week shared by one hundred million users worldwide. This exegesis and its accompanying exhibition, discusses the painting of the ordinary and banal in relation to this recent emergence. It consists of 6 oil paintings depicting skateboarding; all reconfigured from low resolution digital stills found on clip sharing sites, exhibiting many of the signs of degradation and artifacts that are characteristic of digital images.
Representation of the day to day in painting has its own discreet history, extending back to French Realism in the 19th century. Numerous artists of this time, in the spirit of the flâneur, made popular by French writer Charles Baudelaire, explored the streets, boulevards and lanes for those encounters that would become paintings. By the 1960’s the painting of everyday life had also shifted to the direct representation of photographic material from personal snapshots to images circulating in the mass media.
Today, an artist following these same interests is also likely to make these searches online. For scenes capturing the ebb and flow of humanity, YouTube has become the virtual boulevard for the digital flâneur, a conceptualization of contemporary browsing that mirrors the casual stroller of the physical city in search of fresh experiences. What this shift signifies, is the fact that much of everyday life is now subsumed to the digital. Painting is important in realizing the significance of this fact, due to its ability to reveal the scope of which the formats of popular media act as a go between in a viewer’s experiences, and its long and extensive tradition in documenting the events of the everyday.
Subjects/Keywords: contemporary art; painting; digtial culture
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APA ·
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Manager
APA (6th Edition):
Sawrey, A. R. (2009). Rain skating. (Masters Thesis). University of Melbourne. Retrieved from http://hdl.handle.net/11343/35482
Chicago Manual of Style (16th Edition):
Sawrey, Anthony Raoul. “Rain skating.” 2009. Masters Thesis, University of Melbourne. Accessed December 08, 2019.
http://hdl.handle.net/11343/35482.
MLA Handbook (7th Edition):
Sawrey, Anthony Raoul. “Rain skating.” 2009. Web. 08 Dec 2019.
Vancouver:
Sawrey AR. Rain skating. [Internet] [Masters thesis]. University of Melbourne; 2009. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/11343/35482.
Council of Science Editors:
Sawrey AR. Rain skating. [Masters Thesis]. University of Melbourne; 2009. Available from: http://hdl.handle.net/11343/35482
University of Ottawa
23.
Eliev, Elia.
Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks
.
Degree: 2018, University of Ottawa
URL: http://hdl.handle.net/10393/38035
► Over the past decade, scholarly works have examined the plurality and diversity of men in relation to social practices of Arab cultures, while also examining…
(more)
▼ Over the past decade, scholarly works have examined the plurality and diversity of men in relation to social practices of Arab cultures, while also examining discourses of violence, militarization and hegemonic masculinity in times of war and conflict. However, there has been little discussion and critical literature concerning non- heterosexual (or queer) representations of masculinities in the Arab world. Within such context, this dissertation addresses the emerging and shifting visual representations of ‘queer’ masculinities as they are artistically performed in the contemporary lens-based artworks of internationally recognized Lebanese artist Akram Zaatari. Much of the research on queerness in the Arab region risks falling into a colonialist and liberatory framework that seeks to discover an ‘authentic’ queer identity. Contrary to such approaches, I argue for the fluidity of a local queer Arab model of disidentification underpinning Zaatari’s artworks, which questions our perceived realities of both queerness and hegemonic masculinity in Post-Civil War Lebanon. Taking an interdisciplinary approach that integrates cross-cultural comparative and queer visual analysis, I locate Zaatari’s artworks within a larger sociocultural context, as well as within and in tension with existing feminist and contemporary art discourses on the body, identity, and performativity. By examining visual and textual representations of local queer masculinities, this dissertation engages in dynamic discussions on the process of masculinization and elaborates on its future cultural and artistic trends both in the Arab world and in Western countries.
Subjects/Keywords: Contemporary art;
Queer;
Lebanon;
Masculinities
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APA ·
Chicago ·
MLA ·
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CSE |
Export
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Manager
APA (6th Edition):
Eliev, E. (2018). Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks
. (Thesis). University of Ottawa. Retrieved from http://hdl.handle.net/10393/38035
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Eliev, Elia. “Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks
.” 2018. Thesis, University of Ottawa. Accessed December 08, 2019.
http://hdl.handle.net/10393/38035.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Eliev, Elia. “Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks
.” 2018. Web. 08 Dec 2019.
