subject:(contemporary art)

University of Georgia

1. Hughes, Melissa Lynn. Aesthetic qualities: enacting understanding in contemporary art endeavors.

Degree: PhD, Art Education, 2013, University of Georgia

URL: http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd

► Informed by a hermeneutic propensity, this arts-based autoethnography inquires into forms of social and participatory experience in contemporary art. A living art that uses people… (more)

Subjects/Keywords: Contemporary art

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APA (6^th Edition):

Hughes, M. L. (2013). Aesthetic qualities: enacting understanding in contemporary art endeavors. (Doctoral Dissertation). University of Georgia. Retrieved from http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd

Chicago Manual of Style (16^th Edition):

Hughes, Melissa Lynn. “Aesthetic qualities: enacting understanding in contemporary art endeavors.” 2013. Doctoral Dissertation, University of Georgia. Accessed February 27, 2020. http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd.

MLA Handbook (7^th Edition):

Hughes, Melissa Lynn. “Aesthetic qualities: enacting understanding in contemporary art endeavors.” 2013. Web. 27 Feb 2020.

Vancouver:

Hughes ML. Aesthetic qualities: enacting understanding in contemporary art endeavors. [Internet] [Doctoral dissertation]. University of Georgia; 2013. [cited 2020 Feb 27]. Available from: http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd.

Council of Science Editors:

Hughes ML. Aesthetic qualities: enacting understanding in contemporary art endeavors. [Doctoral Dissertation]. University of Georgia; 2013. Available from: http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd

University of Southern California

2. 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)

Subjects/Keywords: contemporary art

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APA (6^th 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 (16^th Edition):

Kennedy, Sean. “Accumulation.” 2012. Thesis, University of Southern California. Accessed February 27, 2020. 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 (7^th Edition):

Kennedy, Sean. “Accumulation.” 2012. Web. 27 Feb 2020.

Vancouver:

Kennedy S. Accumulation. [Internet] [Thesis]. University of Southern California; 2012. [cited 2020 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

3. 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 (6^th 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 (16^th Edition):

Bohorquez Florez, Gloria Eugenia. “WE .” 2014. Thesis, University of Sydney. Accessed February 27, 2020. 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 (7^th Edition):

Bohorquez Florez, Gloria Eugenia. “WE .” 2014. Web. 27 Feb 2020.

Vancouver:

Bohorquez Florez GE. WE . [Internet] [Thesis]. University of Sydney; 2014. [cited 2020 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

4. 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)

Subjects/Keywords: biotechnology; Contemporary art

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APA (6^th 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 (16^th Edition):

Hood, Jennifer L. “The Ethics of Transgenic Art.” 2011. Thesis, University of Edinburgh. Accessed February 27, 2020. 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 (7^th Edition):

Hood, Jennifer L. “The Ethics of Transgenic Art.” 2011. Web. 27 Feb 2020.

Vancouver:

Hood JL. The Ethics of Transgenic Art. [Internet] [Thesis]. University of Edinburgh; 2011. [cited 2020 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 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)

Subjects/Keywords: Contemporary; Painting; Art

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APA (6^th 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 (16^th Edition):

Araujo, Jorge. “The banal and the provisional : self-cancelling strategies in painting.” 2012. Masters Thesis, University of New South Wales. Accessed February 27, 2020. http://handle.unsw.edu.au/1959.4/51824 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:10491/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Araujo, Jorge. “The banal and the provisional : self-cancelling strategies in painting.” 2012. Web. 27 Feb 2020.

Vancouver:

Araujo J. The banal and the provisional : self-cancelling strategies in painting. [Internet] [Masters thesis]. University of New South Wales; 2012. [cited 2020 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)

Subjects/Keywords: Contemporary Art; India; Performance Art

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APA (6^th 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 (16^th Edition):

Heer, Melissa. “The Breath Within the Breath: Contemporary Performance Art Practices in India.” 2015. Doctoral Dissertation, University of Minnesota. Accessed February 27, 2020. http://hdl.handle.net/11299/174854.

MLA Handbook (7^th Edition):

Heer, Melissa. “The Breath Within the Breath: Contemporary Performance Art Practices in India.” 2015. Web. 27 Feb 2020.

