Dissertationen: „Art“

1

Goldwhite, Phil. „Frames ate the art, frames are the art, the camera is the art, the text is the art, the thing is the art, art is the art /“. Online version of thesis, 1995. http://hdl.handle.net/1850/12203.

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2

Sanfelici, Aline de Mello. „We are mock'd with art“. reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/96106.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2011
Made available in DSpace on 2012-10-26T08:51:40Z (GMT). No. of bitstreams: 1 289277.pdf: 2113437 bytes, checksum: 532fd1b6221228666a000dd1340b9616 (MD5)
This dissertation discusses the use of theatricalizing devices in four stage productions of William Shakespeare's The Winter's Tale. The selected performances were staged by the Royal Shakespeare Company (England, 1992), Théâtre de la Complicité (England, 1992), Folger Theatre (United States, 2009), and Companhia Atores de Laura (Brazil, 2004-2005). The discussion is structured following the notion of "performance text", proposed by Marco de Marinis (1993), which testifies to the importance of analyzing a performance in terms of its stage elements and also its contextual circumstances. Hence, the notion of "theatricalizing devices" is proposed in the present study as a tool to look at those devices employed on stage that can, simultaneously, comment on the theatrical medium and its conventions and help a production address themes and concerns related to the world outside the theater building. Additionally, the referred devices have to do with further fictionalizing the already fictional stage reality, without losing sight of the fact that those making and attending any given performance are inserted in an outside context.
A presente tese discute o uso de recursos teatricalizantes em quatro produções teatrais de O Conto do Inverno, de William Shakespeare. As performances selecionadas foram produzidas pela Royal Shakespeare Company (Inglaterra, 1992), Théâtre de la Complicité (Inglaterra, 1992), Folger Theatre (Estados Unidos, 2009), e Companhia Atores de Laura (Brasil, 2004-2005). A discussão está estruturada seguindo a noção de "texto espetacular" proposta por Marco de Marinis (1993), a qual testemunha a favor da importância de se analisar uma performance em termos de seus elementos de palco e também de suas circunstâncias contextuais. Dessa forma, a noção de "recursos teatricalizantes" é proposta na presente tese como ferramenta para olhar aqueles recursos empregados no palco que podem, simultaneamente, comentar o meio teatral e suas convenções e ajudar uma produção a tratar temas e preocupações relacionados ao mundo existente para além do auditório do teatro. Além disso, os referidos recursos associam-se com ficcionalizar mais profundamente a realidade já fictícia do palco teatral, sem perder de vista o fato que os indivíduos que realizam e assistem a qualquer performance estão inseridos em um contexto exterior.

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Fidalgo, Christopher J. „Art, Gaut and Games: the Case for Why Some Video Games Are Art“. Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.

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In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.

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4

Suhie, Robin Bentley. „Art therapy : counseling through art /“. Click for abstract, 1997. http://library.ctstateu.edu/ccsu%5Ftheses/1506.html.

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Thesis (M.S.)--Central Connecticut State University, 1997.
Thesis advisor: Judith Rosenberg. " ... in partial fulfillment of the requirements for the degree of Masters of Science in Rehabilitation Counseling." Includes bibliographical references (leaves 62-69).

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5

Weis, Kristin K. „Art as Negation: A Defense of Conceptual Art as Art“. Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461602608.

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6

Van, Winkle Adam E. „Art after "Art after art" : Joyce, global thinking, and the postmodern /“. Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1796120901&sid=1&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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7

Verschooren, Karen A. (Karen Annemie). „.art : situating Internet art in the traditional institution for contemporary art“. Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39149.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.
Includes bibliographical references (p. 187-202).
This thesis provides a critical analysis of the relation between Internet art and the traditional institution for contemporary art in the North American and West-European regions. Thirteen years after its inception as an art form, the Internet art world finds itself in a developmental stage and its relation to the traditional institution for contemporary art is accordingly. Through an elaborate discussion of the key players, institutions and discourses on aesthetics, economics and exhibition methodologies, this sociological analysis of the past and current situation hopes to offer a solid ground for extrapolation and predictions for Internet art's future as an art world in its relation to the traditional art institutions.
by Karen A. Verschooren.
S.M.

