You searched for subject:(contemporary art).
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University of Southern California
1.
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Kennedy S. Accumulation. [Internet] [Thesis]. University of Southern California; 2012. [cited 2021 Feb 27].
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
2.
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 (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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Bohorquez Florez GE. WE
. [Internet] [Thesis]. University of Sydney; 2014. [cited 2021 Feb 27].
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
3.
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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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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Hood JL. The Ethics of Transgenic Art. [Internet] [Thesis]. University of Edinburgh; 2011. [cited 2021 Feb 27].
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 Ottawa
4.
Howard, Lauren.
The Aesthetics of Healing Representations of Sexual Trauma in Gita Hashemi’s Grounding: States of Gender.
Degree: MA, Sciences sociales / Social Sciences, 2020, University of Ottawa
URL: http://dx.doi.org/10.20381/ruor-25657
► The following thesis explores the complexities of visual representation in relation to women’s experiences of sexual trauma, focusing on Gita Hashemi’s durational performance, Grounding: States…
(more)
▼ The following thesis explores the complexities of visual representation in relation to women’s experiences of sexual trauma, focusing on Gita Hashemi’s durational performance, Grounding: States of Gender (2017). Specifically, I look at the prolonged psychic pain that stems from the infinite negotiating of traumatic memory and the simultaneous struggle to have these experiences be seen, heard, and validated. With reference to theorizations of mourning (Butler, 2004; Fitzpatrick, 2013) and feminist approaches to psychotherapy (Herman, 1992; Magnet, 2017) my study of Grounding responds to a
contemporary turn towards embodied and autobiographical feminist research methods. Using critical methodologies of visual analysis and narrative inquiry, I seek to explore the therapeutic value of the aesthetic or, what I refer to as an aesthetic of healing. Acknowledging how subjectivity functions as both a site of knowledge and as a record of lived experience, I ask how Hashemi’s forms of narrative embodiment work strategically, revealing traumatic realties while simultaneously orienting the viewer towards a position of reflexive engagement within broader sociocultural contexts.
Advisors/Committee Members: Fitzpatrick, Andrea (supervisor).
Subjects/Keywords: contemporary art; aesthetics
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APA ·
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MLA ·
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CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Howard, L. (2020). The Aesthetics of Healing Representations of Sexual Trauma in Gita Hashemi’s Grounding: States of Gender. (Masters Thesis). University of Ottawa. Retrieved from http://dx.doi.org/10.20381/ruor-25657
Chicago Manual of Style (16th Edition):
Howard, Lauren. “The Aesthetics of Healing Representations of Sexual Trauma in Gita Hashemi’s Grounding: States of Gender.” 2020. Masters Thesis, University of Ottawa. Accessed February 27, 2021.
http://dx.doi.org/10.20381/ruor-25657.
MLA Handbook (7th Edition):
Howard, Lauren. “The Aesthetics of Healing Representations of Sexual Trauma in Gita Hashemi’s Grounding: States of Gender.” 2020. Web. 27 Feb 2021.
Vancouver:
Howard L. The Aesthetics of Healing Representations of Sexual Trauma in Gita Hashemi’s Grounding: States of Gender. [Internet] [Masters thesis]. University of Ottawa; 2020. [cited 2021 Feb 27].
Available from: http://dx.doi.org/10.20381/ruor-25657.
Council of Science Editors:
Howard L. The Aesthetics of Healing Representations of Sexual Trauma in Gita Hashemi’s Grounding: States of Gender. [Masters Thesis]. University of Ottawa; 2020. Available from: http://dx.doi.org/10.20381/ruor-25657
University of New South Wales
5.
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 ·
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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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Araujo J. The banal and the provisional : self-cancelling strategies in painting. [Internet] [Masters thesis]. University of New South Wales; 2012. [cited 2021 Feb 27].
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 Minnesota
6.
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Heer M. The Breath Within the Breath: Contemporary Performance Art Practices in India. [Internet] [Doctoral dissertation]. University of Minnesota; 2015. [cited 2021 Feb 27].
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
7.
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/5606
► 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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APA ·
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MLA ·
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Export
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Manager
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/5606
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 February 27, 2021.
http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5606.
MLA Handbook (7th Edition):
McCarthy, Kiley Anna. “Ritual, nourishment, and caregiving: the performances of
Barbara T. Smith and Linda Montano.” 2013. Web. 27 Feb 2021.
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 2021 Feb 27].
Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5606.
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/5606
University of Sydney
8.