Vancouver:
Eliev E. Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks
. [Internet] [Thesis]. University of Ottawa; 2018. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/10393/38035.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Eliev E. Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks
. [Thesis]. University of Ottawa; 2018. Available from: http://hdl.handle.net/10393/38035
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Wollongong
24.
Hewitt, Peter James.
Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings.
Degree: Master of Creative Art - Research, 2016, University of Wollongong
URL: 1901
ART
THEORY
AND
CRITICISM,
1905
VISUAL
ARTS
AND
CRAFTS
;
https://ro.uow.edu.au/theses/4685
► In my artistic practice I have identified as an ‘Aboriginal artist’; a contemporary Aboriginal painter to be more accurate. This categorisation is significant to…
(more)
▼ In my artistic practice I have identified as an ‘Aboriginal artist’; a contemporary Aboriginal painter to be more accurate. This categorisation is significant to my painting practice, and it is essentially the motivating concern of my MCA-R inquiry. While the studio research component Dis & Dat will be mostly engaged with independently, in terms of its material and conceptual strengths, this exegesis examines the personal importance of having my paintings engaged with as authentic expressions of my Aboriginality. ‘Urban-based’ Aboriginal art, that broad category of contemporary creative expression with which I mostly identify, has, since its relatively recent inception in the 1970s, consistently challenged mainstream misunderstanding of racial stereotypes of Aboriginal culture and Aboriginal art. It has done this by enabling the evolution of a contemporary visual language, in which diverse individual, family, and/or community knowledge, experiences, and aspirations are all deemed legitimate and authentic expressions of cultural identity — it is expressively authentic.
A particular turning point in my art practice occurred when I was invited to participate in an exhibition titled Authentic in 2010, an exhibition in Western Sydney featuring suburban Aboriginal artists. The curatorial intention of the exhibition was both to celebrate developments in local Indigenous art practices, and to signal to broader Indigenous and non-Indigenous audiences that the western suburbs was a region of diverse and vibrant contemporary Indigenous art. The development of my painting practice since Authentic has provided the impetus for the studio-based research behind Dis & Dat; the mixture of desktop research and my personal experiences of Indigenous and non-Indigenous culture (auto-ethnography) informs this exegesis. I outline a personal perspective that encourages discourse and raises inquiries about accepted Indigenous identity labels, which provides a standpoint not only as an Aboriginal person but also as an urban-based abstract painter. Regardless of the inherent diversity and complexity of the ingredients in this mix, which I critically explore within this exegesis, I claim an authenticity that is true to myself, from a personalised Indigenous standpoint, and consider this essential to understanding my crosscultural arts practice and other diverse forms of Aboriginal art.
Subjects/Keywords: Contemporary urban-based Aboriginal art
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APA ·
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MLA ·
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Manager
APA (6th Edition):
Hewitt, P. J. (2016). Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings. (Masters Thesis). University of Wollongong. Retrieved from 1901 ART THEORY AND CRITICISM, 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/4685
Chicago Manual of Style (16th Edition):
Hewitt, Peter James. “Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings.” 2016. Masters Thesis, University of Wollongong. Accessed December 08, 2019.
1901 ART THEORY AND CRITICISM, 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/4685.
MLA Handbook (7th Edition):
Hewitt, Peter James. “Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings.” 2016. Web. 08 Dec 2019.
Vancouver:
Hewitt PJ. Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings. [Internet] [Masters thesis]. University of Wollongong; 2016. [cited 2019 Dec 08].
Available from: 1901 ART THEORY AND CRITICISM, 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/4685.
Council of Science Editors:
Hewitt PJ. Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings. [Masters Thesis]. University of Wollongong; 2016. Available from: 1901 ART THEORY AND CRITICISM, 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/4685
University of Newcastle
25.
Collis, Andrew.
The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?.