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8

Van, Winkle Adam Everette. „Art after "Art after Art": Joyce, Global Thinking and the Postmodern“. OpenSIUC, 2009. https://opensiuc.lib.siu.edu/theses/455.

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This project seeks to unpack and moderate the postmodern debate surrounding James Joyce's 1922 novel, Ulysses, by examining how the text responds to global-local dichotomies, be they geographical or conceptual, and considering its stylistics in light of these themes. In doing so, it casts the likes of Laurence Sterne, Walt Whitman, Joseph Conrad, Gertrude Stein, John Cage, Robert Rauschenberg, Bob Dylan and Kurt Vonnegut, among others, alongside Joyce, connecting similar themes and stylistic responses. Ultimately, it suggests that the avant-garde response on the part of Joyce and these others is not necessarily a manifesto bolstering the style, but a reminder to the interpreter to not take the ability of traditional narrative to subsume the surprisingly complex local moment of experience as given. Instead of being "anti-art," as these avant-garde stylistics are often accused of, these aesthetics place new value on the old aesthetic and the act of interpretation, asking the interpreter to perennially re-evaluate the old and given amid the continuously new and complex local moment of experience resulting from the convergence of contrast brought on by the dynamically mapped globe in the process of globalization.

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Lim, Kyungeun. „An Inquiry of How Art Education Policies are Reflected in Art Teacher Preparation| Examining the Standards for Visual Arts and Art Teacher Certification“. Thesis, Indiana University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10635268.

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Policy changes influence various aspects of art education such as K-12 art education curricula, state licensure systems, and contexts of art teacher preparation. Despite strong relationships between art education policy and practical fields, few studies have attempted to understand art education from the perspective of policy analysis. This study explores the connections between art education policy and the field of art education through a focus on art teacher preparation in Indiana. Additional attention was paid to perceptions of the appropriateness of alternative licensure routes in relation to policies of academic and quality standards and the extent to which visual art teachers’ sense of identity as teachers and artists is affected by appropriation of these standards.

The theoretical framework of this study is the need to understand policy appropriation of standards (including visual art and art teacher preparation standards) as an on-going process, that is continually influenced and changed by internal (human level) and external (institutional level) factors. The appropriation process is effectively expressed through practices, narratives, and texts of practitioners.

To understand the status and factors of the art education policy appropriation in art teacher preparation, I collected data as printed or digital documents, and as interviews with faculty members and pre-service art teachers in two traditional visual art teacher preparation programs in Indiana. I analyzed external (institutional level) and internal (human level) factors to adopt and work with state and national standards. While national standards for visual art education (were adopted by many states and presented as voluntary policy, in Indiana the national standards were built into the Indiana’s Academic Standards for Visual Art Standards for K-12 students. Visual art teachers were required to complete a traditional teacher preparation program and pass examinations to become licensed to teach art.

Findings reveal that faculty of higher art teacher education programs in Indiana paid attention to the national and state standards in K-12 visual art and the standards for teacher education when preparing students to become licensed K-12 art educators. External motivations were accreditations system for teacher preparation requested by Indiana Department of Education related to NCATE. Schools and districts could be external motivations that pre-service art teachers adopt the standards in order to succeed in a job market. Internal factors were respects of roles and leaders of art education associations, desires to train/be qualified teachers and attain balanced knowledge between art studio and art education. Alternative routes to licensure were viewed as economically advantageous but not supportive of high-quality education. Policy had little impact on issues of identity. I concluded with recommendations for improvement in art teacher preparation that were needs of supportive policies for pre-service teachers’ teaching and teaching licensure including traditional and alternative licensures.

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Halsall, Francis. „Art, art history and systems-theory“. Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/5392/.