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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APA ·
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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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Hassanein S. We will play: protest, performance, and physical activism
. [Internet] [Thesis]. University of Sydney; 2014. [cited 2021 Feb 27].
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
University of Melbourne
9.
Archer, Anita Sarah.
Global positioning: international auctions and the development of the Western market for Chinese Contemporary art, 1998-2012.
Degree: 2018, University of Melbourne
URL: http://hdl.handle.net/11343/224165
► This thesis examines the role of international auction houses in developing a Western market for Chinese Contemporary art from 1998 to 2012. It highlights six…
(more)
▼ This thesis examines the role of international auction houses in developing a Western market for Chinese Contemporary art from 1998 to 2012. It highlights six art auction events as pivotal for the transmission of cultural and economic value from local contexts to global acceptance. This thesis underscores the agency of collectors, networked art mediators and auctions to influence market expansion in the West, thereby revealing auctions as creators and consecrators of symbolic and economic value of Chinese Contemporary art.
Subjects/Keywords: art; auction; art history; Chinese contemporary art; art market; contemporary art
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APA ·
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MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Archer, A. S. (2018). Global positioning: international auctions and the development of the Western market for Chinese Contemporary art, 1998-2012. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/224165
Chicago Manual of Style (16th Edition):
Archer, Anita Sarah. “Global positioning: international auctions and the development of the Western market for Chinese Contemporary art, 1998-2012.” 2018. Doctoral Dissertation, University of Melbourne. Accessed February 27, 2021.
http://hdl.handle.net/11343/224165.
MLA Handbook (7th Edition):
Archer, Anita Sarah. “Global positioning: international auctions and the development of the Western market for Chinese Contemporary art, 1998-2012.” 2018. Web. 27 Feb 2021.
Vancouver:
Archer AS. Global positioning: international auctions and the development of the Western market for Chinese Contemporary art, 1998-2012. [Internet] [Doctoral dissertation]. University of Melbourne; 2018. [cited 2021 Feb 27].
Available from: http://hdl.handle.net/11343/224165.
Council of Science Editors:
Archer AS. Global positioning: international auctions and the development of the Western market for Chinese Contemporary art, 1998-2012. [Doctoral Dissertation]. University of Melbourne; 2018. Available from: http://hdl.handle.net/11343/224165
University of Manitoba
10.
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 ·
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Manager
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 February 27, 2021.
http://hdl.handle.net/1993/34274.
MLA Handbook (7th Edition):
Buzzi, Gayle. “Accidental landscapes.” 2019. Web. 27 Feb 2021.
Vancouver:
Buzzi G. Accidental landscapes. [Internet] [Masters thesis]. University of Manitoba; 2019. [cited 2021 Feb 27].
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
University of Melbourne
11.
Crawford, Ashley Robert.
End of days: religious imaging in millennialist America.
Degree: 2016, University of Melbourne
URL: http://hdl.handle.net/11343/118385
► Michel Foucault once commented that: “Religious beliefs prepare a kind of landscape of images, an illusory milieu favorable to every hallucination and every delirium.”1 This…
(more)
▼ Michel Foucault once commented that: “Religious beliefs prepare a kind of landscape of images, an illusory milieu favorable to every hallucination and every delirium.”1 This thesis seeks to determine what drives certain contemporary artists to deliver implicitly religious imagery within a ‘secular’ context. Particularly, how religious heritage and language have impacted upon contemporary American culture to partake in an aesthetic of apocalypticism that underwrites it. By analysing contemporary American art and literature, this thesis investigates recent millennial imaging. Filtered through analysis of the work of the sculptor, performance artist and filmmaker Matthew Barney, the author Ben Marcus, the cinema of David Lynch and Christopher Nolan and others, End of days: Religious imaging in Millennialist America scrutinises an aesthetic or sensibility of apocalyptic thinking in contemporary American culture. The thesis argues that this may be characterised as ‘schizophrenic’ — a hyperbolic secularism rancid with chthonic religious imaging. Such imagery, derived from mutational variations of Mormonism, Judaism and Christianity (especially Catholic), articulate a series of translations, transformations, mutations and mutilations of these traditions. The results are near heretical permutations of orthodoxy fixated on apocalyptic imaginings and rendered most vibrantly in these artist’s works. The thesis examines the dialects of pathological America where the end of the world is forever immanent, but never arrives — or has already arrived.