Vancouver:

Heer M. The Breath Within the Breath: Contemporary Performance Art Practices in India. [Internet] [Doctoral dissertation]. University of Minnesota; 2015. [cited 2020 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/5599

► This thesis examines feminist performance artists Barbara T. Smith and Linda Montano, and the artists’ respective use of biography as political statement in themes of… (more)

Subjects/Keywords: performance art; contemporary art

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APA (6^th Edition):

McCarthy, K. A. (2013). Ritual, nourishment, and caregiving: the performances of Barbara T. Smith and Linda Montano. (Masters Thesis). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599

Chicago Manual of Style (16^th 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, 2020. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599.

MLA Handbook (7^th Edition):

McCarthy, Kiley Anna. “Ritual, nourishment, and caregiving: the performances of Barbara T. Smith and Linda Montano.” 2013. Web. 27 Feb 2020.

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 2020 Feb 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599.

Council of Science Editors:

McCarthy KA. Ritual, nourishment, and caregiving: the performances of Barbara T. Smith and Linda Montano. [Masters Thesis]. University of Southern California; 2013. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5599

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)

Subjects/Keywords: Contemporary art; Visual art

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APA (6^th 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 (16^th Edition):

Hassanein, Saffaa. “We will play: protest, performance, and physical activism .” 2014. Thesis, University of Sydney. Accessed February 27, 2020. 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 (7^th Edition):

Hassanein, Saffaa. “We will play: protest, performance, and physical activism .” 2014. Web. 27 Feb 2020.

Vancouver:

Hassanein S. We will play: protest, performance, and physical activism . [Internet] [Thesis]. University of Sydney; 2014. [cited 2020 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 Manitoba

9. 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)

Subjects/Keywords: Glass art; Sculpture; Fine art; Contemporary art

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APA (6^th Edition):

Buzzi, G. (2019). Accidental landscapes. (Masters Thesis). University of Manitoba. Retrieved from http://hdl.handle.net/1993/34274

Chicago Manual of Style (16^th Edition):

Buzzi, Gayle. “Accidental landscapes.” 2019. Masters Thesis, University of Manitoba. Accessed February 27, 2020. http://hdl.handle.net/1993/34274.

MLA Handbook (7^th Edition):

Buzzi, Gayle. “Accidental landscapes.” 2019. Web. 27 Feb 2020.

Vancouver:

Buzzi G. Accidental landscapes. [Internet] [Masters thesis]. University of Manitoba; 2019. [cited 2020 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 Louisville

10. 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)

Subjects/Keywords: contemporary art; ecology; sculpture; earth art; Contemporary Art

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APA (6^th 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 (16^th Edition):

Sevilla, Madison DeAnna. “Transversal approaches and ecological artwork.” 2017. Masters Thesis, University of Louisville. Accessed February 27, 2020. 10.18297/etd/2722 ; https://ir.library.louisville.edu/etd/2722.

MLA Handbook (7^th Edition):

Sevilla, Madison DeAnna. “Transversal approaches and ecological artwork.” 2017. Web. 27 Feb 2020.

Vancouver:

Sevilla MD. Transversal approaches and ecological artwork. [Internet] [Masters thesis]. University of Louisville; 2017. [cited 2020 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

11. 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)

Subjects/Keywords: contemporary art; Aboriginal art; indigenous contemporary art; intercutural brokerage

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APA (6^th 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 (16^th Edition):

Sprague, Quentin. “Making in translation: the intercultural broker in indigenous Australian art.” 2016. Doctoral Dissertation, University of Wollongong. Accessed February 27, 2020. 190102 Art History, 190104 Visual Cultures ; https://ro.uow.edu.au/theses/4807.

MLA Handbook (7^th Edition):

Sprague, Quentin. “Making in translation: the intercultural broker in indigenous Australian art.” 2016. Web. 27 Feb 2020.

Vancouver:

Sprague Q. Making in translation: the intercultural broker in indigenous Australian art. [Internet] [Doctoral dissertation]. University of Wollongong; 2016. [cited 2020 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

12. 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)

Subjects/Keywords: framework; site; contemporary art; installation

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APA (6^th 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 (16^th 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, 2020. https://era.library.ualberta.ca/files/cpr76f347q.

MLA Handbook (7^th Edition):

Talbot, Jacques P. “Expanded Fields: Revisiting the Notion of a Framework for Installation Art in the 21st Century.” 2016. Web. 27 Feb 2020.

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 2020 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

13. 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 (6^th 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 (16^th 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, 2020. http://hdl.handle.net/1959.13/1061111.

MLA Handbook (7^th Edition):

Collis, Andrew. “The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?.” 2015. Web. 27 Feb 2020.

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 2020 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

Universidade Nova

14. 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)

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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 (6^th 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 (16^th 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, 2020. 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 (7^th 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 2020.

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 2020 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

California State University – Sacramento

15. 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)

Subjects/Keywords: Contemporary art; Painting; Cartoons

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APA (6^th 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 (16^th Edition):

Blackmon, Tavarus. “The politics of the cartoon and contemporary art.” 2015. Masters Thesis, California State University – Sacramento. Accessed February 27, 2020. http://hdl.handle.net/10211.3/139447.

MLA Handbook (7^th Edition):

Blackmon, Tavarus. “The politics of the cartoon and contemporary art.” 2015. Web. 27 Feb 2020.

Vancouver:

Blackmon T. The politics of the cartoon and contemporary art. [Internet] [Masters thesis]. California State University – Sacramento; 2015. [cited 2020 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

Southern Cross University

16. 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 (6^th 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 (16^th Edition):

Delaney, Cornelius. “A farewell to meat : rendering ambivalence & transgression.” 2008. Thesis, Southern Cross University. Accessed February 27, 2020. 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 (7^th Edition):

Delaney, Cornelius. “A farewell to meat : rendering ambivalence & transgression.” 2008. Web. 27 Feb 2020.

Vancouver:

Delaney C. A farewell to meat : rendering ambivalence & transgression. [Internet] [Thesis]. Southern Cross University; 2008. [cited 2020 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

17. 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)

Subjects/Keywords: Sharon Hayes; Contemporary art

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APA (6^th 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 (16^th Edition):

Sharkey, Willow. “Love meetings: impersonality and intimacy in the art of Sharon Hayes .” 2013. Thesis, California State University – Chico. Accessed February 27, 2020. 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 (7^th Edition):

Sharkey, Willow. “Love meetings: impersonality and intimacy in the art of Sharon Hayes .” 2013. Web. 27 Feb 2020.

Vancouver:

Sharkey W. Love meetings: impersonality and intimacy in the art of Sharon Hayes . [Internet] [Thesis]. California State University – Chico; 2013. [cited 2020 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

University of Melbourne

18. Sawrey, Anthony Raoul. Rain skating.

Degree: 2009, University of Melbourne

URL: http://hdl.handle.net/11343/35482

► In the Twenty First Century, cheap digital video has challenged the photograph for the distribution of visual ideas. Clip sharing sites such as YouTube now… (more)

Subjects/Keywords: contemporary art; painting; digtial culture

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APA (6^th Edition):

Sawrey, A. R. (2009). Rain skating. (Masters Thesis). University of Melbourne. Retrieved from http://hdl.handle.net/11343/35482

Chicago Manual of Style (16^th Edition):

Sawrey, Anthony Raoul. “Rain skating.” 2009. Masters Thesis, University of Melbourne. Accessed February 27, 2020. http://hdl.handle.net/11343/35482.

MLA Handbook (7^th Edition):

Sawrey, Anthony Raoul. “Rain skating.” 2009. Web. 27 Feb 2020.

Vancouver:

Sawrey AR. Rain skating. [Internet] [Masters thesis]. University of Melbourne; 2009. [cited 2020 Feb 27]. Available from: http://hdl.handle.net/11343/35482.

Council of Science Editors:

Sawrey AR. Rain skating. [Masters Thesis]. University of Melbourne; 2009. Available from: http://hdl.handle.net/11343/35482

19. 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)

Subjects/Keywords: Contemporary art; Queer; Lebanon; Masculinities

10 more images…

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APA (6^th 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 (16^th Edition):

Eliev, Elia. “Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks .” 2018. Thesis, University of Ottawa. Accessed February 27, 2020. 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 (7^th Edition):

Eliev, Elia. “Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks .” 2018. Web. 27 Feb 2020.

Vancouver:

Eliev E. Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks . [Internet] [Thesis]. University of Ottawa; 2018. [cited 2020 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

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

APA (6^th 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 (16^th Edition):

Hewitt, Peter James. “Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings.” 2016. Masters Thesis, University of Wollongong. Accessed February 27, 2020. 1901 ART THEORY AND CRITICISM, 1905 VISUAL ARTS AND CRAFTS ; https://ro.uow.edu.au/theses/4685.