Degree: PhD, 2015, University of Newcastle
URL: http://hdl.handle.net/1959.13/1061111
► Research Doctorate - Doctor of Philosophy (PhD)
‘The re-emergence of all figurative art as progressive and groundbreaking’ since the last quarter of the twentieth century…
(more)
▼ Research Doctorate - Doctor of Philosophy (PhD)
‘The re-emergence of all figurative art as progressive and groundbreaking’ since the last quarter of the twentieth century continues to manifest itself through portraits of individuals external to the artist as well as through the artist’s self-scrutiny, self-portraiture. In Western art, a portrait made by an artist of another person, the ‘sitter’, remains a unique artform in that its production is necessarily dependent on the co-operation and collaboration of both parties, often artist and non-artist; two divergent worlds coming together on which, nevertheless, an artwork relies. The interest and cultural value afforded portraiture is evidenced through newly established twenty-first century portrait galleries, collections and prestigious portrait prizes, garnering huge public and media interest, impressive monetary awards, sponsorship and submissions from highly reputable and, often, high profile painters. This gives assurance to uncertainties concerning portraiture’s valued status as art, countering suggestions of marginalization within contemporary painting, and affirming that ‘portraiture has held its own’ despite the turn away from it, generally, through twentieth century abstraction. However, though ‘performance art, body art, video art, photographic manipulation and appropriation, along with other innovations…encouraged the return to figuration’, the submission and acquisition protocols of both new and long-established portrait galleries and portrait prizes heavily demand the portrait be in the specific medium of paint. Furthermore they more often than not categorically stipulate the physical meeting between artist and sitter as mandatory for purposes of making the painted portrait. This research investigates the argument that the practice of painting, and that the painting is, at least partially, painted from life, appropriately serves the conveyance of shared experiences and observations made over a period of time shared between two parties; that a physical meeting, which can be described as human touch, is of significant value to the expression of the artist’s ideas, the practice of painting, and as a unique testimonial of both parties relationship for that period of time.
Advisors/Committee Members: University of Newcastle. Faculty of Education & Arts, School of Creative Arts.
Subjects/Keywords: portrait; painting; contemporary; art; galleries
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Collis, A. (2015). The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?. (Doctoral Dissertation). University of Newcastle. Retrieved from http://hdl.handle.net/1959.13/1061111
Chicago Manual of Style (16th Edition):
Collis, Andrew. “The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?.” 2015. Doctoral Dissertation, University of Newcastle. Accessed December 08, 2019.
http://hdl.handle.net/1959.13/1061111.
MLA Handbook (7th Edition):
Collis, Andrew. “The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?.” 2015. Web. 08 Dec 2019.
Vancouver:
Collis A. The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?. [Internet] [Doctoral dissertation]. University of Newcastle; 2015. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/1959.13/1061111.
Council of Science Editors:
Collis A. The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?. [Doctoral Dissertation]. University of Newcastle; 2015. Available from: http://hdl.handle.net/1959.13/1061111
University of Sydney
26.
Warner, Lachlan Phillip.
Art Practice as Buddhist Practice: A Soteriology through Suffering
.
Degree: 2018, University of Sydney
URL: http://hdl.handle.net/2123/17924
► The thesis examines the Buddhist concept of suffering, portrayed through visual art. The central questions are how can art be used to understand Buddhist suffering…
(more)
▼ The thesis examines the Buddhist concept of suffering, portrayed through visual art. The central questions are how can art be used to understand Buddhist suffering and, conversely, how can Buddhist suffering be used in the creation and perception of visual art.
My thesis is based on an understanding of suffering (Dhukkha) described in the Early Buddhist Texts. Suffering is addressed through the Khandhas; collective processes that recognize human subjectivity as shifting. The Khandhas show that we are just processes of cause and effect. The Khandhas also bridge divides between reason and affect, mind and body, drawing on the work of Sue Hamilton and Peter Harvey. These theorists describe a Buddhism that has been termed modernist, where there is a renewed focus on suffering.
The 4 artworks use the Buddha’s principle metaphor for suffering; of being on fire. The first two suites show seated bodies burning, portraying the universality of suffering. The third suite has nuns standing in a panorama of gold, representing immanent enlightenment. The fourth suite utilizes an image of my ‘self’ as the site of suffering.
The dissertation compares Dhukkha to the works of Theodor Adorno, Susan Sontag, Mieke Bal and Mark Ledbetter as theorists of suffering. Adorno saw the representation of suffering as gratuitous, reinforcing existing systems of repression. For Bal, representations of suffering are only possible through inflection; changing forms so that exploitation is removed but art remains. Buddhism however sees suffering as intrinsic to all representation. Ledbetter then posits suffering as one part of a larger process of seeing that includes voyeurism.
