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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)
▼ Informed by a hermeneutic propensity, this arts-based autoethnography inquires into forms of social and participatory experience in
contemporary art. A living
art that uses people as the medium, this
art operates in a cultural context stretching possibilities of objects, spaces, relations, discourses, and experiences in
contemporary art. Often contested in
contemporary discourse, I am interested in the ways in which these participatory
art manifestations may be educative.
Reaching a critical juncture through participatory
art experience, I begin reexamining
art, aesthetics, and the conditions for making meaning with
art. Throughout this narrative inquiry, reflexively and hermeneutically begin to develop an emergently fluid range of aesthetic qualities for
art conceived through a political aesthetic. I then mindfully attend to participatory practices by experiencing myriad artistic endeavors in London, New York City, the fifty-fifth Venice Biennale, and beyond.
Engendering questions and confronting assumptions, while openly giving voice to my experiences verbally, poetically, and visually, I cautiously problematize the ways in which participatory practices in
contemporary art relate to our living. I open and invoke a pedagogical exploration of the educative implications for these practices in
art education and aesthetic education. In doing so, I revisit questions pertaining to participation, conditions for understanding, political aesthetics, aesthetic qualities, and education. The capacious possibilities of this inquiry become an invitation for us to critically negotiate potential significance of these
contemporary art practices, as well as aesthetic qualities in our lives.
Advisors/Committee Members: Tracie Costantino.
Subjects/Keywords: Contemporary art
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APA (6th Edition):
Hughes, M. L. (2013). Aesthetic qualities: enacting understanding in contemporary art endeavors. (Doctoral Dissertation). University of Georgia. Retrieved from http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd
Chicago Manual of Style (16th Edition):
Hughes, Melissa Lynn. “Aesthetic qualities: enacting understanding in contemporary art endeavors.” 2013. Doctoral Dissertation, University of Georgia. Accessed June 18, 2018.
http://purl.galileo.usg.edu/uga_etd/hughes_melissa_l_201312_phd.
MLA Handbook (7th Edition):
Hughes, Melissa Lynn. “Aesthetic qualities: enacting understanding in contemporary art endeavors.” 2013. Web. 18 Jun 2018.
Vancouver:
Hughes ML. Aesthetic qualities: enacting understanding in contemporary art endeavors. [Internet] [Doctoral dissertation]. University of Georgia; 2013. [cited 2018 Jun 18].
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 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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Bohorquez Florez GE. WE
. [Internet] [Thesis]. University of Sydney; 2014. [cited 2018 Jun 18].
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
Southern Cross University
3.
Delaney, Cornelius.
A farewell to meat: rendering ambivalence and transgression.
Degree: 2008, Southern Cross University
URL: http://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 and transgression. (Thesis). Southern Cross University. Retrieved from http://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 and transgression.” 2008. Thesis, Southern Cross University. Accessed June 18, 2018.
http://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 and transgression.” 2008. Web. 18 Jun 2018.
Vancouver:
Delaney C. A farewell to meat: rendering ambivalence and transgression. [Internet] [Thesis]. Southern Cross University; 2008. [cited 2018 Jun 18].
Available from: http://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 and transgression. [Thesis]. Southern Cross University; 2008. Available from: http://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
University of Southern California
4.
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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Kennedy S. Accumulation. [Internet] [Thesis]. University of Southern California; 2012. [cited 2018 Jun 18].
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 Edinburgh
5.
Hood, Jennifer L.
The Ethics of Transgenic Art.
Degree: 2011, University of Edinburgh
URL: http://hdl.handle.net/1842/5196
► Is biotechnology an appropriate and ethical medium for contemporary art? In the past decade, the line between science and art has become increasingly blurred as…
(more)
▼ Is biotechnology an appropriate and ethical medium for
contemporary art? In the past decade, the line between science and
art has become increasingly blurred as artists have begun to harness the accelerating developments of the life-sciences to produce new breeds of living 'artworks'. Such endeavours likewise present new ethical complexities not previously encountered through traditional applications of biotechnology, thus requiring the development of a new normative approach to tackle this collision of aesthetics and ethics. Utilising the analytical and theoretical discourses of
art theory, animal ethics, bioethics and the philosophy of
art this dissertation considers the ethics, and value of, artistic practice, specifically transgenic
art, which utilises contentious forms of animal biotechnology for aesthetic purposes. Although demonstrably socially and cognitively valuable in instigating debate concerning our relationships with non-human life, through this analysis, particularly through the discourses of animal and bioethics, transgenic
art emerges as a methodologically deeply unethical practice due to its manipulative instrumentalisation of animal life. In determining this, it is then possible, through the lens of the philosophy of
art to consider more holistically the role which ethics should, or should not, play in regulating artistic practice, and the possibility of developing more ethical, and optimistic, approaches to the aesthetics of animal representation.