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11

Bonneville, François. „Art populaire-art moderne, une relation“. Dijon, 1999. http://www.theses.fr/1999DIJOLA01.

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12

Kim, Eun-ho Paulin. „Art nouveau et art du vitrail“. Paris 8, 1987. http://www.theses.fr/1987PA080194.

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Travail d'une plasticienne, fascinee par l'art nouveau en architecture et bien sur dans le vitrail. - l'introduction - generale - traite egalement du verre considere comme une matiere vivante. Cet aspect est developpee dans le corps du texte. - la fonction historique du vitrail dans l'architecture, completee par une presentation de l'ecole de nancy et de j. Gruber. - illustration de cet art par les representants les plus eminents : peintres, concepteurs de vitraux, architectes. - la presentation et l'analyse de ma propre pratique : realisation de copies, restaurations et creations dont plus recentes
This is the work of a plastic art profesional, fascinated by art nouveau in architecture and naturelly in stained glass work. The introduction - although general - deals as well with glass considered as a living substance. This aspect is developped in the work itself. - historical function of stained glass, completed by an exhibition of the "ecole de nancy" and j. Gruber. - illustration of the art by its most prominet artists : paintors, stained glass designers, architects. - presentation my own practice and exhibition of my works : copies restorations, creations including the most recent ones

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Curtis, Marie Yvonne. „Art nalu, art baga : approches comparatives“. Paris 1, 1996. http://www.theses.fr/1996PA010666.

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Ce travail revele la volonte de mener une reflexion sur les regards et les approches methodologiques pour une etude approfondie de l'art traditionnel de guinee. Il s'agit, en fait, de partir des objets de musee, sculptures et masques concus, elabores, utilises, transformes et ou abandonnes par les nalu et baga pour mieux connaitre l'histoire et la situation de ces deux peuples aujourd'hui. Elements de culte a l'origine, l'objet est d'abord connu comme une simple curiosite avant de devenir un art reconnu a l'exterieur. On assiste ainsi a l'evolution des regards: naissance d'une image coloniale, formation d'une discipline specifique, reflexion des historiens de l'art, anthropologues, philosophes. . . , recherche et mise en place de methodologies adaptees a chaque peuple africain. Le cas des nalu et des baga de guinee nous fournit un exemple d'experimentation inedite. Le cadre geographique et historique defini, 32 sculptures selectionnees pour la recherche ont ete presentees sur le plan formel, dans le contexte du musee et des conditions de collecte ou d'acquisition. Sur le terrain, ces sculptures tiennent une place de premier choix car elles deviennent pour le chercheur source materielle d'information et pour les utilisateurs temoins du passe et indicateurs sociologiques actuels
The objective of this study is a reflection about visions and methodological approaches to analyse more specifically guinean traditional art. In fact, masks and sculptures formed, realised, used, transformed and or neglected by the nalu and the baga of guinea can permit a better acknowledgment of the history and the social context of these two tribe. Items of cult at the beginning, masks and sculptures were first known as simple curiosity before becoming an "objet d'art", wellknown outside. Many regards were glanced at them: colonial figure, origin of new discipline, theorical reflection in history of art, anthropology, philosophy. . . , research and methodological approaches adapted to every african tribe. Nalu and baga example of guinea offer a very good experimentation to day. After defining the geographical and historical context, 32 sculptures selected for the study are presented of their formal aspect, in the museum with conditions of collect or acquisition. On the field, theses sculptures have a basic place because there are for the searcher material source of information and for the users evidence of a lost civilisation and sociological indicators for the present and the future

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Vasilenko, Anastasia. „Op-art in the art space“. Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15275.

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15

Kim, Eun-ho Paulin. „Art nouveau et art du vitrail“. Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37606601t.

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16

Elinek, Alana. „Art as democratic act : the interplay of content and context in contemporary art, London 2000-2006“. Thesis, Oxford Brookes University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490492.

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This thesis proposes that art is one aspect of the public discourse which maintains or subverts the democratic society. Here the democratic society is understood as one in which freedom and equality are of paramount value, and where public actions that maintain these values of freedom and equality predominate. The importance of public action to the democratic society is described with reference to Arendt. Freedom is defined in this thesis, not through liberalism, but through existentialism (particularly Sartre and Spinoza as 'the father of existentialism') and equality is understood primarily through Levinas. Philosophical discussion around the concept of art and its definition is explored with reference to the London 'artworld' and defined through Dickie as a social phenomenon. A synthesis of these philosophical positions grounds the concepts within the phrase 'art as a democratic act'. The thesis analyses contemporary 'threats' to the democratic society through a focused study of the London artworld 2000-2006 with particular focus on Tate Modern which opened in 2000. Threats to the democratic society are understood through Deleuze and Guattari as those which create, and reproduce, hierarchy, fixity, repression, exploitation and servitude. Central to this analysis is a focused case study of the pressures of government funding and corporate sponsorship on Tate Modern. These may be understood as undermining a core commitment by the institution to democratic values. Other threats to the values of freedom and equality are explored in the analysis of the wider London artworld 2000-2006 and in practice-based research. The subtleties of the mechanisms of power are further explored through practice-based research with a particular focus on individual collusion, complicity and cooperation with mechanisms of power.

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Granlund, Magdalena, und Maria Silén. „"We Really Are Not Artists, We Are Military. We Are Soldiers": The Street Art Culture of Chile and its Power in Art Education“. Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35528.

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This thesis describes the street art culture of Chile and its power in art education. The thesis highlights the didactic questions what, how and why. With the Swedish art curriculum in upper secondary education (Skolverket, 2011) as a starting point, the following research examines what topics street artists in Chile address in their work; and how and how can educators in Sweden use street art in the classroom when they wish to highlight topics such as communication, identity and democracy, and with what purpose. The implementation of the study is based on a method of qualitative research. Semi structured- as well as informal interviews are used. Observation in form of visual field notes is presented through photography. This results in four different themes that is highlighted. The themes are cultural heritage, artivism and democracy, identity and school. The conclusion regarding what benefits street art may serve in school are that Swedish teachers in upper secondary art education can benefit from using street art in the art classroom when they wish to highlight the communicative aspects of street art. Another conclusion being made is that Chilean street artists use street art as a communicative tool when they wish to highlight topics such as cultural heritage, political views and as an identity marker.

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Mattsson, Åsa-Lina. „ART“. Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32799.

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Sammanfattning Mitt examensarbete behandlar konflikthanteringsmetoden ART (Aggression Replacement Training) och hur denna fungerar i en klass i årskurs 6 på en skola i Skåne. ART är en konflikthanteringsmetod som använder sig av tre olika komponenter. Dessa består av social färdighetsträning, ilskekontrollträning och moralträning. Syftet med arbetet är att ta reda på vilka förutsättningar som krävs för att konflikt-hanteringsmetoden ART ska fungera i en klass i åk 6. Min intention är också att redogöra för vilka eventuella resultat som pedagogerna och eleverna i berörd klass kan se under arbetet med ART. Syftet är också att redogöra för om alla elever har nytta av att ta del av ART. Valet att skriva ett arbete med fokus på ART bygger på mitt stora intresse för konflikthanteringsmetoder. Kunskap om dessa kan vara värdefull inför kommande lärarjobb. Mitt examensarbete grundas på filmade möten där ART presenteras av de pedagoger och elever som är insatta i arbetet med konflikthanteringsmetoden. Men även litteraturstudier ligger till grund för arbetet. Den generella slutsats som framkommer i resultatdelen är att ART kan fungera som konflikthanteringsmetod. En förutsättning för detta är att ekonomiska resurser finns. Dessa resurser krävs eftersom det bara är specialutbildade ART-tränare som får genomföra ART-möten och denna utbildning kostade 13 500 kronor år 2006. Även att det är få elever i träningsgruppen och att denna behöver en egen lokal kräver resurser i form av bland annat pedagoger och planering. De resultat som enligt pedagogerna är synliga i klassen är att de elever som tidigare var ganska tysta och blyga har börjat räcka upp handen mer. De är mer verbala överlag enligt pedagogerna. Någon av de eleverna med vissa aggressionsproblem har börjat kontrollera sin ilska på ett bättre sätt. Avslutningsvis verkar nästan alla elever enligt pedagogerna ha fördel av ART. Eleverna utvecklas positivt på olika sätt, vissa blir mer verbala och vissa blir lite lugnare i stressade situationer. Nyckelord: ART, Konflikt, Konflikthanteringsmetoder och aggressivitet.