Works by six artists are paired and compared to understand different ways of articulating suffering. Colombian artist Doris Salcedo uses materials that speak of the lives of people missing in war torn Colombia. In contrast Oscar Munoz uses video to invoke the suffering and transience of both life and images. The work of Bill Viola is examined to show immediacy in the apprehension of pain and suffering. Viola’s works are juxtaposed with Zhang Huan who uses ash to invoke existential suffering. Finally, late works by Mark Rothko and Richard Serra are analyzed to understand the transformation and ending of suffering through abstracted forms.
The artworks are lastly compared to a history of Buddhist self-sacrifice, including suicide and self-immolation. Both the artworks and these acts relate to the Buddhist understanding of ‘self’. Ultimately that ‘self’ is a delusion. The understanding of the delusion provides release from suffering, which is the aim of Buddhism.
Subjects/Keywords: art;
Buddhism;
suffering;
dukkha;
contemporary
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APA ·
Chicago ·
MLA ·
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Export
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Manager
APA (6th Edition):
Warner, L. P. (2018). Art Practice as Buddhist Practice: A Soteriology through Suffering
. (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/17924
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Warner, Lachlan Phillip. “Art Practice as Buddhist Practice: A Soteriology through Suffering
.” 2018. Thesis, University of Sydney. Accessed December 08, 2019.
http://hdl.handle.net/2123/17924.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Warner, Lachlan Phillip. “Art Practice as Buddhist Practice: A Soteriology through Suffering
.” 2018. Web. 08 Dec 2019.
Vancouver:
Warner LP. Art Practice as Buddhist Practice: A Soteriology through Suffering
. [Internet] [Thesis]. University of Sydney; 2018. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/2123/17924.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Warner LP. Art Practice as Buddhist Practice: A Soteriology through Suffering
. [Thesis]. University of Sydney; 2018. Available from: http://hdl.handle.net/2123/17924
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Sydney
27.
Scardifield, Katherine.
Into theatre, under the knife: cultures of dissection and contemporary art practice
.
Degree: 2013, University of Sydney
URL: http://hdl.handle.net/2123/11656
► Dissection can be considered a process of calculated dividing and a form of meticulous dismantling. As a method of analysis, it remains inextricably linked to…
(more)
▼ Dissection can be considered a process of calculated dividing and a form of meticulous dismantling. As a method of analysis, it remains inextricably linked to explorations of the human body and the investigations staged to uncover its hidden depths. This research examines historical cultures of dissection and their relationship to contemporary art practice. It proposes that such a culture is characterised by an inherent cutting spectacle; one that remains grounded within a complex and pre-existing visual culture that has dissected, divided and dismantled the body and its image.
Into theatre, Under the Knife: Cultures of Dissection and Contemporary Art Practice is the outcome of a practice-led research project comprising this written thesis and a diverse body of work that spans sculpture, assemblage, installation and painting. Across the development of both the textual and creative work, cutting has been employed as a methodology for the research, and forms a significant basis for the material and conceptual inquiry of the study. Over the course of this thesis historical source material, theoretical propositions and the work of contemporary artists are gradually and methodically dissected for examination. The paper that has then developed as a result of this process-led research proposes a series of significant intersections, and a framework of ‘cuttings and cross-cuttings’ to consider art practice as a form of anatomical enquiry. In suggesting these points of connection, and by intentionally traversing the historical and contemporary, new ground is proposed to consider a culture of dissection within contemporary art through an analyses of the seminal practitioners who maintain and continue to enact their own distinct practice of cutting.
Whether undertaken as a light incision to permeate a surface, or a dramatic slash that severs, this research will attempt to reveal that cutting is a significant yet under-recognised gesture being used by contemporary artists. Much like the surgeon or anatomist who performs incisions in theatre, artists too inflict cutting gestures with strategic and decisive intent. The cutting gesture that embodies both dual creative and destructive possibilities acts also as a sign of authorship, a signature of authenticity from one who wields the knife.
Subjects/Keywords: Dissection;
Cutting;
Contemporary Art
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APA (6th Edition):
Scardifield, K. (2013). Into theatre, under the knife: cultures of dissection and contemporary art practice
. (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/11656
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Scardifield, Katherine. “Into theatre, under the knife: cultures of dissection and contemporary art practice
.” 2013. Thesis, University of Sydney. Accessed December 08, 2019.
http://hdl.handle.net/2123/11656.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Scardifield, Katherine. “Into theatre, under the knife: cultures of dissection and contemporary art practice
.” 2013. Web. 08 Dec 2019.
Vancouver:
Scardifield K. Into theatre, under the knife: cultures of dissection and contemporary art practice
. [Internet] [Thesis]. University of Sydney; 2013. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/2123/11656.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Scardifield K. Into theatre, under the knife: cultures of dissection and contemporary art practice
. [Thesis]. University of Sydney; 2013. Available from: http://hdl.handle.net/2123/11656
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Sydney
28.
Dennington, Charles.
Altered matter. Like icons, stored
.
Degree: 2013, University of Sydney
URL: http://hdl.handle.net/2123/12763
► This thesis proposes research findings that run parallel to my own practice. At the heart of the concepts discussed there is a notion of invention…
(more)
▼ This thesis proposes research findings that run parallel to my own practice. At the heart of the concepts discussed there is a notion of invention and the transmutation of materials. Attempting to find clear ways of making something with the legitimacy of an artwork. Artists considered along side my practice include Alberto Giacometti, Manfred Pernice, Mike Nelson and Ryan Trecartin. As a result of my academic inquiry, my ideas start to move towards the informational as a way to understand how information and invented symbolism may be inscribed or instilled into something. This may be through constellational choices in joining, script writing or by embracing technological ways to mediate the world and the artwork, extending its quiddity or “thingness” by embracing editing and manipulation. The studio work extends on my previous installation practice:sculptures in a variety of sizes and materials. Sculptures that suggest function in an ambiguous way, mimesis in an uncanny way and have an unclear classification as support, artwork, relic or invention. Amid this ambivalent environment I use constellational choices, inscription into materials and proximity relationships to communicate a fictional language or signs of what may appear to have come from an extraterrestrial culture, in, around and on the sculptures. Some materials appear as “repurposed” through the unusual joining of everyday components. Other materials may have been reduced to mere “matter” by altering them to near unrecognisable states. The sculptures and installation elements have a second mediated form by appearing in still and moving images.
Subjects/Keywords: Contemporary art;
Sculpture;
Symbolism
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Record Details
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Dennington, C. (2013). Altered matter. Like icons, stored
. (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/12763
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Dennington, Charles. “Altered matter. Like icons, stored
.” 2013. Thesis, University of Sydney. Accessed December 08, 2019.
http://hdl.handle.net/2123/12763.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Dennington, Charles. “Altered matter. Like icons, stored
.” 2013. Web. 08 Dec 2019.
Vancouver:
Dennington C. Altered matter. Like icons, stored
. [Internet] [Thesis]. University of Sydney; 2013. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/2123/12763.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Dennington C. Altered matter. Like icons, stored
. [Thesis]. University of Sydney; 2013. Available from: http://hdl.handle.net/2123/12763
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Sydney
29.
Adelpour, Adam.
Art, nationalism and a ‘once in a lifetime crisis of capitalism’
.
Degree: 2012, University of Sydney
URL: http://hdl.handle.net/2123/14348
► Amid the economic fallout that has followed the 2008 Global Financial Crisis, governments in badly effected countries have often sought to heighten exclusionary forms of…
(more)
▼ Amid the economic fallout that has followed the 2008 Global Financial Crisis, governments in badly effected countries have often sought to heighten exclusionary forms of nationalism as a palliative for worsening social conditions. The studio art project that accompanies this dissertation responds critically to exclusionary nationalism in Australia, particularly as it is embodied in the Federal Government’s punitive treatment of asylum seekers. This dissertation employs a Marxist analysis to demonstrate the links between the global context and these local issues, and to examine the relationship between art and political agency implied in such a studio project. This reveals the potential for a reciprocal relationship between working class agency and anti-nationalist art practices. However, this potential exists alongside a danger; the critical power of contemporary art may be denuded through its incorporation into the ideological order it aims to oppose. Such an examination of art and agency is not new, but is key to situating and assessing my own studio project within with the economic, political and social polarisation characterising the current intractable crisis of capitalism.
Subjects/Keywords: Contemporary Art;
Nationalism;
Marxism;
Refugees
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Record Details
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Adelpour, A. (2012). Art, nationalism and a ‘once in a lifetime crisis of capitalism’
. (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/14348
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Adelpour, Adam. “Art, nationalism and a ‘once in a lifetime crisis of capitalism’
.” 2012. Thesis, University of Sydney. Accessed December 08, 2019.
http://hdl.handle.net/2123/14348.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Adelpour, Adam. “Art, nationalism and a ‘once in a lifetime crisis of capitalism’
.” 2012. Web. 08 Dec 2019.
Vancouver:
Adelpour A. Art, nationalism and a ‘once in a lifetime crisis of capitalism’
. [Internet] [Thesis]. University of Sydney; 2012. [cited 2019 Dec 08].
Available from: http://hdl.handle.net/2123/14348.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Adelpour A. Art, nationalism and a ‘once in a lifetime crisis of capitalism’
. [Thesis]. University of Sydney; 2012. Available from: http://hdl.handle.net/2123/14348
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Eastern Illinois University
30.
Bartlett, Brian.
David Hockney.
Degree: MA, Art, 1977, Eastern Illinois University
URL: https://thekeep.eiu.edu/theses/3305
► David Hockney is generally recognised as the most talented British artist of his generation. In my thesis I trace his development from his childhood…
(more)
▼ David Hockney is generally recognised as the most talented British artist of his generation. In my thesis I trace his development from his childhood until the present as a figure lionised by the establishment. Hockney has become highly respected, a Van Dyck of
contemporary polite society.
I show his place in a line of tradition in English painting, a tradition where painters stress the anecdotal above a purely visual language England has a commanding tradition of literature from figures such as Shakespeare, Bacon, Byron, Tennyson, Keats and Dickens, to name only a few. Due to this English society insisted on some literal content to their
art. The outcome has been rather eccentric
art. Painters comment in a narrative way on ideas, on morals and on social matters in a very personal way.
David Hockney fits into this tradition in English painting.
Chapter one deals with Hockney's childhood, in the north of England. I talk about his early school days and the intellectual climate of the time. Hockney's teachers were not concerned with
art, and considered it to be of secondary importance.
I also discuss Hockney's understanding of
art. He arrived at painting instinctively and from a basis of ignorance and even misunderstanding of the role of
art and the artist in society.
Chapter two deals with his arrival in London. In 1957 he became a student at the Royal College of
Art. Where he met others young artists and was exposed to contempory
art.
Influenced by Ron Kitaj he overcomes his fear of figure painting, which was considered anti-modern at the time. I discuss his pictoral interests of this time, curtains, style and poetry.
Chapter three sees him going to California and I discuss the affect it had on him; he began to paint the physical look of things. He becomes interested in the painting of water and glass, inparticular swimming pools. Also discussed are his portrait paintings.
The conclusion sees him living in Paris, still interested in style as
subject matter, in particular the French style of pointillism. I sum up by writing about my relationship with Hockney; what it is about his
art and life I admire.
Advisors/Committee Members: Ben P. Watkins.
Subjects/Keywords: Contemporary Art
Record Details
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Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Bartlett, B. (1977). David Hockney. (Masters Thesis). Eastern Illinois University. Retrieved from https://thekeep.eiu.edu/theses/3305
Chicago Manual of Style (16th Edition):
Bartlett, Brian. “David Hockney.” 1977. Masters Thesis, Eastern Illinois University. Accessed December 08, 2019.
https://thekeep.eiu.edu/theses/3305.
MLA Handbook (7th Edition):
Bartlett, Brian. “David Hockney.” 1977. Web. 08 Dec 2019.
Vancouver:
Bartlett B. David Hockney. [Internet] [Masters thesis]. Eastern Illinois University; 1977. [cited 2019 Dec 08].
Available from: https://thekeep.eiu.edu/theses/3305.
Council of Science Editors:
Bartlett B. David Hockney. [Masters Thesis]. Eastern Illinois University; 1977. Available from: https://thekeep.eiu.edu/theses/3305
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Open Access Theses and Dissertations