MLA Handbook (7^th Edition):

Hewitt, Peter James. “Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings.” 2016. Web. 27 Feb 2020.

Vancouver:

Hewitt PJ. Aboriginal people come in all shapes and sizes: authentic Aboriginal paintings. [Internet] [Masters thesis]. University of Wollongong; 2016. [cited 2020 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

University of Sydney

21. 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 (6^th 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 (16^th Edition):

Warner, Lachlan Phillip. “Art Practice as Buddhist Practice: A Soteriology through Suffering .” 2018. Thesis, University of Sydney. Accessed February 27, 2020. 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 (7^th Edition):

Warner, Lachlan Phillip. “Art Practice as Buddhist Practice: A Soteriology through Suffering .” 2018. Web. 27 Feb 2020.

Vancouver:

Warner LP. Art Practice as Buddhist Practice: A Soteriology through Suffering . [Internet] [Thesis]. University of Sydney; 2018. [cited 2020 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

22. 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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APA (6^th 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 (16^th Edition):

Arnold, Kristi. “Unearthing the grotesque: the transformation of the underground to cultural mainstream .” 2013. Thesis, University of Sydney. Accessed February 27, 2020. 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 (7^th Edition):

Arnold, Kristi. “Unearthing the grotesque: the transformation of the underground to cultural mainstream .” 2013. Web. 27 Feb 2020.

Vancouver:

Arnold K. Unearthing the grotesque: the transformation of the underground to cultural mainstream . [Internet] [Thesis]. University of Sydney; 2013. [cited 2020 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

23. 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 (6^th 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 (16^th Edition):

Scardifield, Katherine. “Into theatre, under the knife: cultures of dissection and contemporary art practice .” 2013. Thesis, University of Sydney. Accessed February 27, 2020. 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 (7^th Edition):

Scardifield, Katherine. “Into theatre, under the knife: cultures of dissection and contemporary art practice .” 2013. Web. 27 Feb 2020.

Vancouver:

Scardifield K. Into theatre, under the knife: cultures of dissection and contemporary art practice . [Internet] [Thesis]. University of Sydney; 2013. [cited 2020 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

24. 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)

Subjects/Keywords: Contemporary art; Sculpture; Symbolism

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APA (6^th 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 (16^th Edition):

Dennington, Charles. “Altered matter. Like icons, stored .” 2013. Thesis, University of Sydney. Accessed February 27, 2020. 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 (7^th Edition):

Dennington, Charles. “Altered matter. Like icons, stored .” 2013. Web. 27 Feb 2020.

Vancouver:

Dennington C. Altered matter. Like icons, stored . [Internet] [Thesis]. University of Sydney; 2013. [cited 2020 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

25. 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)

Subjects/Keywords: Contemporary Art; Nationalism; Marxism; Refugees

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APA (6^th 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 (16^th Edition):

Adelpour, Adam. “Art, nationalism and a ‘once in a lifetime crisis of capitalism’ .” 2012. Thesis, University of Sydney. Accessed February 27, 2020. 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 (7^th Edition):

Adelpour, Adam. “Art, nationalism and a ‘once in a lifetime crisis of capitalism’ .” 2012. Web. 27 Feb 2020.

Vancouver:

Adelpour A. Art, nationalism and a ‘once in a lifetime crisis of capitalism’ . [Internet] [Thesis]. University of Sydney; 2012. [cited 2020 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

Eastern Illinois University

26. Bartlett, Brian. David Hockney.

Degree: MA, Art, 1977, Eastern Illinois University

URL: https://thekeep.eiu.edu/theses/3305

► David Hockney is generally recognised as the most talented British artist of his generation. In my thesis I trace his development from his childhood… (more)

▼ David Hockney is generally recognised as the most talented British artist of his generation. In my thesis I trace his development from his childhood until the present as a figure lionised by the establishment. Hockney has become highly respected, a Van Dyck of contemporary polite society. I show his place in a line of tradition in English painting, a tradition where painters stress the anecdotal above a purely visual language England has a commanding tradition of literature from figures such as Shakespeare, Bacon, Byron, Tennyson, Keats and Dickens, to name only a few. Due to this English society insisted on some literal content to their art. The outcome has been rather eccentric art. Painters comment in a narrative way on ideas, on morals and on social matters in a very personal way. David Hockney fits into this tradition in English painting. Chapter one deals with Hockney's childhood, in the north of England. I talk about his early school days and the intellectual climate of the time. Hockney's teachers were not concerned with art, and considered it to be of secondary importance. I also discuss Hockney's understanding of art. He arrived at painting instinctively and from a basis of ignorance and even misunderstanding of the role of art and the artist in society. Chapter two deals with his arrival in London. In 1957 he became a student at the Royal College of Art. Where he met others young artists and was exposed to contempory art. Influenced by Ron Kitaj he overcomes his fear of figure painting, which was considered anti-modern at the time. I discuss his pictoral interests of this time, curtains, style and poetry. Chapter three sees him going to California and I discuss the affect it had on him; he began to paint the physical look of things. He becomes interested in the painting of water and glass, inparticular swimming pools. Also discussed are his portrait paintings. The conclusion sees him living in Paris, still interested in style as subject matter, in particular the French style of pointillism. I sum up by writing about my relationship with Hockney; what it is about his art and life I admire. Advisors/Committee Members: Ben P. Watkins.

Subjects/Keywords: Contemporary Art

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APA (6^th Edition):

Bartlett, B. (1977). David Hockney. (Masters Thesis). Eastern Illinois University. Retrieved from https://thekeep.eiu.edu/theses/3305

Chicago Manual of Style (16^th Edition):

Bartlett, Brian. “David Hockney.” 1977. Masters Thesis, Eastern Illinois University. Accessed February 27, 2020. https://thekeep.eiu.edu/theses/3305.

MLA Handbook (7^th Edition):

Bartlett, Brian. “David Hockney.” 1977. Web. 27 Feb 2020.

Vancouver:

Bartlett B. David Hockney. [Internet] [Masters thesis]. Eastern Illinois University; 1977. [cited 2020 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

27. 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)

Subjects/Keywords: contemporary art; Installation; Cleanliness; Protection

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APA (6^th 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 (16^th Edition):

Endresen, Tomas Kominis. “SIX MINUTES OF FRESHNESS.” 2016. Thesis, , Royal Institute of Art. Accessed February 27, 2020. 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 (7^th Edition):

Endresen, Tomas Kominis. “SIX MINUTES OF FRESHNESS.” 2016. Web. 27 Feb 2020.

Vancouver:

Endresen TK. SIX MINUTES OF FRESHNESS. [Internet] [Thesis]. , Royal Institute of Art; 2016. [cited 2020 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

California State University – Northridge

28. Pointer, Garrett. The future is malign.

Degree: MA, Department of Art, 2014, California State University – Northridge

URL: http://hdl.handle.net/10211.3/125287

► As part of my thesis culmination I will present three sculptures in a series collectively titled ???The Future Is Malign???, accompanied by a written thesis… (more)

Subjects/Keywords: Contemporary art; Dissertations, Academic – CSUN – Art.

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APA (6^th Edition):

Pointer, G. (2014). The future is malign. (Masters Thesis). California State University – Northridge. Retrieved from http://hdl.handle.net/10211.3/125287

Chicago Manual of Style (16^th Edition):

Pointer, Garrett. “The future is malign.” 2014. Masters Thesis, California State University – Northridge. Accessed February 27, 2020. http://hdl.handle.net/10211.3/125287.

MLA Handbook (7^th Edition):

Pointer, Garrett. “The future is malign.” 2014. Web. 27 Feb 2020.

Vancouver:

Pointer G. The future is malign. [Internet] [Masters thesis]. California State University – Northridge; 2014. [cited 2020 Feb 27]. Available from: http://hdl.handle.net/10211.3/125287.

Council of Science Editors:

Pointer G. The future is malign. [Masters Thesis]. California State University – Northridge; 2014. Available from: http://hdl.handle.net/10211.3/125287

University of New Mexico

29. Parker, Erik. Neal Ambrose-Smith: The Artistic Modernity of Indianness.

Degree: UNM Department of Art and Art History, 2015, University of New Mexico

URL: http://hdl.handle.net/1928/31687

► Neal Ambrose-Smith is an artist of Cree, Metis, and Salish heritage who is at the forefront of contemporary Native American art. A thorough examination of… (more)

Subjects/Keywords: Native American art; Contemporary art; popular culture

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APA (6^th Edition):

Parker, E. (2015). Neal Ambrose-Smith: The Artistic Modernity of Indianness. (Masters Thesis). University of New Mexico. Retrieved from http://hdl.handle.net/1928/31687

Chicago Manual of Style (16^th Edition):

Parker, Erik. “Neal Ambrose-Smith: The Artistic Modernity of Indianness.” 2015. Masters Thesis, University of New Mexico. Accessed February 27, 2020. http://hdl.handle.net/1928/31687.

MLA Handbook (7^th Edition):

Parker, Erik. “Neal Ambrose-Smith: The Artistic Modernity of Indianness.” 2015. Web. 27 Feb 2020.

Vancouver:

Parker E. Neal Ambrose-Smith: The Artistic Modernity of Indianness. [Internet] [Masters thesis]. University of New Mexico; 2015. [cited 2020 Feb 27]. Available from: http://hdl.handle.net/1928/31687.

Council of Science Editors:

Parker E. Neal Ambrose-Smith: The Artistic Modernity of Indianness. [Masters Thesis]. University of New Mexico; 2015. Available from: http://hdl.handle.net/1928/31687

University of Rochester

30. Bouman, Margot (1962 - ). “A broken piece of an absent whole” : experimental video and its spaces of production and reception.

Degree: PhD, 2009, University of Rochester

URL: http://hdl.handle.net/1802/6783

► This dissertation, “‘A Broken Piece of an Absent Whole’: Experimental Video and its Spaces of Production and Reception” presumes that where video is found—as the… (more)

▼ This dissertation, “‘A Broken Piece of an Absent Whole’: Experimental Video and its Spaces of Production and Reception” presumes that where video is found—as the glass eye and window of broadcast network television, as an integral component of contemporary architecture, as one more medium in the museum, and as the newly primary visual interface of the internet—determines its form. Video also has a formative influence on the spaces into which it is inserted. The recently expanded field of video is divided in two: by “broken piece” the art historian Ann Wagner refers to experimental video and video installation art; by “absent whole,” the rest of media culture. Why this break occurs, and how it is both policed and undermined is my dissertation’s project. In the late 1960s, experimental or avant-garde video’s space was assumed to be broadcast television, and secondarily the artist’s studio, the art gallery and the movie theater. Chapter 1 looks at the avant-garde strategies for accessing and altering broadcast television, which consisted of multipronged attacks on its complex of industry programming, audience and technological form. Its failure to maintain a lasting presence on television is used to support the argument that television’s vigorous and highly militant avant-garde did not produce any lasting cultural assets. I argue otherwise, by looking at some of the unresolved “problems” of avant-garde television that return over the ensuing decades. Following its release from the television set, video has appeared almost everywhere, on screens the size of buildings that form a backdrop for people carrying screens that fit into their hands. Through a consideration of public video art, chapter 2 analyzes how the dismissal of broadcast television audience by the avant-garde is repeated in later responses to the newly expanded spaces of “television.” Chapter 3 looks at the changes to video’s temporal form that take place after its successful introduction into the museum in the 1990s. Chapter 4 historicizes the rhetoric dividing high art from mass culture through an analysis of attempts to split the virtual from the phenomenological in the reception of projected video environments.

Subjects/Keywords: Contemporary art; Video art; Avant-garde; Television

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APA (6^th Edition):

Bouman, M. (. -. ). (2009). “A broken piece of an absent whole” : experimental video and its spaces of production and reception. (Doctoral Dissertation). University of Rochester. Retrieved from http://hdl.handle.net/1802/6783

Chicago Manual of Style (16^th Edition):

Bouman, Margot (1962 - ). ““A broken piece of an absent whole” : experimental video and its spaces of production and reception.” 2009. Doctoral Dissertation, University of Rochester. Accessed February 27, 2020. http://hdl.handle.net/1802/6783.

MLA Handbook (7^th Edition):

Bouman, Margot (1962 - ). ““A broken piece of an absent whole” : experimental video and its spaces of production and reception.” 2009. Web. 27 Feb 2020.

Vancouver:

Bouman M(-). “A broken piece of an absent whole” : experimental video and its spaces of production and reception. [Internet] [Doctoral dissertation]. University of Rochester; 2009. [cited 2020 Feb 27]. Available from: http://hdl.handle.net/1802/6783.

Council of Science Editors:

Bouman M(-). “A broken piece of an absent whole” : experimental video and its spaces of production and reception. [Doctoral Dissertation]. University of Rochester; 2009. Available from: http://hdl.handle.net/1802/6783

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Open Access Theses and Dissertations