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Solet, Francis. „Redéfinir le statut ontologique de l'art : art moderne, art postmoderne, art contemporain“. Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0345.

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Au sein d’un même espace muséal, qui est exclusivement dédié à l’art contemporain nous constatons la présence simultanée de formes traditionnelles d’art à côté d’installations. Il nous semble que ces œuvres d’art sont trop différentes pour être réunies sous la même appellation Art Contemporain. Dans cette étude nous analysons les présupposés philosophiques de la Modernité et de la Postmodernité, puis après avoir disqualifié la postmodernité, nous prenons l’Exposition à la Kunsthalle de Bern, en 1969, Quand les attitudes deviennent forme, comme date de naissance de l’art contemporain, et les œuvres qui y sont présentées comme la forme paradigmatique de l’art contemporain. La caractéristique essentielle des œuvres d’art contemporain,c’est qu’elles sont créées in situ et qu’elles peuvent être démontées et réinstallées. Ceci pose des problèmes de persistance d’identité dans le temps, à travers ces différents intervalles temporels. Nous analysons la théorie endurantiste des objets tridimensionnels et la théorie perdurantiste des objets quadridimensionnels. Nous adoptons comme principe méréologique de composition des parties temporelles, le principe installation réinstallation, qui permet de justifier la persistance d’une mêmeté de ces Œuvres d’art Contemporain au cours du temps
Within the same museum space, which is exclusively dedicated to contemporary art, we find traditional forms of art beside installations. It seems to us that these works of art are too different to be labelled: Contemporary Art.In this study we analyze the philosophical assumptions of Modernity and Postmodernity and after having disqualified postmodernity, we claim that the Exhibition at the Kunsthalle in Bern, in 1969, When attitudes become form, is the birth date of art contemporary, and those works represent the paradigmatic form of contemporary art.The essential characteristic of contemporary art works (OAC) is that they are created in situ and can be dismantled and reinstalled. There is a problem of persistence of identity over time, during these different intervals of time. We analyze the endurantist theory of three-dimensional objects and the perdurantist theory of four-dimensional objects. We adopt the mereorological principle of composition of the temporal parts, the principle installation resettletment , which justify the persistence of a sameness of these contemporary art works through time

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Dear, Jackie. „What possibilities for art are represented by the 'new' and the 'public' of new genre public art“. Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310054.

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Pinsky, Michael. „Space dictates art > art dictates space“. Thesis, University of East London, 2000. http://roar.uel.ac.uk/3609/.

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The thesis highlights five projects undertaken during the doctorate. Each project attempts to break down preconceived notions of time and space both physically and politically. For Transparent Room'the gallery's external views are filmed and then projected on a structure within the gallery. This immersive environment allows viewers to reassess their surroundings. Speeding up the films highlights the functionality of the space around the gallery. Progressive enlargement of the films from pictorial to abstract questions the authenticity of the digitally mediated image. In 'Feedback' a room is filmed without the knowledge of the audience. This film is projected live in the adjacent room and is progressively enlarged by a computer, maintaining the inherent form of the pixels. A one way mirror separating the rooms allows the viewer to compare the Veal'and projected image. The roles of the performer and the audience are merged. "Living Bodies/Clothes Contours' uses the dancers as source material for the work. