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1
Pellicane, Jacqueline Marie. „Medical Art Therapy: A Heuristic Exploration“. Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/88.
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Medical art therapy is a specific type of art therapy practiced primarily in settings where clients are actively ill or in recovery from a medical procedure. This heuristic study will seek to support the advancement of growth in this field, a wide spread use of medical art therapy in every setting catering to the medically or chronically ill. The researcher used her own medical records from a 10-year bout with illness, childhood to late adolescence, to stimulate the production of data in the form of journal entries and artwork. The data collected was then analyzed through both a clinical and personal lens to determine the existence of themes or patterns not only in the artwork, but also in the perceptions of the child then battling illness and now being assessed by their adult self. This research not only supports the benefits of utilizing art making/art therapy in processing and recovering from chronic illness but also in using the heuristic method of research to answer deeper questions from the perspectives of the clinician and the participant simultaneously.
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Trainer, Janette. „Art and ecology : a visual exploration“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/852.
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Within the broad theme of art and ecology, local ecological issues were explored through studio practice involving digital imagery, print making, and mixed media. The frame of reference for the creative project included a discussion of the representations of natural, social and cultural environments' by visual artists. As an art educator interested in developing "best practice" including interdisciplinary approaches across the curriculum with an emphasis on visual arts education, the researcher explored the connections between art and ecological concerns. The Curriculum Framework for Kindergarten to Year 12 Education in Western Australia (1998) provided a sound basis for action. In particular, the Values Outcome, Environmental Responsibility and the Present and Future Condition, Global Environmental Issues have significance for this project. Further, The Arts Outcome, Communicating Arts Ideas is a reminder to visual arts educators that ideas, thoughts and feelings may be transformed into art works. In the primary school setting, engagement with ecological issues has the potential to involve students in both group and individual projects. As an art maker, the creative arts project draws on an area of personal significance. The property, Toodyay Gums, at Lot 11 on the Northam/Toodyay Road, in the Avon Valley, north east of Perth became the site for investigation, research and the generation of artworks. The roles of art educator and art maker are brought together in a research question that forms the 'focus of the Creative Arts Project; To what' extent does visual arts practice give rise to a fuller understanding of ecological issues and new insights into a specific site? Documentation for the creative project takes the form of an exegesis, journal entries, visual diaries, and art works. The techniques of print making, digital imagery and mixed media provided the means of representing concepts and layers of experience. The art works produced during the course of the Creative Arts Project were exhibited at The Churchlands Studios, Edith Cowan University, 12•19 December 2002.
3
Winther, Per. „The art of John Gardner : instruction and exploration /“. Albany (NY) : State University of New York Press, 1992. http://catalogue.bnf.fr/ark:/12148/cb355876974.
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Niederhumer, Gina. „Mend: a personal exploration of healing“. Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20624.
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As the title suggests, this dissertation text deals with repair, and while 'mending' also refers to sewing, here I use it in conjunction with healing and the transformation of an inner conflict. Coming from a family of embroiderers in Austria I use needle and thread as my tools and physical objects as triggers in search of what has been forgotten or repressed. The work centers largely around a shared history between my mother and myself, which though marked by many separations, the love for needlework connects us again and provides a meeting place that bridges the divide caused by absences in the past and in the present. Divided into two columns, 'academic' and 'personal', in subtitled paragraphs elaborate and reflect on 'memory', 'family narrative', 'trauma', 'needlework' and 'art-making as a way of personal transformation' in an attempt to understand the story of my life and how it fits into the larger family narrative. The catalog section of the text lists the art works that resulted from this engagement with my personal story, while the accompanying artists book offers an in-death view into the process.
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Swartz, Daniel L. „Man and machine an exploration in oils on canvas /“. Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/387.
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Choe, Nancy Sunjin. „An Exploration of the Qualities and Features of Digital Art Media in Art Therapy“. Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/19.
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Through the lens of a participatory design (PD) approach, this study explored to find qualifying features and qualities of digital art materials, specifically art apps on iPads for art therapy use. The study comprised of two phases: 1) a questionnaire/interview of four art therapists using iPads with clients and 2) four separate focus groups with 15 art therapist and art therapist trainee participants involving multiple stages of cyclic feedback. The focus groups engaged in art directives with nine art making apps identified by the researcher and questionnaire respondents as potentially useful in art therapy. The results revealed that while there was no single commercial art app that satisfied the needs of all art therapists and vast range of clients’ technology skills, artistic abilities, stylistic preferences, and therapeutic needs, three distinct qualities and six concrete features of an “ideal” art app for art therapy use emerged. Additionally, the study’s results expanded the parameters of art therapy’s artmaking practice and visual vocabulary by illustrating digital art media’s potential therapeutic and expressive use. And most importantly, the protection of privacy and confidentiality of client’s digital artwork emerged as one of the most important issue to consider. While this paper discusses the limitless possibilities of digital art media’s meaningful usage in art therapy, it also acknowledges how its unique characteristics may require thoughtful limitations and restrictions.
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Barber, James. „Installation art and memory : a practice-as-research exploration“. Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/900.
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This practice-as-research project investigates how a piece of site-responsive Installation Art, titled Triple Point Dunnage (exhibited in Royal William Yard, June 2009), can be used to generate knowledge about memory work through experience of site. Working in dialogue with the ideas of Daniel C. Dennett, Lucy Lippard and Gaston Bachelard, I attempted to create a permeable and fluctuating creative setting for the memory work of participants. An approach that used site as a stimulant within a process which also incorporated theoretical themes. During the period of design and construction, I interacted with and recorded interviews with people who had a personal connection with the site or with an interest in how memory works. The final installation presented layers of spoken fragmented content in a dialectic relationship within the installation’s spatial construction. The responses of the installation’s visitors and participants were collated through a response book and interviews. These were analysed in order to discover to what extent, if at all, the properties I had developed and designed into the work had shaped the engagements of the participants. The multi-valented properties of the work generated an array of responses that suggested that the viewers had fashioned their experience by blending the fragmented stories of others with their own personal histories. This engagement resembles Dennett’s concept of “self-narrator” and resonates with Bachelard’s concept of the fusion of physical and psychological space and Lippard’s understanding of place. By exploring memory through site Triple Point Dunnage generated a sense of place that was a fusion of the participants’ responses to the external physical environment and their associative memories stimulated by the affective fragmented properties of the work.
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Adams, Irena Zdena. „Exploration of water-based inks in fine art screenprinting“. Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263243.
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Bahauddin, Azizi Bin. „Contemporary Malaysian art : an exploration of the Songket motifs“. Thesis, Sheffield Hallam University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287587.
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This thesis explores the Malay songket motifs in relation to Malaysia's cultural identity and the transformations of these motifs within the context of the researcher's own art works. An examination of Malaysian government's fixed National Culture policy on identity is contrasted with the reality of identity as dynamic. The identity policy was created and asserted on a multi-racial population based on concept of MalaylBumiputera with no recognition of the 'Other', the nonBumiputera culture. Divisions among the populace were created by the privileges of political, economic and social adjustments given only to the Bumiputera. The lack of addressing the concerns of recognition and acknowledgement of the 'Other' and existence of 'difference' and stereotyping becomes the main interest of this research. In this thesis, the Malay songket motifs were used as a vehicle to demonstrate the Malay's strong association with traditional customs and rituals, a culture that became the focus of the National Culture policy. The motifs symbolises the dominance of the Malays clinging on to power to control the nation, echOing the height of the Malacca Malay Sultanate Empire eight centuries ago. The sense of growth, unity and human spirituality associated with animism was expressed in the songket motifs. However, evidence of the motifs assimilation with Hindu-Buddhist and Islamic influences proved that there is no Malay 'purity' in this art form. The researcher's practice transforms the flat images of the songket motifs into installative art works. Foods, light, shadow, images and sound become the media which express the research findings drawn from documentary, visual and oral sources concerning the songket motifs. His practice differs from the normal practice of Malaysian artists, who literally translate Malay culture into art work. The researcher's practice employs specific references to Malaysian sources free from didactic, cultural-political content. Above all, as a Malaysian working in the UK, the researcher not only engages his theoretical findings to inform his practice, he becomes part of the research. He is both a Malaysian artist himself and a contributor to that part of Malay culture that is examined in this thesis. He contributes to the compilation of the songket motifs information into CD-ROM.
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Gee, Sarah. „An exploration of impermanence in contemporary ceramic art practice“. Thesis, University of Sunderland, 2016. http://sure.sunderland.ac.uk/8320/.
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This practice-led research investigates clay-based impermanent creativity, exploring this means of expression as a contribution to knowledge in the expanded field of contemporary ceramic art practice. The research considers recent developments in innovative work by practitioners from the ceramic tradition, characterised by unconventional uses of material, natural decay and weathering, deliberate destruction, performance and physicality. A key aspect of the research exploration is phenomenographic alignment of personal praxical development with that of contemporaries sharing backgrounds in the ceramic tradition. A case study approach based on a reflexive Schönian and Kolbian cycle is utilised and research material is viewed from trans-disciplinary perspectives to explore and elucidate its nature, impacts and implications. Impermanence in clay is found to de-familiarise art work, altering and enhancing the creative role of percipients. Relationships between work, maker and percipient are explored. Mediatisation of impermanent clay-based art is considered for its impact on work’s reception and interpretation. A perceptible shift is detected in such art practice from the arena of visual art towards that of performance, moving artist and audience relationships towards shared ownership in ceramic creativity, in which co-presence of work and percipient are essential. Aspects of relational aesthetics offer a cogent framework. Consideration is given to clay’s shared significance with other basic materials such as textile in holding meaning beyond its physicality. The thesis contributes to the discourse on methodological frameworks for practice-led research and to academic writing on contemporary ceramic art in its exploration of clay-based impermanence, encompassing maker intentionality, material alteration and destruction, site/location and significance, performativity and unrepeatability, and record. It provides a transferable research model for considering creative impermanence. Areas identified for further research include artist/audience relationships and the nature of creativity, the role of location, performativity as an aspect of contemporary practice, and curation of performance and impermanence.
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Gay, Stephanye Anne. „ShieldCross an exploration of sequential art ; an honors project /“. [Jefferson City, Tenn. : Carson-Newman College], 2009. http://library.cn.edu/HonorsPDFs_2009/Gay_Stephanye_Anne.pdf.
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Miller, Nolan W. „Athenian Acoustics: A Sonic Exploration“. Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.
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Donat, Melanie, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „Fur, pixels, loved ones and other transients“. THESIS_CAESS_CAR_Donat_M.xml, 2004. http://handle.uws.edu.au:8081/1959.7/469.
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Fur, Pixels, Loved Ones and Other Transients is a paper discussing my practice from 2000 to 2003. It is a personal and theoretical exploration of common concepts and theories in reference to my works Fluff Snuffs (2000), Relentless (2001), Trigger Displacement (2002), Bathing in a Warm Glow of Nothing (2003) and Memory Play Back (2003). The effects of Tele-visual and computer mediated images of death and violence within these works are investigated, which lead to an exploration of fear and trauma. This mechanism of mediation is used within the works as a means of exploring the subtleties within the screen-based image that may go unnoticed or seem disconcerting. The role of the soft toy is an important element in these works and this is further explored by referencing the use of the soft toy in works of several other contemporary artists. These works are discussed to further explore the complexity of ideas on death, violence, trauma, memory and fearMaster of Arts (Hons) (Contemporary Arts)
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Butcher, Lorena Sun. „"I am My Art; My Paintings are Me;: An Exploration of the Relationship Between the Art and Life of Irene Chou“. Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367682.
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Among the founding members of the New Ink Painting Movement in Hong Kong in the 1960s, Irene Chou (1924–2011) went the furthest in transcending the traditional boundaries of Chinese ink painting. One outstanding feature of Chou’s long career as an artist was that from the beginning of her career to the very end of her life, she continuously shifted from one style of painting to another. After painting sexually charged “landscape paintings”, she began painting line paintings. Just as she became known for her line paintings, Chou abruptly shifted to piled ink paintings. After she moved from Hong Kong to Brisbane, she shifted from painting on the traditional medium of xuan paper to painting on silk, board, satin, and even canvas and ming paper. As Chou’s work shifted from one medium to another, it became increasingly colourful. Some of her work even verged on being psychedelic. At that point, a critic warned her that she was painting herself into a dangerous zone. Why, this thesis asks, did Chou keep making so many shifts in her work, even though in some cases they appeared to put her career at risk? Most attempts to explain the shifts in Chou’s work have attributed particular shifts in her work to certain major events in her life. For example, her shift from the dark piled ink paintings to the brighter impact structural stroke paintings has been seen as the result of her getting over the death of her husband. Likewise, after her stroke, her shift from painting on xuan paper to painting on hemp paper with a greater use of colour was viewed by one critic as the result of Chou’s celebration of a new lease on life. This study demonstrates that there was no one-to-one relationship between the shifts in her work and the major events in her life.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text
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Burgess, Lily Anna. „Spelling Gratitude: An Aesthetic Exploration“. Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/127.
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This thesis is founded in the positive psychological theory of gratitude, the experience of thankfulness and its benefits on both the individual and the community. My explorations via personal journaling, careful reflection, and engaging in craft, led me to cultivate a new definition for gratitude: present moment awareness. Using sheer fabric and the meditative act of embroidering, the language of gratitude was relearned and cultivated. My piece aims to incite further explorations in thanks.
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Liguori, Samantha. „Stingray : an exploration into the art and craft of playwriting“. Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/579.
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Cloud Nine by Carol Churchill is a good example of non-linear play structure. Episodic plays are part of an even more disjointed time structure. There are both many different locations and characters in an episodic play; it is similar to a film script for that matter. Onstage, this was a revolution; how can a person be in one city and then the next shortly after? This was the rule of continuity that episodic structure broke. Bertolt Brecht did this throughout his movement in epic theatre, and traces of this structure can also be found as early back as Medieval plays. Therein lays the problem. If there are so many different way to write a play, how is it possible to just pick one? How does one even decide? There are many texts on playwriting that all say something different. In the end, the way you format a play script is decided by the structure in which you are writing your script, whether it be linear, non-linear, and episodic structures. This is an exploration to research possible methods of playwriting in the English language, choose a format, and create a story, ultimately forming a universally acceptable play script for a one-act production. Through my process, I researched various elements about play structure. I researched various types of formatting options found throughout texts, and the formatting options found in different publications of plays. I also researched the options of different software programs I could use to format my play. In regards to the show's content itself, I researched the personality disorders of my main character, John, in order to ensure I am staying accurate to the realistic expectations of the disorder. The possible disorders that might influence John included Bi-Polar disorder, Autism, Alzheimer's, or Narcissistic Personality Disorder. These disorders fit the characteristics of John and further research led me to finally adopt Autism as the end result.; David Ball's Backwards and Forwards: A Technical Manual for Reading Plays, Rosemary Ingham's From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images, and Cal Printer and Scott E. Walter's Introduction to Play Analysis aided in ensuring the translation from the script to the stage works together fluidly. By understanding how the play will be analyzed, the potential flaws with the work can be identified before it is put in front of an audience, publisher, or director. A writer needs to know why they made certain choices with both script and character. When a writer can analyze how their script can be perceived, they can create a more solid structure. It also is useful to utilize available play scripts in order to understand the conventions through example. Works that were useful included: Proof by David Auburn, The Glass Menagerie by Tennessee Williams, Equus by Peter Shaffer, The Cherry Orchard by Anton Chekhov, The Vagina Monologues by Eve Ensler, Doubt by John Patrick Shanley, and Death of a Salesman by Arthur Miller. The Vagina Monologues follows the format of episodic structure because of its inconsistencies to time and the multiple characters included in its script. Equus, Proof, and Death of a Salesman are examples of non-linear play structure because of the non-specific timeline the characters follow between past and present. The Glass Menagerie, The Cherry Orchard, and Doubt are all examples of linear structure because a majority of their play's content was written within a specified chronological order.; I researched the historical significance of the car, an all-original, 1969 Stingray Corvette Convertible, in order to allow my characters to speak accurately about their knowledge of the car. I also researched how previous playwrights have accomplished their transitions between the world of the play and a character's alternate reality. This was done in order to provide both a believable and a sly transition so the audience is left unaware until the reveal. In the final stages of this process, I polished the script for inclusion in the Theatre UCF Spring 2012 One-Act Festival (OAF). As stated above, the process of writing a play can be taken down many different avenues; however, the format of a play script is something that remains constant throughout. Knowing the history from where plays derive and which movements created such is just as essential. W. B. Worthen's The Wadsworth Anthology of Drama and Living Theatre by Edwin Wilson and Alvin Goldfarb provide an adequate brevity into the history of theatre. The books Playwriting: Brief and Brilliant by Julie Jensen, Playwriting: A practical guide by Noel Greig, The Art and Craft of Playwriting by Jeffrey Hatcher, and The Elements of Playwriting by Louis E. Catron all provide an introduction to the structured format of the play. These books also contain sections on theory explaining how to create a storyline for a play, how to accomplish believable dialogue, and how to defeat writer's block. Jensen, Catron, and Hatcher all go one step further and take their readers through the processes of publications, copyrights, and productions. Those sources help create the play, but during the editing phase, it is wise to acknowledge how others may study and analyze the work.; Through exploration and research, I plan on combining my two degree tracks, Theatre Studies and Creative Writing, in order to create an original one-act play for production, utilizing the techniques of both fields. My education has been lagging in playwriting, specifically. Neither Creative Writing nor Theatre Studies have any courses geared towards playwriting. Students appear to be taught everything but this aspect. I will, therefore, complete in-depth research in playwriting techniques through literature studies and one-on-one consultations with my professors in both departments. There are many different types of writing structures and play movements. Play scripts can be written in linear, non-linear, and episodic structures. Each structure is measured by the action of a script. The action of a script is developed with each action a character completes that moves the script further along towards a conclusion. Linear structuring of a play is when a majority or all the action of a play occurs in a chronological order. The play, therefore, always will be moving forward in time without any disruptions of said timeline. In a linear play, it does not necessarily mean all the action occurs in this chronological sequence. Comparable to Tennessee Williams' The Glass Menagerie, the entire recollection of Tom Wingfield's story is told chronologically in linear structure, despite the fact that this story is from Tom's memory, about an event he is no longer part of at that time. Non-linear structure occurs when the chronological timeline of a play is broken. The play's action constantly moves backwards and forwards through time. This type of play is based on the ideology of the human thought process. As humans, we may not remember the exact order of how things are remembered; these images and events are distorted somehow by our subconscious in order to remember. Thus, a non-linear play erupts based on the infrequencies of a timeline.B.A.
Bachelors
Arts and Humanities
Theatre Studies
54 p.
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Bauer, Michael G., Chauney Peck, Aubrey Studebaker und Naomi Yu. „Art Therapy and Evidence-Based Practice: An Exploration of Interactions“. Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/167.
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The purpose of this study is to examine the attitudes and beliefs of art therapists towards Evidence-Based Practices (EBP). EBP is a rising trend in healthcare that refers to the process of using empirically validated research to make clinical decisions that best meet the needs of each client (Patterson, Miller, Carnes & Wilson, 2004).The investigators used a mixed methods approach to the research topic. Part A consists of a survey distributed to graduates of the Department of Marital and Family Therapy (MFT) at Loyola Marymount University (LMU). In addition to answering questions, survey participants were asked to create an art response depicting their perspective on the relationship between art therapy and EBP. In the second phase (Part B), the researchers used an arts-based methodology to further explore the findings from Part A. Part B involved the creation of key idea cards pulled from the literature review and the findings, individual art responses by each investigator, and verbal and written analyses of the content and process. The idea that art therapists are already integrating EBP and art therapy in their practices emerged as the major finding of the research. This realization that clinicians are already at the intersection of EBP and art therapy was a contrast to the cautious divided attitudes that were discovered in the literature review. Further research could not only strengthen the evidence base of art therapy, but also illuminate how exactly therapists have managed to bridge the gap between EBP and art therapy.
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Gordy, Whitney Jade. „An Art Therapy Exploration of Complex Trauma and Addiction Treatment“. Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/95.
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This research is a qualitative case study of a client in art therapy treatment with a history addiction and complex trauma symptoms. The study explores the clients artwork and themes emerge in the analysis process that include splitting, diminutive figures, preoccupation with death, abuse and violence. The study explores the client’s dissociative thinking and self-injurious behaviors, within the context of cultural stigmas attached to being labeled an addict. The findings suggest that art therapy treatment can address the client’s addiction while providing a space to explore early childhood and adolescent traumatic experiences.
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Timmons, BriAnne, und Isabella Williams. „The Experience of Empathy Within Law Enforcement: An Art Exploration“. Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/777.
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Empathy within law enforcement has not been examined in the art therapy literature. This qualitative study provides insight into how empathy is perceived and experienced by retired law enforcement officers in San Diego, CA. Fourteen participants responded to a brief questionnaire, created an art piece and a written response about how empathy is experienced within law enforcement. The results illuminated common themes within the art and written responses including interactions, witnessing of a traumatic situation, intersection of roles within law enforcement, understanding of feelings, and communication. Future research in this area is recommended to also include current officers as well as retired law enforcement officers in order to attain a broader scope of data.
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Hoffman, Daniel Forrest. „An Exploration of Absence“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250223181.
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Chambefort, Françoise. „Mimèsis du flux, exploration des potentialités narratives des flux de données“. Thesis, Bourgogne Franche-Comté, 2020. http://www.theses.fr/2020UBFCC004.
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Art du flux, data art, l’art numérique s’approprie les flux de données. Le rapport au réel et au temps qui s’y joue semble propice à la narration, pourtant les œuvres intègrent rarement des récits. Choisissant la voie de la recherche création, cette thèse explore les potentialités narratives des flux de données. Articulant les approches techniques, sémiotiques, sociales et esthétiques, la réflexion se nourrit, outre les sciences de l’information et de la communication, de disciplines variées telles que l’informatique, la philosophie, la sociologie, les sciences cognitives et la narratologie. L’œuvre Lucette, Gare de Clichy a été créée spécifiquement pour répondre à la question de recherche. La structure de l’œuvre a été déclinée en une version écran et une version performance. Elle est étudiée depuis sa création jusqu’à sa réception par le public. L’installation de Jonathan Fletcher Moore Artificial Killing Machine est analysée en parallèle. Dans un premier temps, l’objet de recherche – le récit fondé sur un flux de données en temps réel - est défini et le concept de moulins à données est forgé pour désigner ce type d’œuvres. Quatre hypothèses sont ensuite formulées et vérifiées successivement. Si les moulins à données sont à même de configurer une représentation de type narratif, ils doivent pour cela s’affranchir de la logique de l’action. Le récit de fiction est alors mis en mouvement par le réel. La métaphore qui relie les données du réel à la fiction provoque une oscillation de l’attention du spectateur entre le comparé et le comparant. Cette métaphore-switch possède la capacité de renforcer le sens qu’elle véhicule. Les moulins à données sont ainsi à même de faire ressentir la contingence de la vie telle que l’éprouve une personne vulnérable, ballotée entre temps objectif et temps subjectifSometimes called stream art or data art, digital art seizes data streams as its raw materials. Choosing a path of creative research, this thesis explores the story-telling potentialities of data streams. Structured around technical, social, semiotic and aesthetic approaches, its thinking draws on various fields of study : information and communication sciences, but also computer sciences, cognitive sciences, philosophy, sociology and narratology. The work Lucette, Gare de Clichy was especially designed to answer the researched question. The conformation of the work allowed for two different versions of it : a screen version and a performance. It is studied in all its stages, from its creation process to the public's response to it. Jonathan Fletcher Moore's installation, Artificial Killing Machine, is also analyzed. First, our object of research - stories made from a real-time data stream - is defined and the concept of data mills is crafted to refer to this type of work. Then four hypothesis are formulated and individually verified. If data mills are to be able to form a narrative representation, they must free themselves from the logic of action. Thus can fiction become powered by reality. The metaphor that links the data originated in reality and the crafted fiction generates in the viewer a shifting of focus between what is compared and what compares. This switching-metaphor has the power to reinforce the meaning it carries. Data mills are therefore able to convey the contingency of life as experienced by a vulnerable individual, tossed back and forth between objective and subjective time
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Leonhard, Aimee E. H. „The Amesbury Psalter : an exploration in contexts /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1420933.
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Zhao, Mengzhong. „An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art“. Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN034.
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Cette thèse cherche à répondre à une question fondamentale de la philosophie de l'art: qu'est-ce que l'art? Après avoir examiné les réponses des plusieurs théories de l’art, il propose que la définition de l’art proposée par Arthur Danto soit celle qui se conforme le plus à la réalité de l’art, bien qu’elle souffre de certaines imperfections et insuffisances. Sur la base de cette conclusion critique ainsi que d'une analyse minutieuse de ce qui est considéré actuellement comme un art, il tente de modifier la définition de Danto et de la transformer en une nouvelle définition, capable de mieux se conformer à la réalité des phénomènes artistiques. La thèse d’abord présente la situation actuelle de l’art et les théories de l’art existantes qui n’ont pas réussi à rendre suffisamment justice à la totalité de ce qui est considéré comme artistique. Par un regards critique de ces théories, la thèse tente de montrer que les conditions pour être l’art qu’elles proposent sont soit insuffisantes, soit pas nécessaires. La thèse tente aussi de lever les obstacles à la possibilité de définir l'art créés par des théoriciens anti-essentialistes, et de montrer en conséquence que la définition de l'art sous la forme de conditions nécessaires et suffisantes est encore possible.La thèse en suite offre une présentation complète de la définition de l’art de Danto. À travers plusieurs comparaisons, Danto propose que la spécificité de l’œuvre d’art corresponde à une représentation avec une ellipse métaphorique, alors que l’objet non artistique n’est pas représentatif et la représentation schématique n’est pas métaphorique. Il affirme aussi que l'œuvre d'art est une représentation dotée de style. Il introduit également le concept d '«Artworld» sous la forme d’un «style matrix» constitué de tous les prédicats artistiques existants qu'une œuvre d'art peut choisir de manifester ou de rejeter pour chacun d’entre eux afin de se situer dans l'évolution historique de l'art. Les critiques principales contre la théorie de Danto sont examinées: certaines de ces critiques sont jugées injustes et par conséquent rejetées pour défendre la validité de plusieurs aspects essentiels de la théorie de Danto; d'autres sont considérés raisonnables. En outre, la thèse confronte la théorie de Danto à la réalité de la scène artistique actuelle et formule des critiques supplémentaires qui n’ont pas été proposées jusqu'à présent. Dans le dernier chapitre, la thèse s'attache à élaborer les éléments essentiels d'une nouvelle définition de l'art basée sur les parties acceptables de la définition de Danto. La définition proposée par la thèse considère l'essence de l'art comme une propriété qui réside dans l'intention artistique de l'action. L'œuvre d'art possède cette propriété de manière dérivée étant le résultat de l’action artistique. Ce résultat est parfois le produit transitif de ces actions, parfois ces actions elles-mêmes. Une action artistique est analysée comme une action tentant à représenter métaphoriquement quelque chose. L'analyse de différents exemples montre que les œuvres d'art sont artistiques à des degrés divers: certaines sont plus artistiques que d'autres. Cette gradation résulte de la possibilité que l’intention artistique d’une action est gênée par d’autres intentions non artistiques, ainsi que des conditions contextuelles supplémentaires, par exemple, le manque d’habileté à réaliser pleinement l’intention artistique. Cette définition de l'art basée sur l'action fournit une nouvelle perspective sur l'ensemble de la recherche artistique en transformant les problèmes de l'art en types spécifiques de problèmes de l'action. Enfin, la thèse rompt avec Danto en défendant l'idée qu'une définition de l'art doit toujours suivre l'évolution de l'art ce qui n'est pas encore terminée, même si elle a atteint une phase relativement stableThis thesis seeks to answer a basic question of the philosophy of art: What is art? After examining the answers provided to this question by several art theories, it proposes that the definition of art offered by Arthur Danto is the one that most conforms to the reality of art, although it suffers from certain imperfections and insufficiencies. On the basis of this critical conclusion and through a careful analysis of what is categorized as art in the present time, it attempts to modify Danto’s definition and to transfigure it into a new one, capable of better conforming to the reality of art. It firstly introduces the contemporary situation of art and the existing art theories which didn’t successfully do sufficient justice to the totality of what is considered as artistic. Through a critical examination of these theories, it tries to show that the sufficient and necessary conditions for being art that they propose are either not sufficient or not necessary. It then tries to clear up the obstacles to the possibility to define art that have been put forward by the anti-essentialists, who claim that art cannot be defined in a classical way, and accordingly tries to show that a definition of art in the form of necessary and sufficient conditions is still possible. The thesis then provides a comprehensive presentation of Danto’s definition of art. Through several comparisons, Danto proposes that the specificity of artwork consists in being a representation with a metaphorical ellipsis, while the non-artistic object fails to be representational and the diagrammatic representation fails to be metaphorical. Furthermore, he claims that an artwork is a representation endowed with style. He also introduces the concept of “Artworld” in the form of a “style matrix”, which consists of all the existing artistic predicates that for each one of them an artwork can choose to manifest or reject in order to locate itself in the historical evolution of art. The main criticisms proposed against Danto’s definition of art are also examined. Some of these criticisms are judged to be unfair and are consequently rejected, leading to a defence of the validity of several key aspects of Danto’s theory; others are considered as reasonable. In addition, the thesis confronts Danto’s theory with the reality of the present art scene and formulates additional criticisms that have not been put forward in the Danto scholarship.In the last chapter, the thesis endeavors to elaborate a new definition of art based on the acceptable parts of Danto’s definition. The definition proposed by the thesis considers the essence of art as a property which lies in the artistic intention of action. The artwork possesses this property in a derived way, being the outcome of an artistic type of action. This outcome is sometimes the transitive product of these actions, and sometimes is these actions themselves. An artistic action is analysed as an action intending to metaphorically represent something. Through the study of different examples, it is shown that artworks are artistic in varying degrees: some works are more artistic than others. This gradation is the result of the possibility that the specific intention of an artistic action is interfered with by other non-artistic intentions, as well as additional conditions, such as the lack of skill to fully realize one’s artistic intention. This action-based definition of art provides a new perspective to the entire field of art research by transforming the art-related problems into specific types of action-related problems. Finally, the thesis breaks away from Danto by claiming that a definition of art should always keep up with the evolution of art which is still not over, even though it has reached a fairly stable phase
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Thompson, Terry Foster. „An exploration of some aspects of mystery“. PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4119.
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This thesis project consists of twenty-four paintings, drawings and lithographs dealing with three sub-themes of the larger subject of mystery: the mystery of existence; the mystery of religion; the mystery of the unknown. These themes are explored through manipulations of light, color, compositional arrangement and painting and drawing techniques.
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Weber, Sarah. „Visual Exploration of Cultural Intersections“. VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2790.
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Personal exposure to, and in-depth investigations of cultural artifacts can be used to inform visual explorations that represent the universal experience of existing in a world where cultural boundaries are blurred and constantly evolving. Cross-cultural understanding and visual language are expanded throughout the research and making processes, resulting in work that has increased resonance with diverse audiences. Artifacts are not only expressions of a specific group of people, but also reflections of societal influences on one’s thinking, creating, and experiencing the world. In an increasingly global society, there is more interaction between cultures, resulting in a greater exchange of beliefs and perspectives. Through this exchange, certain aspects of a culture are retained, while new approaches to form and material are also intro-duced. When culturally-specific methodologies and aesthetics are visually or conceptually layered, work is produced that communicates relevant, meaningful narratives about the intersection of cultures.
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Christouli, Vasiliki. „Site-specific art as an exploration of spatial and temporal limitations“. Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12037/.
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This practice-based thesis examines the relationship between space, time and the human presence. It is concerned with the dialectic exchanges between my work and the places in which its meaning is defined. Oppositions between space/place, place/non-place, and immobility/movement, articulate the spatial and temporal limitations that delineate my site-specific practice and its experience. The exploration of the relationship between the notion of time and my practice has profoundly affected my research, which has itself endured for an extended period of time. This is described in chronological sequence: 1)initial site-specific installations, 2) site-writing: the thesis and photographic documentation of the installations, 3) installation of the documentation of the initial site-specific installations on the occasion of my viva. My thesis emphasises the role of the viewer’s presence, including the moment in time and the presence of other people in experiencing the site-specific work. The question posed is whether the ‘literality’ of site-specific art can encompass antithetical notions of site as they appear in contemporary life. The hypothesis advanced is that by adjusting the limits between the double experience of the fluidities and continuities of space and time, on the one hand,and their ruptures and disconnections, on the other, site-specific art may allow viewers to think and experience apparent contradictions as sustaining relations. My thesis looks at three works: 'Central Corridor' (2003), 'Seven Windows Divided by Two' (2004) and 'In Site Compression' (2007). Their documentations emphasise the paradox of representing site-specific work on the page. Another set of documentation will be exhibited at the viva, comprising the material of anew situation with its own spatio-temporal relationships (other than those of the initial installations), and will require anew the physical participation of the viewer to be perceived.
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Bai, Paul. „Beyond the Dialectical: An Exploration of Spatial Representation in Contemporary Art Practice“. Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365357.
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This research explores the spatial options that exist beyond conventional dualisms. Specifically, this exegesis is the result of four years of studio and theoretical research surrounding the research question: How can a Third Spatial Position enable contemporary art practice to move beyond conventional spatial dialectics?
This research is organised around four major components. Firstly, I introduce a series of theoretical findings to demonstrate the possible existence of a Third Spatial Position that is based on in-between space, and can be described as transitional, situational, open and indeterminate. Secondly, I examine the role of space in major shifts of art practice since 1960 to demonstrate that spatial dualisms featured prominently in these art practices and limited their attempt to contextualise themselves outside of the boundaries conventionally ascribed to art. Thirdly, I provide an analysis of key contemporary artworks by international artists that demonstrate an uneasy relationship with spatial dualisms and substantial tendencies towards adopting a Third Spatial Position. Finally, I provide an overview of my own studio output over the course of my candidature. As I describe, these works deconstruct the physical and conceptual structure of spatial representation, through emphasising the indeterminate and open nature of space, thus revealing the Third Spatial Position.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
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Flaherty, Patrick M. „Muncie's urban landscape : an exploration in printmaking“. Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266026.
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This project involved making a series of woodcut and intaglio prints based on Muncie's urban landscape. The idea of a generic specific - a place unique to one area yet readily recognized across the industrialized world as familiar - is introduced and explored. In addition the idea of impermanence and flux is discussed in terms of how the time that I am living in now has its own unique features that will be obsolete, ruins, or altogether forgotten in the next fifty to seventy-five years. The work also explores the aesthetic merits of buildings like gas stations and vehicles - objects that are generally unconsidered in that way. In completing this series a historical documentation of this period of time was created, valuable to both those living now and those to come.Department of Art
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Cavasinni, Christine. „A Study of Art Therapy in Identity Exploration and Self-Efficacy“. Thesis, Notre Dame de Namur University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10689764.
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This paper illustrates the impact of an 8-week art therapy regimen on the perceived self-efficacy of participants seeking dual diagnosis treatment for the Substance Use Disorders (SUDs). It was hypothesized that pre- and post-test results of the General Self-Efficacy Scale (GSE), the State-Trait Anxiety Inventory for Adults (STAIAD), and the Quick Inventory of Depressive Symptomology Self-Report (QIDS-SR) would reflect an increase in perceived self efficacy, and decreases in anxiety and depressive symptoms. The STAIAD and QIDS-SR were included in the study as indicators of well-being. The regimen was designed by the student researcher and focused on identity exploration through the lens of Humanistic theory. The regimen is outlined week-by-week, illustrative case studies and group responses are described, and empirical assessment of the regimen?s efficacy is provided. Discussion focuses on the significance of results obtained and the need for further research. Paired samples testing showed an increase in perceived self-efficacy and decreases in anxious and depressed symptoms, as predicted. Small population size meant that these results were not statistically significant. However, qualitative results indicate that participants found the 8-week regimen helpful. Participants vocalized a belief that art-making provided emotional release through externalization, a tool for self-expression, and a source of pride in Self. Jungian concepts presented also resonated with participants, with some sharing with the group regarding ways in which these concepts related to themselves and provided groundwork and structure for understanding the Self.
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Gellerbring, Emma. „Identity Through Art : Kids exploration of individual identity within the collective“. Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-72882.
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Kabitsis, Nikolaos. „A practice-led exploration into the relationship between art and psychosis“. Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/1111/.
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The goal of this project was to invent a new way of combining artistic practice (in the studio) with psychopathology. As a sculptor, I aimed to find a novel artistic direction which would allow me to create sculpture, as a practitioner in a Postmodernist context, influenced by psychology and more specifically psychosis. Initially I examined the concept of psychosis both as a medical and psychological condition, by looking at its symptoms, categories, and causes, from ancient times to the present. I also examined psychosis, or mental illness in a more general sense, as a social condition by exploring the effects of institutionalisation, and the upkeep of patients from the ancient times to the present. This served as an introduction to the condition in order to enable me to refer to various of its characteristics (both psychological and social) later on in the study. As a next step I investigated the history of psychotic artistic creation by looking at the establishment of the concept of Psychotic Art, and its psychological bases. I then approached the interrelationship of art and psychosis by looking at the effects of art on psychosis. For this I examined some common artistic characteristics (elements and principles of design, and subject mater) of artwork by patients who were previously (to the onset of the disorder) untrained in art. Following that, I approached the interrelationship from the opposite angle by looking at the effects of psychosis on art, and investigated the artworks of previously trained artists who continued to produce work after the onset of psychosis. The next step was to explore the effects of Psychotic Art on Modernism by looking at the influence it has exerted upon certain Modernist movements (Expressionism, Surrealism, and Art Brut) who I named 'Simulators' of Psychotic Art, and its similarities with other forms of 'marginal' art. With this I introduced the concept of Simulation. Afterwards I examined the Simulation of Psychotic Art by Postmodernist artists and the changes it went through due to the differences in Postmodernist artistic practices. Finally, I adopted certain psychological features of the psychotic condition and, utilising the concept of Simulation, combined them with Postmodernist practices (for example conceptual art) in order to create my own blend of contemporary artistic practice directly linked to psychopathology. It resulted in the creation of a series of descriptions of potential sculptural pieces which were inscribed on walls (and other environmental surroundings) of the educational institution where I undertook the study. This was in fashion with early artistic creation of institutionalised patients (which was also on walls) and placed me in the category of contemporary Simulators of Psychotic Art. The artistic process I have utilised for the creation of the sculptural pieces can ideally be replicated by other contemporary art practitioners in order to create art influenced by other psychopathological or pathological states.
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Shirsalkar, Rucha. „An Exploration of Art Therapy with Street Children in Mumbai, India“. Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/104.
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This research project explores the work done by professionals who work with street children in Mumbai, India, and their perceptions of how art therapy could benefit this population. Ten organizations that serve street children in Mumbai, India participated in a qualitative interview and survey that aimed to gather information and explore the specific needs, psychological issues, and services provided to street children in Mumbai, India. The link between the surveys and the interviews strongly suggest an interest and desire from professionals to learn more about art therapy, and in corporate this modality into the services they provide for this population. The research found that the basic needs of food, shelter, and medical health are a foremost priority for organizations that serve street children, before psychological issues can be addressed. The literature, interviews, and the surveys also make it manifest that the development and incorporation of art therapy should be culturally specific, and sensitive to the needs of that population. Further research and study with these organizations is needed to garner a deeper understanding of how art therapy assessment and treatment modalities can be adapted to best serve street children in Mumbai, India.
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Naff, Kristina Marie. „An Exploration of Art Therapy as a Treatment for Cumulative Trauma“. Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/36.
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This qualitative research study is informed by a grounded theory approach and explores the use of art therapy as a treatment for cumulative trauma. This paper reviews the current literature focusing on both cumulative trauma and related studies which address the nature and impact of “big T” and “little t” events and accumulated lifetime adversity. There are remarkably few studies which highlight the concept of cumulative trauma in both general psychology and art therapy literature, and there appear to be no existing studies addressing the treatment of the state of cumulative trauma to date. For this study, a series of interviews with three experienced art therapists is presented and accompanied by the researcher’s visual representations of the felt sense of each of the interviews. The artwork is used in conjunction with each of the interview transcriptions to guide the process of data analysis. Axial coding analysis of the artwork and interview data results in the groundbreaking development of an art therapy treatment approach for cumulative trauma in four phases. The theory addresses each trauma according to the client’s level of subjective distress. Through this theoretical model, the client’s state of “allostatic load,” which can be understood as a state of distress which surpasses the individual’s ability for adaptive coping, is addressed systematically according to the trauma that is felt to be most subjectively impactful to each individual client.
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Yuen, Jessica Michelle. „Metamorphosis Journey: Voices of Asian Domestic Violence Survivors Through Art Exploration“. Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/77.
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Using a qualitative, narrative based, and art based approach, this study explored the experiences of Asian domestic violence survivors living in an Asian-based domestic violence transitional shelter, and how their cultural identity as an Asian immigrant woman played a role in their experiences. The participants were two out of six women living at the domestic violence shelter provided by the Asian Pacific Women’s Center. Three overarching themes were formed after the analysis of all the emergent categories: The women experienced isolation that were influenced from their marginalized cultural values, the shelter was viewed as a foundation for growth, and the art was useful as a means for communication.
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Marx, Allison, und Lia Verzatt. „Creating the Therapeutic Environment: An Exploration of Art Therapy and Sexuality“. Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/765.
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This research explored how art therapists create a safe and inviting environment for clients to discuss topics related to sex and sexuality in therapy. Our research consisted of three main questions: How do art therapists use art therapy techniques, materials, and directives to create a therapeutic environment in which clients can open up about their sexuality? How comfortable and/or experienced are therapists regarding discussion of topics related to sex and sexuality with clients in therapy sessions? What barriers are there to discussing sexuality in therapy, and how does art help overcome those barriers? Our research subjects were practicing art therapists who are alumni of the Marital and Family Therapy program at Loyola Marymount University. We utilized a mixed methods approach through a Qualtrics survey consisting of quantitative, likert-scale questions, as well as qualitative open-ended questions and an optional art making response, and qualitative data gathering through a singular interview including an art response. Through analysis and discussion of the data collected, we identified ways in which art therapy facilitates conversations about sex and sexuality, and ways in which barriers to these conversations and the utilization of art-making to explore them still exist. The data also revealed the importance of therapists’ own comfort level and education regarding these topics, as well as how therapists’ cultural backgrounds contribute to their comfort and motivation to invite these discussions and to seek out continuing education to increase their clinical competence exploring sex and sexuality in sessions with clients.
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Li, Taklai Melissa. „An Exploration of Eating Disorders and Trauma in Art Therapy Treatment“. Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/28.
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A qualitative, art-based research approach is used in this study to explore the relationship between trauma and eating disorders in art therapy treatment. The literature review illuminates the function, presentation, and treatment of eating disorders and trauma. Adolescent developmental challenges are discussed in relation to eating disorders, given that this is the period when the diagnosis manifests. The nominal research on the use of art therapy for underlying trauma with clients who are in treatment for eating disorders suggests the importance of considering the implications for the field of art therapy. Two-semi-structured, art-based interviews are the primary data gathering component in understanding the connection between eating disorders and trauma. An axial coding process is used to analyze the textual and visual data to reveal emergent themes. The results of the analysis process suggest that art, which bypasses verbal defenses, allows the client to access and externalize internal experiences such as trauma. The study also reveals the interconnected nature of eating disorders and trauma. The findings recommend future study of this relationship and the necessity of addressing significant traumatic experiences in addition to abuse and most importantly to acknowledge trauma as a primary focus of treatment.
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Tran, Mailynn. „Art Exploration of Countertransference and Empathy Towards Clients with Substance Abuse“. Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/770.
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This research incorporates a heuristic method of inquiry to reflect on the researcher’s response to clients with substance abuse. The research investigates if countertransference with this population comes off as empathy (taking in the perspective of the clients) or pity (feeling sorry for clients). Data was collected over a structured 6-week period through the researcher’s self-reflective process of creating art in responses to client artwork made during her practicum experience. Research is solely based on the researcher’s personal response to a select few clients and the resulting artwork and reflective writing. Four themes were initially extrapolated from immediate reflections, which were combined to form a more central understanding of the researcher’s countertransference. Through this process of investigation, the researcher addresses and challenged personal biases, stereotypes, and assumptions about this population to better understand the meaning of her countertransference.
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Webb, Keelie Suzann. „Exploration Through Visual Art: Ego-Identity Development Among Hispanic American Adolescents“. Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1333757499.
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Aldous, Veronica. „An exploration of the transcending experience in the art-making process“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/744.
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This study explored the transcending experience as described by visual artists that sometimes occurs during the art-making process. The exploration was conducted within a philosophical framework informed by the researcher's practice of Transcendental Meditation (TM). From this perspective, transcending is related to personal, inner (subjective), and ephemeral aesthetic experiences which never-the-less make a powerful contribution to the visual artist's experience of the creative process and to a lesser extent, the final product. The focus of the study was on the identification and documentation of the personal and subjective aspects of art-making. The study consisted of two parts; (a) this written thesis that elucidates and supports the argument, and (b) an exhibition of paintings, drawings, and journals which represent a personal narrative. The research questions for the written document are directed towards extracting artists' statements that describe the nature and benefits of transcending during art-making. Document analysis techniques were employed to study the writings of a variety of artists and to create a mosaic of insightful commentary. As a visual arts educator, the significance of the study related to the benefits of the art-making process for students of all ages. Both the exhibition and written document are presented to demonstrate that art-making and the viewing of art can provide access to silent (inner) experiences of the human mind. Strengthening the students' spiritual/aesthetic experience through art-making may bring the benefits of personal enrichment for some students by promoting the development of stronger self-concepts and self-esteem. This study presents research about an aspect of visual arts education that has to date been largely ignored. Arguments for the development of self-realization and a fuller understanding of the aesthetic experience may contribute to a case for strengthening the place of the visual arts within the curriculum.
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Williams, Emily. „Threads of Identity: Marisol's Exploration of Self“. Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1566.
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Marisol Escobar, known in the 1960s as the "Latin Garbo," is a sculptor famous for showing with the Pop art greats. However, Marisol holds a curious position in art history, stranded between the formalism of the fifties' and sixties' male-dominated Pop movement and the conceptual experimentation and radicalism that followed. Trained as a draftsman and painter early in her career, Marisol's main body of work mostly consists of large-scale wooden and mixed-medium sculpture. Lesser known, her lithographs, drawings, collages and small figurines further prove her technical and artistic validity. Preferring to go by surname only, Marisol’s quiet yet intense observation pinpoints the overriding human elements present in the objects of her scrutiny. Most notable for turning her gaze inwards, her self-portraiture defies easy categorization. Meshing American art and non-Western art styles while bridging the gap between intellectual understanding and empathetic approachability, Marisol represents a unique perspective that remains relevant today. Marisol's approach to self-portraiture is, first and foremost, in service to the exploration of her own identity. Furthermore, her choice of subject matter, artistic methodology and style appear closely aligned with Postmodern discourse. Each period of her work from the 1950s to the present day includes different guises and methods that subtly critique societal roles and norms, all presented through the lens of the artist's acute wit. Internationalism, gender roles, and explorations of identity are inherent in each of her works, proving that Marisol deserves further examination to explore her relation to Postmodern thought.B.A.
Bachelors
Arts and Humanities
Visual Arts and Design
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Rynn, Sarah. „Reprocessing interference : an artistic exploration of the visual material generated by interference“. Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8199.
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Includes bibliographical references (leaves 45-47).My body of work is concerned with the constructed promise of telecommunication - that is, the promise to connect people all over the world via telephone lines, computer networks and, most recently, satellite signals. The development of and access to networked systems has brought about this "utopian promise" (Mitchell 2005: 305), an ideal of instant connectivity that allows a user to be in contact with others through technological devices over vast distances. Connectivity supposedly enables users to develop and sustain relationships on the Internet. However, the question arises whether telecommunication technologies are living up to their promise. My title, Reprocessing Inte/ference: An artistic exploration of the visual material generated by inte/terence, refers to the concepts pertaining to this promise and also to the failure of the promise, focusing on the notions of distance and interference. It further encapsulates my working method, a process of degrading and filtering both my own and found footage.
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Lu, Dawei. „A sociological exploration of cultural distinction in Chinese contemporary art museums and galleries : contemporary art and its visitors“. Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18187/.
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Based on fieldwork that has been conducted at three contemporary art museums and galleries (National Art Museum of China, Ullens Centre for Contemporary Art, and Shengzhi Space) in the People’s Republic of China (PRC), including both questionnaire surveys (2376 respondents) and interviews (11 interviewees), this thesis elucidates how contemporary art, an internationally sanctioned legitimate art form, configures into the PRC’s national hierarchy of cultural genres. Through the use of a cluster analysis, a multinomial logistic analysis, and a thematic analysis, this current research demonstrates that the flow of the ‘world culture’ between countries does not necessarily contribute to the prevalence of a hegemonic and internationally universal pattern of cultural consumption in diverse cultural contexts. The most obvious finding to emerge from the analyses is that a negotiation has been taking place between cultural forces that represent different cultural and aesthetic ideologies at the borders of the PRC’s social and cultural context. One consequence of this negotiation is that the public art museum and galleries visitors have a lower probability of encountering artworks that overtly challenge the established Chinese aesthetic, ethical, and political norms. By making compromises with the political interests of the Communist Party of China (CPC) mentioned above, the avant-garde characteristics of the public museum-based contemporary artworks have become increasingly blurred (for instance, by taking a less aggressive stance towards the established traditional aesthetic principles). One of the drawbacks of this compromise lies in its negative influence on the development of the public museum-based contemporary Chinese art. The evidence is sufficient to demonstrate that the public museum-based contemporary Chinese artworks were less attractive for both art professionals and the ‘lay’ visitors. Thus, the PRC’s cultural policies, which aim to preserve the national characteristics of contemporary Chinese art, ended up running counter to its stated goal.
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Peng, J. „An exploration of Tibetan Tantric Buddhism and its art : a potential resource for contemporary spiritual and art practice“. Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1417088/.
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Tibetan Tantric Buddhism is today considered one of the most important and controversial forms of Asian culture, using a rich and somewhat complicated range of methods and materials. The perception of the ‘mystical’ nature of Tibetan Tantric Buddhist art in the world beyond Tibet has changed and evolved significantly and profoundly over the last three decades. However, contemporary Tibetan artists feel confused about how to develop a Tibetan art tradition within the context of a globalised world. Against this background I am interested in exploring the mysterious nature of Tibetan Tantric Buddhism and its art through grasping its religious values, historical context, and artistic qualities. In so doing I try to investigate questions concerning the cross-cultural analysis and utility of images in Tibetan Tantric Buddhist art, as opposed to political conflicts that often arise in the media now. As an exploration of Tibetan Tantric Buddhist art and its contemporary significance, this research seeks to fulfill three important goals: first, to introduce Tibet’s mystical and magnificent art within its historical and religious contexts to those unfamiliar with either Tibet Buddhism or Tibetan Buddhist art and its cultural background; second, to examine the influences of Tibetan Tantric Buddhist art tradition on some contemporary Tibetan and non-Tibetan artists’ art practice; and third, to embark on combining theoretical research, methods of meditation and my own art practice as a way of exploring the trans-cultural translation of Tibetan Buddhist art in Chinese and Western contexts. The aim is to explore the potential of Tibetan Tantric Buddhist art as elucidating common ground between the meditative mind and the creative mind for engaging in an open conversation of faith, spirituality, religion, and aesthetic experiences in the contemporary period.
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Barnes, Diana C. „How Women Use Art and Art Therapy to Cope With Breast Cancer: A Systematic Exploration of Published Literature“. Digital Commons at Loyola Marymount University and Loyola Law School, 2015. https://digitalcommons.lmu.edu/etd/148.
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Woodhams, Elizabeth Jean Deshon Smith. „The ethics of art : an exploration of the role and significance of art/artists in health care settings“. Thesis, Queensland University of Technology, 1995. https://eprints.qut.edu.au/15883/1/Elizabeth_Woodhams_Thesis.pdf.
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The presence of art and artists in health care settings raise many questions of an ethical nature. The presence of art in such milieux challenges the manner in which notions of art, persons, health, healing, community, ethics and aesthetics are presently conceptualized. This thesis will argue that art ought properly be considered an essential human need - integral to the health, flourishing and well-being of all persons - particularly those who are sick and suffering. An ethical care of sick persons would demand that both artistic practice and health care practice be revisioned in the light of this different understanding.
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Woodhams, Elizabeth Jean Deshon Smith. „The Ethics of Art - An Exploration of the Role and Significance of Art/Artists in Health Care Settings“. Queensland University of Technology, 1995. http://eprints.qut.edu.au/15883/.
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The presence of art and artists in health care settings raise many questions of an ethical nature. The presence of art in such milieux challenges the manner in which notions of art, persons, health, healing, community, ethics and aesthetics are presently conceptualized. This thesis will argue that art ought properly be considered an essential human need - integral to the health, flourishing and well-being of all persons - particularly those who are sick and suffering. An ethical care of sick persons would demand that both artistic practice and health care practice be revisioned in the light of this different understanding.
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Ni, Bhriain Ailbhe. „The aesthetics of exile : an exploration of place and image space“. Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20231/.
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'The Aesthetics of Exile' seeks to understand and represent a condition of exile through visual practice. The following text comprises two parts. Part one is divided into three sections, and serves to outline the form of the project, as well as the thinking behind it. Section 1 introduces the visual exploration and reasoning within the practice, Section 2 summarises its contextual and conceptual grounding, and Section 3 describes the visual material to be viewed, focussing on the processes behind each individual series of work. In Part two an essay on the artwork written by Jonathan Miles is reproduced in full to provide a further reading of the practice. The text is by way of introduction and reference but, ultimately, the evidence and outcome of the research lies in the artwork itself, which is presented here in a series of ten folios. These folios document chronologically the visual exploration and progression of the project. Each series of work selected for reproduction is represented by an edition of unbound c-prints and/or DVD, individually housed and titled. The final folio documents the concluding exhibition of the research project, as it was installed and assessed in the gallery setting.
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Simon, Janet. „Memoria : an exploration of longing, desire and transcience in the everyday“. Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/25865.
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This is a very personal body of work from a specifically feminine perspective. I have felt enormous pressure for most of my life to try to maintain what I believe to be an acceptable appearance. I have struggled with my weight and with acne for many years. As a result, I have constantly feared being photographed or being seen without my usual mask of makeup. This has caused me to feel a disjuncture between my inner self and my outward appearance. I have become acutely aware of the face as a mask that can be manipulated in many ways, and of the illusion that lies beneath appearances. As a reaction to what I perceive to be an enormous emphasis on flawless appearances and beauty, in, for example advertising, magazines and film, I have been drawn to the overlooked, the discarded and the decayed in the everyday When sourcing material for this body of work, I have wanted to explore that which I habitually overlook in my everyday life; which has become so familiar that it is rarely noticed. I have particularly wanted to examine the significance of the everyday.
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Bader, Angela. „A personal exploration of the creative process“. Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.
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Francis-Bongue, Isabel E. „Natural Histories: An Exploration of the Wild, Stories, Fantasy and Sense of Place“. Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1369735768.
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