Subjects/Keywords: contemporary religion; contemporary art; apocalypse; America
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Chicago ·
MLA ·
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APA (6th Edition):
Crawford, A. R. (2016). End of days: religious imaging in millennialist America. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/118385
Chicago Manual of Style (16th Edition):
Crawford, Ashley Robert. “End of days: religious imaging in millennialist America.” 2016. Doctoral Dissertation, University of Melbourne. Accessed February 27, 2021.
http://hdl.handle.net/11343/118385.
MLA Handbook (7th Edition):
Crawford, Ashley Robert. “End of days: religious imaging in millennialist America.” 2016. Web. 27 Feb 2021.
Vancouver:
Crawford AR. End of days: religious imaging in millennialist America. [Internet] [Doctoral dissertation]. University of Melbourne; 2016. [cited 2021 Feb 27].
Available from: http://hdl.handle.net/11343/118385.
Council of Science Editors:
Crawford AR. End of days: religious imaging in millennialist America. [Doctoral Dissertation]. University of Melbourne; 2016. Available from: http://hdl.handle.net/11343/118385
University of Louisville
12.
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Sevilla MD. Transversal approaches and ecological artwork. [Internet] [Masters thesis]. University of Louisville; 2017. [cited 2021 Feb 27].
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
13.
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Sprague Q. Making in translation: the intercultural broker in indigenous Australian art. [Internet] [Doctoral dissertation]. University of Wollongong; 2016. [cited 2021 Feb 27].
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
University of Alberta
14.
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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CSE |
Export
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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 February 27, 2021.
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. 27 Feb 2021.
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 2021 Feb 27].
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
University of Newcastle
15.
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 ·
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MLA ·
Vancouver ·
CSE |
Export
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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 February 27, 2021.
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. 27 Feb 2021.
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 2021 Feb 27].
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
16.
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 (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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Eliev E. Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks
. [Internet] [Thesis]. University of Ottawa; 2018. [cited 2021 Feb 27].
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
17.
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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Export
to Zotero / EndNote / Reference
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Hewitt PJ. Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings. [Internet] [Masters thesis]. University of Wollongong; 2016. [cited 2021 Feb 27].
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
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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APA ·
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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 February 27, 2021.
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. 27 Feb 2021.
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 2021 Feb 27].
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
19.
Endresen, Tomas Kominis.
SIX MINUTES OF FRESHNESS.
Degree: 2016, , Royal Institute of Art
URL: http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-112
► https://vimeo.com/142533096</p Every time I am on an elevator or an airplane there is always someone right behind me, or beside me, that is coughing…
(more)
▼ https://vimeo.com/142533096</p Every time I am on an elevator or an airplane there is always someone right behind me, or beside me, that is coughing or sneezing. That is implied in the film with the use of, among other sounds, a sneeze, that speaks about the uncontrollable. So there are definitely contradictions with these railings, as they are an idea of a support structure that in practice doesn’t really work. And this recurs in the video work where you’re trying to clean a piece of acrylic glass which, in itself, is an impossible task. As soon as you try to clean it you get marks on it. It’s an unprotected surface as soon as you pull off the plastic film and even if you leave it on when the pane is scratched marks build up under it.
SIX MINUTES OF FRESHNESS
Subjects/Keywords: contemporary art; Installation; Cleanliness; Protection
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APA (6th Edition):
Endresen, T. K. (2016). SIX MINUTES OF FRESHNESS. (Thesis). , Royal Institute of Art. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-112
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):
Endresen, Tomas Kominis. “SIX MINUTES OF FRESHNESS.” 2016. Thesis, , Royal Institute of Art. Accessed February 27, 2021.
http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-112.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Endresen, Tomas Kominis. “SIX MINUTES OF FRESHNESS.” 2016. Web. 27 Feb 2021.
Vancouver:
Endresen TK. SIX MINUTES OF FRESHNESS. [Internet] [Thesis]. , Royal Institute of Art; 2016. [cited 2021 Feb 27].
Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-112.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Endresen TK. SIX MINUTES OF FRESHNESS. [Thesis]. , Royal Institute of Art; 2016. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-112
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Delaney C. A farewell to meat : rendering ambivalence & transgression. [Internet] [Thesis]. Southern Cross University; 2008. [cited 2021 Feb 27].
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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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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Sharkey W. Love meetings: impersonality and intimacy in the art of Sharon Hayes
. [Internet] [Thesis]. California State University – Chico; 2013. [cited 2021 Feb 27].
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
Eastern Illinois University
22.
Bartlett, Brian.
David Hockney.
Degree: MA, 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
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MLA ·
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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 February 27, 2021.
https://thekeep.eiu.edu/theses/3305.
MLA Handbook (7th Edition):
Bartlett, Brian. “David Hockney.” 1977. Web. 27 Feb 2021.
Vancouver:
Bartlett B. David Hockney. [Internet] [Masters thesis]. Eastern Illinois University; 1977. [cited 2021 Feb 27].
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
California State University – Sacramento
23.
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 ·
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MLA ·
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Manager
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 February 27, 2021.
http://hdl.handle.net/10211.3/139447.
MLA Handbook (7th Edition):
Blackmon, Tavarus. “The politics of the cartoon and contemporary art.” 2015. Web. 27 Feb 2021.
Vancouver:
Blackmon T. The politics of the cartoon and contemporary art. [Internet] [Masters thesis]. California State University – Sacramento; 2015. [cited 2021 Feb 27].
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
University of Sydney
24.
Arnold, Kristi.
Unearthing the grotesque: the transformation of the underground to cultural mainstream
.
Degree: 2013, University of Sydney
URL: http://hdl.handle.net/2123/12775
► 'Unearthing the Grotesque: the Transformation of the Underground to Cultural Mainstream' examines the grotesque by way of its history and re-‐emergence over the last few…
(more)
▼ 'Unearthing the Grotesque: the Transformation of the Underground to Cultural Mainstream' examines the grotesque by way of its history and re-‐emergence over the last few decades. Of particular interest is the grotesque’s historical aesthetic evolution – how it began with beauty and ended in distortion, as well as the grotesque’s ties to myth and low and high forms of art. The theoretical underpinnings in my thesis derive from a range of writers who either examine the grotesque specifically such as Wolfgang Kayser, Mikhail Bakhtin, Geoffrey Harpham, or explore similar concepts in relation to the grotesque such as Georges Bataille, Gilles Deleuze, Erich Fromm, E.H. Gombrich and Julia Kristeva. Throughout the dissertation, the grotesque is used as a mode of hybridity amongst disciplines and aesthetics. The premise of my research commenced with these questions: How and why has the grotesque evolved into a negative aesthetic–a contradiction of its original form? In what form does the grotesque exist in the twenty-‐first century within the field of contemporary art? In conclusion, I found that the grotesque’s current association with ugliness stems from early criticism based on the style’s unnatural elements–an aesthetic that defies the laws of nature. Today, artists continue to defy those laws through hybridity and the intermingling of opposition. Art disciplines including illustration, design and imagery derived from skateboard culture have merged and new artistic categories such as lowbrow, pop surrealism and the neo-grotesque have formed. As a result, an influx of work that is devoid of critical discourse emerged, negatively affecting museums and galleries by shifting the public perception of contemporary art. In response to the research conducted, Grotesque Series was created over the course of two years and represents the studio component of my thesis. This body of work comprises eleven large-‐scale oil paintings deduced from the original symmetrical grotesque aesthetic of the Renaissance in conjunction with imagery from popular culture. Additionally, by using the grotesque as a tool for the juxtaposition of opposites (beauty and distortion), I employ a theoretical framework within a visual format.
Subjects/Keywords: Contemporary art;
Painting;
Grotesque;
Aesthetics
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Record Details
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Arnold, K. (2013). Unearthing the grotesque: the transformation of the underground to cultural mainstream
. (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/12775
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):
Arnold, Kristi. “Unearthing the grotesque: the transformation of the underground to cultural mainstream
.” 2013. Thesis, University of Sydney. Accessed February 27, 2021.
http://hdl.handle.net/2123/12775.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Arnold, Kristi. “Unearthing the grotesque: the transformation of the underground to cultural mainstream
.” 2013. Web. 27 Feb 2021.
Vancouver:
Arnold K. Unearthing the grotesque: the transformation of the underground to cultural mainstream
. [Internet] [Thesis]. University of Sydney; 2013. [cited 2021 Feb 27].
Available from: http://hdl.handle.net/2123/12775.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Arnold K. Unearthing the grotesque: the transformation of the underground to cultural mainstream
. [Thesis]. University of Sydney; 2013. Available from: http://hdl.handle.net/2123/12775
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Sydney
25.
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Dennington C. Altered matter. Like icons, stored
. [Internet] [Thesis]. University of Sydney; 2013. [cited 2021 Feb 27].
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
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 ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Warner LP. Art Practice as Buddhist Practice: A Soteriology through Suffering
. [Internet] [Thesis]. University of Sydney; 2018. [cited 2021 Feb 27].
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 ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Scardifield K. Into theatre, under the knife: cultures of dissection and contemporary art practice
. [Internet] [Thesis]. University of Sydney; 2013. [cited 2021 Feb 27].
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.
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
Record Details
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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 February 27, 2021.
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. 27 Feb 2021.
Vancouver:
Adelpour A. Art, nationalism and a ‘once in a lifetime crisis of capitalism’
. [Internet] [Thesis]. University of Sydney; 2012. [cited 2021 Feb 27].
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
University of Pretoria
29.
[No author].
Artspace : creating a contemporary African art gallery
for the city of Pretoria
.
Degree: 2008, University of Pretoria
URL: http://upetd.up.ac.za/thesis/available/etd-10242008-120213/
► The year 2007 is significant for Africa and African artists as “[t]his is the first time a major exhibition of contemporary African art will be…
(more)
▼ The year 2007 is significant for Africa and African
artists as “[t]his is the first time a major exhibition of
contemporary African
art will be held in Africa” (Clive Kellner,
curator of the Johannesburg
Art Gallery, Africa Remix Exhibition
Catalogue 2007:9). Africa Remix, an exhibition of 85
contemporary
African artists from all regions of the continent and displaying a
variety of skills and styles, provides and overview of
contemporary
art from Africa and the African diaspora in a single exhibition.
Previous exhibitions of
contemporary African
art, namely Africa
Explores (exhibited at New York’s Museum for African
Art, 1991) and
Seven Stories about African
Art (exhibited at London’s Whitechapel
Art Gallery, 1995) were never exhibited on the continent. After
having toured Düsseldorf, London, Paris, Tokyo and Stockholm,
Johannesburg is the last stop for Africa Remix and the only stop in
Africa. It is important that Johannesburg managed to host this
exhibition, both to show that Africa has the capacity and fortitude
to host exhibitions of this scale, and for bringing the
art of
Africa to Africa. It has taken enormous efforts in fundraising to
secure this opportunity. Yet, it also points to the lack of proper
exhibition spaces both to host travelling exhibitions of this size
and to provide a home for permanent collections of
contemporary
African
art. Africa has long been
subject to plundering of her
riches: first through outright slavery, then through the
exploitation of mineral reserves (often leading to concurrent
exploitation of people), and in the
contemporary world through the
more subtle but potentially no less devastating “harvesting”
(supported by the inherently unequal nature of global trade) of
intellectual resources, such as items of cultural heritage,
indigenous knowledge, and the production of scientists, writers,
and artists. Africa needs to take the responsibility for making the
most of what we have, here, before exporting it to the rest of the
globe. Therefore, for
art, there needs to be a gallery to support
and exhibit the numerous collections of
contemporary African
art
currently locked in storage. This will allow our
art to be housed
on the continent of its birth. Furthermore, a gallery such as this
will contribute to cultural creation on the continent by the fact
of its existence, providing space for and stimulating debate,
performance and artistic production. This dissertation will
therefore serve as an investigation into the interface between
art
and architecture. An alternative artspace to exhibit primarily but
not exclusively
contemporary African
art is proposed for the city
of Pretoria. The full text of this thesis/dissertation is not
available online. Please <a
href="mailto:
[email protected]?
subject=UPeTD access
required">contact us</a> if you need
access.
Advisors/Committee Members: Mr J Deppe (advisor).
Subjects/Keywords: Contemporary african art;
African art gallery;
UCTD
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
author], [. (2008). Artspace : creating a contemporary African art gallery
for the city of Pretoria
. (Masters Thesis). University of Pretoria. Retrieved from http://upetd.up.ac.za/thesis/available/etd-10242008-120213/
Chicago Manual of Style (16th Edition):
author], [No. “Artspace : creating a contemporary African art gallery
for the city of Pretoria
.” 2008. Masters Thesis, University of Pretoria. Accessed February 27, 2021.
http://upetd.up.ac.za/thesis/available/etd-10242008-120213/.
MLA Handbook (7th Edition):
author], [No. “Artspace : creating a contemporary African art gallery
for the city of Pretoria
.” 2008. Web. 27 Feb 2021.
Vancouver:
author] [. Artspace : creating a contemporary African art gallery
for the city of Pretoria
. [Internet] [Masters thesis]. University of Pretoria; 2008. [cited 2021 Feb 27].
Available from: http://upetd.up.ac.za/thesis/available/etd-10242008-120213/.
Council of Science Editors:
author] [. Artspace : creating a contemporary African art gallery
for the city of Pretoria
. [Masters Thesis]. University of Pretoria; 2008. Available from: http://upetd.up.ac.za/thesis/available/etd-10242008-120213/
University of Pretoria
30.
Wepener, Leila.
Artspace :
creating a contemporary African art gallery for the city of
Pretoria.
Degree: Architecture, 2008, University of Pretoria
URL: http://hdl.handle.net/2263/29005
► The year 2007 is significant for Africa and African artists as “[t]his is the first time a major exhibition of contemporary African art will be…
(more)
▼ The year 2007 is significant for Africa and African
artists as “[t]his is the first time a major exhibition of
contemporary African
art will be held in Africa” (Clive Kellner,
curator of the Johannesburg
Art Gallery, Africa Remix Exhibition
Catalogue 2007:9). Africa Remix, an exhibition of 85
contemporary
African artists from all regions of the continent and displaying a
variety of skills and styles, provides and overview of
contemporary
art from Africa and the African diaspora in a single exhibition.
Previous exhibitions of
contemporary African
art, namely Africa
Explores (exhibited at New York’s Museum for African
Art, 1991) and
Seven Stories about African
Art (exhibited at London’s Whitechapel
Art Gallery, 1995) were never exhibited on the continent. After
having toured Düsseldorf, London, Paris, Tokyo and Stockholm,
Johannesburg is the last stop for Africa Remix and the only stop in
Africa. It is important that Johannesburg managed to host this
exhibition, both to show that Africa has the capacity and fortitude
to host exhibitions of this scale, and for bringing the
art of
Africa to Africa. It has taken enormous efforts in fundraising to
secure this opportunity. Yet, it also points to the lack of proper
exhibition spaces both to host travelling exhibitions of this size
and to provide a home for permanent collections of
contemporary
African
art. Africa has long been
subject to plundering of her
riches: first through outright slavery, then through the
exploitation of mineral reserves (often leading to concurrent
exploitation of people), and in the
contemporary world through the
more subtle but potentially no less devastating “harvesting”
(supported by the inherently unequal nature of global trade) of
intellectual resources, such as items of cultural heritage,
indigenous knowledge, and the production of scientists, writers,
and artists. Africa needs to take the responsibility for making the
most of what we have, here, before exporting it to the rest of the
globe. Therefore, for
art, there needs to be a gallery to support
and exhibit the numerous collections of
contemporary African
art
currently locked in storage. This will allow our
art to be housed
on the continent of its birth. Furthermore, a gallery such as this
will contribute to cultural creation on the continent by the fact
of its existence, providing space for and stimulating debate,
performance and artistic production. This dissertation will
therefore serve as an investigation into the interface between
art
and architecture. An alternative artspace to exhibit primarily but
not exclusively
contemporary African
art is proposed for the city
of Pretoria. The full text of this thesis/dissertation is not
available online. Please <a
href="mailto:
[email protected]?
subject=UPeTD access
required">contact us</a> if you need access.
Advisors/Committee Members: Mr J Deppe (advisor).
Subjects/Keywords: Contemporary
african art; African art
gallery;
UCTD
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Wepener, L. (2008). Artspace :
creating a contemporary African art gallery for the city of
Pretoria. (Masters Thesis). University of Pretoria. Retrieved from http://hdl.handle.net/2263/29005
Chicago Manual of Style (16th Edition):
Wepener, Leila. “Artspace :
creating a contemporary African art gallery for the city of
Pretoria.” 2008. Masters Thesis, University of Pretoria. Accessed February 27, 2021.
http://hdl.handle.net/2263/29005.
MLA Handbook (7th Edition):
Wepener, Leila. “Artspace :
creating a contemporary African art gallery for the city of
Pretoria.” 2008. Web. 27 Feb 2021.
Vancouver:
Wepener L. Artspace :
creating a contemporary African art gallery for the city of
Pretoria. [Internet] [Masters thesis]. University of Pretoria; 2008. [cited 2021 Feb 27].
Available from: http://hdl.handle.net/2263/29005.
Council of Science Editors:
Wepener L. Artspace :
creating a contemporary African art gallery for the city of
Pretoria. [Masters Thesis]. University of Pretoria; 2008. Available from: http://hdl.handle.net/2263/29005
◁ [1] [2] [3] [4] [5] … [55] ▶
. 
Open Access Theses and Dissertations