Advisors/Committee Members: Brady, Emily.
Subjects/Keywords: biotechnology; Contemporary art
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APA ·
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MLA ·
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Manager
APA (6th Edition):
Hood, J. L. (2011). The Ethics of Transgenic Art. (Thesis). University of Edinburgh. Retrieved from http://hdl.handle.net/1842/5196
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Hood, Jennifer L. “The Ethics of Transgenic Art.” 2011. Thesis, University of Edinburgh. Accessed June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Hood JL. The Ethics of Transgenic Art. [Internet] [Thesis]. University of Edinburgh; 2011. [cited 2018 Jun 18].
Available from: http://hdl.handle.net/1842/5196.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Hood JL. The Ethics of Transgenic Art. [Thesis]. University of Edinburgh; 2011. Available from: http://hdl.handle.net/1842/5196
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of New South Wales
6.
Araujo, Jorge.
The banal and the provisional : self-cancelling strategies in painting.
Degree: Art, 2012, University of New South Wales
URL: http://handle.unsw.edu.au/1959.4/51824
► 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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MLA ·
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Export
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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
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 June 18, 2018.
http://handle.unsw.edu.au/1959.4/51824.
MLA Handbook (7th Edition):
Araujo, Jorge. “The banal and the provisional : self-cancelling strategies in painting.” 2012. Web. 18 Jun 2018.
Vancouver:
Araujo J. The banal and the provisional : self-cancelling strategies in painting. [Internet] [Masters thesis]. University of New South Wales; 2012. [cited 2018 Jun 18].
Available from: http://handle.unsw.edu.au/1959.4/51824.
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
University of Minnesota
7.
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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Heer M. The Breath Within the Breath: Contemporary Performance Art Practices in India. [Internet] [Doctoral dissertation]. University of Minnesota; 2015. [cited 2018 Jun 18].
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 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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Hassanein S. We will play: protest, performance, and physical activism
. [Internet] [Thesis]. University of Sydney; 2014. [cited 2018 Jun 18].
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 Southern California
9.
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/5596
► 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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Record Details
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❌
APA ·
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MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
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/5596
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 June 18, 2018.
http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5596.
MLA Handbook (7th Edition):
McCarthy, Kiley Anna. “Ritual, nourishment, and caregiving: the performances of
Barbara T. Smith and Linda Montano.” 2013. Web. 18 Jun 2018.
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 2018 Jun 18].
Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/254922/rec/5596.
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/5596
10.
Karpman, Deborah I.
Regalia and Repetition.
Degree: Master of Fine Arts (M.F.A.), Art, 2009, U of Massachusetts : Masters
URL: http://scholarworks.umass.edu/theses/296
► My thesis investigates some of the conceptual ideas related to my studio work, both in terms of theory and contemporary practice. This thesis focuses how…
(more)
▼ My thesis investigates some of the conceptual ideas related to my studio work, both in terms of theory and
contemporary practice. This thesis focuses how the visual images formally operate, as well as the larger framework of discourse that surrounds my practice. In my work, the habitual, incessant process of cutting and extraction and the subsequent meticulous reconfiguring use the strategies of repetition and labor. These sustained, ongoing acts have the possibility to be generative or transformative rather than simply repetitive. This thesis also explores the found object, complicating the classification and knowledge systems of the source image with odd juxtapositions and reconfigurements. This body of work presents and develops several contradictions: the gimmick or lure of the initial appearance versus the underlying reality; the paradox between the promise of beauty or pleasure, and the sense of antagonism or disruption embedded in these images.
Advisors/Committee Members: Shona Macdonald.
Subjects/Keywords: collage; contemporary art; paper; Art Practice; Contemporary Art
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Chicago ·
MLA ·
Vancouver ·
CSE |
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Manager
APA (6th Edition):
Karpman, D. I. (2009). Regalia and Repetition. (Masters Thesis). U of Massachusetts : Masters. Retrieved from http://scholarworks.umass.edu/theses/296
Chicago Manual of Style (16th Edition):
Karpman, Deborah I. “Regalia and Repetition.” 2009. Masters Thesis, U of Massachusetts : Masters. Accessed June 18, 2018.
http://scholarworks.umass.edu/theses/296.
MLA Handbook (7th Edition):
Karpman, Deborah I. “Regalia and Repetition.” 2009. Web. 18 Jun 2018.
Vancouver:
Karpman DI. Regalia and Repetition. [Internet] [Masters thesis]. U of Massachusetts : Masters; 2009. [cited 2018 Jun 18].
Available from: http://scholarworks.umass.edu/theses/296.
Council of Science Editors:
Karpman DI. Regalia and Repetition. [Masters Thesis]. U of Massachusetts : Masters; 2009. Available from: http://scholarworks.umass.edu/theses/296
University of Louisville
11.
Sevilla, Madison DeAnna.
Transversal approaches and ecological artwork.
Degree: MA, 2017, University of Louisville
URL: 10.18297/etd/2722
;
http://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 ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Sevilla, M. D. (2017). Transversal approaches and ecological artwork. (Masters Thesis). University of Louisville. Retrieved from 10.18297/etd/2722 ; http://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 June 18, 2018.
10.18297/etd/2722 ; http://ir.library.louisville.edu/etd/2722.
MLA Handbook (7th Edition):
Sevilla, Madison DeAnna. “Transversal approaches and ecological artwork.” 2017. Web. 18 Jun 2018.
Vancouver:
Sevilla MD. Transversal approaches and ecological artwork. [Internet] [Masters thesis]. University of Louisville; 2017. [cited 2018 Jun 18].
Available from: 10.18297/etd/2722 ; http://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 ; http://ir.library.louisville.edu/etd/2722
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)
▼ 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 ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Talbot, J. P. (2016). Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century. (Masters Thesis). University of Alberta. Retrieved from https://era.library.ualberta.ca/files/cpr76f347q
Chicago Manual of Style (16th Edition):
Talbot, Jacques P. “Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century.” 2016. Masters Thesis, University of Alberta. Accessed June 18, 2018.
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. 18 Jun 2018.
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 2018 Jun 18].
Available from: https://era.library.ualberta.ca/files/cpr76f347q.
Council of Science Editors:
Talbot JP. Expanded Fields: Revisiting the Notion of a Framework for
Installation Art in the 21st Century. [Masters Thesis]. University of Alberta; 2016. Available from: https://era.library.ualberta.ca/files/cpr76f347q
Universidade de Coimbra
13.
Renault, Claudia Tamm.
Habitar como poética: percurso plástico e conceitual a partir da obra de Carneiro e de Pedro Cabrita Reis.
Degree: 2014, Universidade de Coimbra
URL: http://hdl.handle.net/10316/26432
► Nesta tese investigo a obra de Alberto Carneiro e a de Pedro Cabrita Reis. A pesquisa desenvolveu-‐se, pela própria natureza das obras desses artistas contemporâneos…
(more)
▼ Nesta
tese
investigo
a
obra
de
Alberto
Carneiro
e
a
de
Pedro
Cabrita
Reis.
A
pesquisa
desenvolveu-‐se,
pela
própria
natureza
das
obras
desses
artistas
contemporâneos
portugueses,
em
torno
da
ideia
do
habitar
como
poética,
percurso
que,
como
um
de
seus
desdobramentos,
levou-‐me
à
instalação
de
um
atelier
dentro
do
próprio
espaço
do
Colégio
das
Artes,
na
Universidade
de
Coimbra,
onde
desenvolvi
uma
componente
prática
dessa
investigação.
A
pesquisa
foi
acompanhada
de
registros
em
um
diário,
como
tentativa
de
fixar
as
impressões
desse
habitar
cotidiano,
criando
um
ritmo
de
escrita.
Ao
investigar
o
habitar
poético
de
Alberto
Carneiro,
através
não
só
da
leitura
de
seus
diários
e
textos
mas
também
da
análise
de
seu
trabalho,
fui
levada
ao
encontro
com
o
próprio
artista,
em
seu
atelier,
em
São
Mamede
do
Coronado.
Da
mesma
forma
fui
me
acercando
do
trabalho
de
Pedro
Cabrita
Reis
e
da
volumosa
produção
escrita
sobre
sua
obra,
o
que
me
levou
também
ao
encontro
do
artista,
em
seu
atelier,
em
Lisboa.
“Habitar
como
poética”
traz
à
tona
a
investigação
das
questões
da
pesquisa
e
a
incidência
de
seus
entrelaçamentos
com
meu
próprio
trabalho
como
artista.
A
sintonia
experimentada
evidenciou-‐se
no
trabalho
prático
desenvolvido
no
atelier
de
Coimbra.
Dentre
as
lições
extraídas
dessa
intensa
vivência-‐experiência,
destacou-‐se
a
convicção
de
que
tudo
pode
assumir
novas
formas,
conforme
o
artista
se
relaciona
com
as
coisas,
contra
todas
as
hierarquias
de
poder
e
de
valor.; In
this
thesis
I
investigate
Alberto
Carneiro’s
and
Pedro
Cabrita
Reis’s
work.
The
research
developed,
by
the
very
nature
of
the
works
of
these
Portuguese
contemporary
artists,
around
the
idea
of
dwelling
as
poetics,
a
journey
which,
as
one
of
its
unfolding,
led
me
to
the
installation
of
an
atelier
inside
Colégio
das
Artes
space
itself,
at
the
Universidade
de
Coimbra,
where
I
developed
a
practical
component
of
this
investigation.
The
research
was
followed
up
by
registers
in
a
diary,
as
an
attempt
to
fix
the
impressions
of
this
daily
dwelling,
thus
creating
a
rhythm
of
writing.
Upon
investigating
Alberto
Carneiro’s
poetic
dwelling,
through
not
only
the
reading
of
his
diaries
and
texts
but
also
the
analysis
of
his
work,
I
was
led
to
a
meeting
with
the
artist
himself,
in
his
atelier,
in
São
Mamede
do
Coronado.
In
the
same
way,
I
approached
Pedro
Cabrita
Reis’s
work
and
the
volumous
written
production
about
his
work,
which
led
me
to
meeting
the
artist
in
his
atelier
in
Lisbon.
“Dwelling
as
poetics”
brings
up
the
investigation
of
research
issues
and
the
incidence
of
their
interweaving
with
my
work
itself
as
an
artist.
The
fine
tuning
experienced
became
evident
in
the
practical
work
developed
in
Coimbra’s
atelier.
From
the
lessons
taken
from
this
intense
living
experience,
the
conviction
that
everything
may
take
on
new
forms
stood
out,
according
to
how
the
artist
relates
to
things,
against
all
hierarchies
of
power
and
value.
Key
words:
Alberto
Carneiro;
Pedro
Cabrita
Reis;
Dwelling;
Poetics;
Experience;
Contemporary
Art.
Advisors/Committee Members: Carvalho, António José Olaio Correia de (advisor), Pousada, Pedro Filipe Rodrigues (advisor).
Subjects/Keywords: Arte Contemporânea; Contemporary Art
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❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Renault, C. T. (2014). Habitar como poética: percurso plástico e conceitual a partir da obra de Carneiro e de Pedro Cabrita Reis. (Doctoral Dissertation). Universidade de Coimbra. Retrieved from http://hdl.handle.net/10316/26432
Chicago Manual of Style (16th Edition):
Renault, Claudia Tamm. “Habitar como poética: percurso plástico e conceitual a partir da obra de Carneiro e de Pedro Cabrita Reis.” 2014. Doctoral Dissertation, Universidade de Coimbra. Accessed June 18, 2018.
http://hdl.handle.net/10316/26432.
MLA Handbook (7th Edition):
Renault, Claudia Tamm. “Habitar como poética: percurso plástico e conceitual a partir da obra de Carneiro e de Pedro Cabrita Reis.” 2014. Web. 18 Jun 2018.
Vancouver:
Renault CT. Habitar como poética: percurso plástico e conceitual a partir da obra de Carneiro e de Pedro Cabrita Reis. [Internet] [Doctoral dissertation]. Universidade de Coimbra; 2014. [cited 2018 Jun 18].
Available from: http://hdl.handle.net/10316/26432.
Council of Science Editors:
Renault CT. Habitar como poética: percurso plástico e conceitual a partir da obra de Carneiro e de Pedro Cabrita Reis. [Doctoral Dissertation]. Universidade de Coimbra; 2014. Available from: http://hdl.handle.net/10316/26432
University of Newcastle
14.
Collis, Andrew.
The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?.
Degree: PhD, 2015, University of Newcastle
URL: http://hdl.handle.net/1959.13/1061111
► Research Doctorate - Doctor of Philosophy (PhD)
‘The re-emergence of all figurative art as progressive and groundbreaking’ since the last quarter of the twentieth century…
(more)
▼ Research Doctorate - Doctor of Philosophy (PhD)
‘The re-emergence of all figurative art as progressive and groundbreaking’ since the last quarter of the twentieth century continues to manifest itself through portraits of individuals external to the artist as well as through the artist’s self-scrutiny, self-portraiture. In Western art, a portrait made by an artist of another person, the ‘sitter’, remains a unique artform in that its production is necessarily dependent on the co-operation and collaboration of both parties, often artist and non-artist; two divergent worlds coming together on which, nevertheless, an artwork relies. The interest and cultural value afforded portraiture is evidenced through newly established twenty-first century portrait galleries, collections and prestigious portrait prizes, garnering huge public and media interest, impressive monetary awards, sponsorship and submissions from highly reputable and, often, high profile painters. This gives assurance to uncertainties concerning portraiture’s valued status as art, countering suggestions of marginalization within contemporary painting, and affirming that ‘portraiture has held its own’ despite the turn away from it, generally, through twentieth century abstraction. However, though ‘performance art, body art, video art, photographic manipulation and appropriation, along with other innovations…encouraged the return to figuration’, the submission and acquisition protocols of both new and long-established portrait galleries and portrait prizes heavily demand the portrait be in the specific medium of paint. Furthermore they more often than not categorically stipulate the physical meeting between artist and sitter as mandatory for purposes of making the painted portrait. This research investigates the argument that the practice of painting, and that the painting is, at least partially, painted from life, appropriately serves the conveyance of shared experiences and observations made over a period of time shared between two parties; that a physical meeting, which can be described as human touch, is of significant value to the expression of the artist’s ideas, the practice of painting, and as a unique testimonial of both parties relationship for that period of time.
Advisors/Committee Members: University of Newcastle. Faculty of Education & Arts, School of Creative Arts.
Subjects/Keywords: portrait; painting; contemporary; art; galleries
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APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Collis, A. (2015). The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?. (Doctoral Dissertation). University of Newcastle. Retrieved from http://hdl.handle.net/1959.13/1061111
Chicago Manual of Style (16th Edition):
Collis, Andrew. “The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?.” 2015. Doctoral Dissertation, University of Newcastle. Accessed June 18, 2018.
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. 18 Jun 2018.
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 2018 Jun 18].
Available from: http://hdl.handle.net/1959.13/1061111.
Council of Science Editors:
Collis A. The human touch: what is the value of the artist/sitter relationship to contemporary portrait painting?. [Doctoral Dissertation]. University of Newcastle; 2015. Available from: http://hdl.handle.net/1959.13/1061111
University of Sydney
15.
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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Scardifield K. Into theatre, under the knife: cultures of dissection and contemporary art practice
. [Internet] [Thesis]. University of Sydney; 2013. [cited 2018 Jun 18].
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
16.
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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Dennington C. Altered matter. Like icons, stored
. [Internet] [Thesis]. University of Sydney; 2013. [cited 2018 Jun 18].
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
17.
Adelpour, Adam.
Art, nationalism and a ‘once in a lifetime crisis of capitalism’
.
Degree: 2012, University of Sydney
URL: http://hdl.handle.net/2123/14348
► Amid the economic fallout that has followed the 2008 Global Financial Crisis, governments in badly effected countries have often sought to heighten exclusionary forms of…
(more)
▼ Amid the economic fallout that has followed the 2008 Global Financial Crisis, governments in badly effected countries have often sought to heighten exclusionary forms of nationalism as a palliative for worsening social conditions. The studio art project that accompanies this dissertation responds critically to exclusionary nationalism in Australia, particularly as it is embodied in the Federal Government’s punitive treatment of asylum seekers. This dissertation employs a Marxist analysis to demonstrate the links between the global context and these local issues, and to examine the relationship between art and political agency implied in such a studio project. This reveals the potential for a reciprocal relationship between working class agency and anti-nationalist art practices. However, this potential exists alongside a danger; the critical power of contemporary art may be denuded through its incorporation into the ideological order it aims to oppose. Such an examination of art and agency is not new, but is key to situating and assessing my own studio project within with the economic, political and social polarisation characterising the current intractable crisis of capitalism.
Subjects/Keywords: Contemporary Art;
Nationalism;
Marxism;
Refugees
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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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Adelpour A. Art, nationalism and a ‘once in a lifetime crisis of capitalism’
. [Internet] [Thesis]. University of Sydney; 2012. [cited 2018 Jun 18].
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 Sydney
18.
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 ·
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CSE |
Export
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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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Arnold K. Unearthing the grotesque: the transformation of the underground to cultural mainstream
. [Internet] [Thesis]. University of Sydney; 2013. [cited 2018 Jun 18].
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
California State University – Chico
19.
Sharkey, Willow.
Love meetings: impersonality and intimacy in the art of Sharon Hayes
.
Degree: 2013, California State University – Chico
URL: http://hdl.handle.net/10211.4/516
► The study that follows establishes the work of contemporary artist Sharon Hayes as critically engaged with some of modern art???s central concerns. Hayes???s art asserts…
(more)
▼ The study that follows establishes the work of
contemporary artist Sharon
Hayes as critically engaged with some of modern
art???s central concerns. Hayes???s
art asserts
itself principally in terms of vying to produce a field of relations directed toward
creating collective form, and it explores varied tones, performances, and uses of language
as the substantive sources of connection.
Sharon Hayes???s
art speaks to possibilities of a creating a connected public in
what is increasingly understood as a sustained state of crisis that characterizes and consumes
living in the
contemporary world. It asks how best to use
art???s concrete signs in
their specificity and abstraction to speak to or construct this public, and it considers
whether beings in the present can be productively optimistic or inevitably remain situated
in loss and longing. Some viewers have interpreted Hayes???s body of work as in essence about failure. Developing this project means opening up the possibility that
along with showing a viewer failure, Hayes also offers forms that make connectivity
and possibility available. In this study I will investigate how Hayes???s
art engages
art???s
audience with the immediacy of the intimate language found in what the artist terms
???love addresses.??? With its simultaneous presentation of these and universalizing aesthetic
forms that register modernist aspirations to make collective social form, such
art
also explores how the conditions for publicness can be developed in the present.
Advisors/Committee Members: Archias, S. Elise (advisor).
Subjects/Keywords: Sharon Hayes;
Contemporary art
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APA ·
Chicago ·
MLA ·
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CSE |
Export
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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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Sharkey W. Love meetings: impersonality and intimacy in the art of Sharon Hayes
. [Internet] [Thesis]. California State University – Chico; 2013. [cited 2018 Jun 18].
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
20.
Bartlett, Brian.
David Hockney.
Degree: MA, Art, 1977, Eastern Illinois University
URL: http://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 (6th Edition):
Bartlett, B. (1977). David Hockney. (Masters Thesis). Eastern Illinois University. Retrieved from http://thekeep.eiu.edu/theses/3305
Chicago Manual of Style (16th Edition):
Bartlett, Brian. “David Hockney.” 1977. Masters Thesis, Eastern Illinois University. Accessed June 18, 2018.
http://thekeep.eiu.edu/theses/3305.
MLA Handbook (7th Edition):
Bartlett, Brian. “David Hockney.” 1977. Web. 18 Jun 2018.
Vancouver:
Bartlett B. David Hockney. [Internet] [Masters thesis]. Eastern Illinois University; 1977. [cited 2018 Jun 18].
Available from: http://thekeep.eiu.edu/theses/3305.
Council of Science Editors:
Bartlett B. David Hockney. [Masters Thesis]. Eastern Illinois University; 1977. Available from: http://thekeep.eiu.edu/theses/3305
Universidade Nova
21.
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
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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 June 18, 2018.
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. 18 Jun 2018.
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 2018 Jun 18].
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
University of Edinburgh
22.
Rothwell, Ian James Pirie.
Images under control : pessimism, humour and stupidity in the digital age.
Degree: PhD, 2017, University of Edinburgh
URL: http://hdl.handle.net/1842/22974
► This thesis offers a periodization of the present according to which contemporary art and visual culture are understood to be symptomatic of an increasingly pervasive…
(more)
▼ This thesis offers a periodization of the present according to which contemporary art and visual culture are understood to be symptomatic of an increasingly pervasive pessimistic social, political and ecological outlook. This pessimism I will claim is what is authentically new about our contemporary cultural forms, which are directed towards a particular form of humour and stupidity. Core elements in the periodization include the limitation of imaginative horizons expressed in the well-known remark of Fredric Jameson’s that it is easier to imagine the end of the world than the end of capitalism, as well as the pervasive sense that nature is in a state of perpetual and endemic crisis and the idea that modern computing technology is making us stupider than we have ever been before. I argue that these issues are symptomatic of what Gilles Deleuze, in 1990, termed the societies of Control – a world of corporate power, ubiquitous computing, data extraction and financial capitalism that has intensified since its early diagnosis. However, dominant narratives of art and visual culture continue to theorize artistic production according to traditionally avant-garde categories of resistance, criticality, transgression and subversion. This presumes art to have an agency that is difficult to imagine in the current social situation. In this respect, the thesis in part constitutes a critical reflection on the pressures placed upon our existing models of art and visual culture - for example, and centrally, the idea of an ‘avant-garde’ - by current social and technological conditions. Building on these observations, the thesis proposes a new model of contemporary art and visual culture that has no agency: images under control that are formed, as epiphenomena, by technological apparatuses of Control; studying examples such as extreme sports stunts, internet memes, online trolls, bad quality jpegs and impassive ‘artworks’. The purpose is to ask what value we can place on these emergent cultural forms, which seem to mirror, reflect and reiterate a pessimistic worldview deeply entrenched in the societies of Control.
Subjects/Keywords: avant-garde; internet; contemporary art
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APA ·
Chicago ·
MLA ·
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Export
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APA (6th Edition):
Rothwell, I. J. P. (2017). Images under control : pessimism, humour and stupidity in the digital age. (Doctoral Dissertation). University of Edinburgh. Retrieved from http://hdl.handle.net/1842/22974
Chicago Manual of Style (16th Edition):
Rothwell, Ian James Pirie. “Images under control : pessimism, humour and stupidity in the digital age.” 2017. Doctoral Dissertation, University of Edinburgh. Accessed June 18, 2018.
http://hdl.handle.net/1842/22974.
MLA Handbook (7th Edition):
Rothwell, Ian James Pirie. “Images under control : pessimism, humour and stupidity in the digital age.” 2017. Web. 18 Jun 2018.
Vancouver:
Rothwell IJP. Images under control : pessimism, humour and stupidity in the digital age. [Internet] [Doctoral dissertation]. University of Edinburgh; 2017. [cited 2018 Jun 18].
Available from: http://hdl.handle.net/1842/22974.
Council of Science Editors:
Rothwell IJP. Images under control : pessimism, humour and stupidity in the digital age. [Doctoral Dissertation]. University of Edinburgh; 2017. Available from: http://hdl.handle.net/1842/22974
University of Sydney
23.
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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Warner LP. Art Practice as Buddhist Practice: A Soteriology through Suffering
. [Internet] [Thesis]. University of Sydney; 2018. [cited 2018 Jun 18].
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 Melbourne
24.
Sawrey, Anthony Raoul.
Rain skating.
Degree: 2009, University of Melbourne
URL: http://hdl.handle.net/11343/35482
► In the Twenty First Century, cheap digital video has challenged the photograph for the distribution of visual ideas. Clip sharing sites such as YouTube now…
(more)
▼ In the Twenty First Century, cheap digital video has challenged the photograph for the distribution of visual ideas. Clip sharing sites such as YouTube now receive up to two hundred thousand uploads per week shared by one hundred million users worldwide. This exegesis and its accompanying exhibition, discusses the painting of the ordinary and banal in relation to this recent emergence. It consists of 6 oil paintings depicting skateboarding; all reconfigured from low resolution digital stills found on clip sharing sites, exhibiting many of the signs of degradation and artifacts that are characteristic of digital images.
Representation of the day to day in painting has its own discreet history, extending back to French Realism in the 19th century. Numerous artists of this time, in the spirit of the flâneur, made popular by French writer Charles Baudelaire, explored the streets, boulevards and lanes for those encounters that would become paintings. By the 1960’s the painting of everyday life had also shifted to the direct representation of photographic material from personal snapshots to images circulating in the mass media.
Today, an artist following these same interests is also likely to make these searches online. For scenes capturing the ebb and flow of humanity, YouTube has become the virtual boulevard for the digital flâneur, a conceptualization of contemporary browsing that mirrors the casual stroller of the physical city in search of fresh experiences. What this shift signifies, is the fact that much of everyday life is now subsumed to the digital. Painting is important in realizing the significance of this fact, due to its ability to reveal the scope of which the formats of popular media act as a go between in a viewer’s experiences, and its long and extensive tradition in documenting the events of the everyday.
Subjects/Keywords: contemporary art; painting; digtial culture
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APA ·
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MLA ·
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Manager
APA (6th Edition):
Sawrey, A. R. (2009). Rain skating. (Masters Thesis). University of Melbourne. Retrieved from http://hdl.handle.net/11343/35482
Chicago Manual of Style (16th Edition):
Sawrey, Anthony Raoul. “Rain skating.” 2009. Masters Thesis, University of Melbourne. Accessed June 18, 2018.
http://hdl.handle.net/11343/35482.
MLA Handbook (7th Edition):
Sawrey, Anthony Raoul. “Rain skating.” 2009. Web. 18 Jun 2018.
Vancouver:
Sawrey AR. Rain skating. [Internet] [Masters thesis]. University of Melbourne; 2009. [cited 2018 Jun 18].
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
California State University – Sacramento
25.
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 ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
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 June 18, 2018.
http://hdl.handle.net/10211.3/139447.
MLA Handbook (7th Edition):
Blackmon, Tavarus. “The politics of the cartoon and contemporary art.” 2015. Web. 18 Jun 2018.
Vancouver:
Blackmon T. The politics of the cartoon and contemporary art. [Internet] [Masters thesis]. California State University – Sacramento; 2015. [cited 2018 Jun 18].
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
26.
Kean, Richard David Valentine.
The resonant room
.
Degree: 2014, University of Sydney
URL: http://hdl.handle.net/2123/12864
► This thesis looks at aural string installation as a medium and uses it to implement research within an Australian context. The title of this thesis,…
(more)
▼ This thesis looks at aural string installation as a medium and uses it to implement research within an Australian context. The title of this thesis, The Resonant Room, implies an intertextual strategy in developing this research that is situated within the ethos of aural string installation. Aural string installation as a medium is especially particular to several artists who live and work in Australia and the Netherlands, respectively. While this thesis does explore the work of all known aural string artists, its concern follows this into an intertextual account of the main themes inherent to aural string installation that are then applied to the specific context of Sydney, Australia. This strategy is undertaken through research that also entails making art with a reflective and speculative practice within the context in which it is made. This thesis then looks at strategies of experiential participation with aural string installation as a speculative critical and observational practice that concerns itself with both human artifice and Nature within the context of Sydney as a post-Fordist post-colonial country.
Subjects/Keywords: Contemporary art;
Aural strings;
Installation art
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):
Kean, R. D. V. (2014). The resonant room
. (Thesis). University of Sydney. Retrieved from http://hdl.handle.net/2123/12864
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):
Kean, Richard David Valentine. “The resonant room
.” 2014. Thesis, University of Sydney. Accessed June 18, 2018.
http://hdl.handle.net/2123/12864.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Kean, Richard David Valentine. “The resonant room
.” 2014. Web. 18 Jun 2018.
Vancouver:
Kean RDV. The resonant room
. [Internet] [Thesis]. University of Sydney; 2014. [cited 2018 Jun 18].
Available from: http://hdl.handle.net/2123/12864.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Kean RDV. The resonant room
. [Thesis]. University of Sydney; 2014. Available from: http://hdl.handle.net/2123/12864
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Pretoria
27.
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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
Wepener L. Artspace :
creating a contemporary African art gallery for the city of
Pretoria. [Internet] [Masters thesis]. University of Pretoria; 2008. [cited 2018 Jun 18].
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
University of Texas – Austin
28.
-1786-6308.
Eko o ni baje (may Lagos be indestructible) : lens-based representations of transformation in Lagos, Nigeria, 1990-2001.
Degree: Art History, 2018, University of Texas – Austin
URL: http://hdl.handle.net/2152/63287
► This study investigates lens-based depictions of transformations in Lagos, Nigeria. Using archival research, interviews and close visual analysis I examine photographic and filmic narratives of…
(more)
▼ This study investigates lens-based depictions of transformations in Lagos, Nigeria. Using archival research, interviews and close visual analysis I examine photographic and filmic narratives of change and evolution throughout the city in 1990-2002. The decade ending the twentieth century and beginning the twenty-first saw scholars and curators interested in Lagos as part of a growing body of research on the physical and demographic expansion of cities in the “Global South.” Nigerian and non-Nigerian artists during this same period were also focusing on Lagos as a muse for representing the specificities of working class, daily life in African urban centers. My project highlights a singular image or scene by three such artists, Akinbode Akinbiyi, Otobong Nkanga, and Rem Koolhaas, who each created a lens-based series of images about Lagos’ continual transition. I argue that Akinbiyi’s Untitled [Woman in a striped dress walking across the sidewalk] (1995), Nkanga’s Tollgate to Ibadan10 (2001), and Koolhaas’ Lagos/Koolhaas (2001) show Lagos as in a state of constant flux, depicting older spiritual practices adapted for a
contemporary setting, citizens modifying the landscape for economic uplift, and historical architecture as physical markers of previous colonial shifts.
Advisors/Committee Members: Smith, Cherise, 1969- (advisor), Chambers, Eddie (committee member), Okediji, Moyo (committee member), Flaherty, George (committee member), Clarke, Christa (committee member).
Subjects/Keywords: Lagos; Photography; Africa; African art; Contemporary art
Record Details
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Share »
Record Details
Similar Records
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« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
-1786-6308. (2018). Eko o ni baje (may Lagos be indestructible) : lens-based representations of transformation in Lagos, Nigeria, 1990-2001. (Thesis). University of Texas – Austin. Retrieved from http://hdl.handle.net/2152/63287
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
-1786-6308. “Eko o ni baje (may Lagos be indestructible) : lens-based representations of transformation in Lagos, Nigeria, 1990-2001.” 2018. Thesis, University of Texas – Austin. Accessed June 18, 2018.
http://hdl.handle.net/2152/63287.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
-1786-6308. “Eko o ni baje (may Lagos be indestructible) : lens-based representations of transformation in Lagos, Nigeria, 1990-2001.” 2018. Web. 18 Jun 2018.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Vancouver:
-1786-6308. Eko o ni baje (may Lagos be indestructible) : lens-based representations of transformation in Lagos, Nigeria, 1990-2001. [Internet] [Thesis]. University of Texas – Austin; 2018. [cited 2018 Jun 18].
Available from: http://hdl.handle.net/2152/63287.
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
-1786-6308. Eko o ni baje (may Lagos be indestructible) : lens-based representations of transformation in Lagos, Nigeria, 1990-2001. [Thesis]. University of Texas – Austin; 2018. Available from: http://hdl.handle.net/2152/63287
Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete
Not specified: Masters Thesis or Doctoral Dissertation
University of Rochester
29.
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
Record Details
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Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
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 (16th 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 June 18, 2018.
http://hdl.handle.net/1802/6783.
MLA Handbook (7th Edition):
Bouman, Margot (1962 - ). ““A broken piece of an absent whole” : experimental video
and its spaces of production and reception.” 2009. Web. 18 Jun 2018.
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 2018 Jun 18].
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
University of Pretoria
30.
[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 June 18, 2018.
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. 18 Jun 2018.
Vancouver:
author] [. Artspace : creating a contemporary African art gallery
for the city of Pretoria
. [Internet] [Masters thesis]. University of Pretoria; 2008. [cited 2018 Jun 18].
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/
◁ [1] [2] [3] [4] [5] … [41] ▶
. 
Open Access Theses and Dissertations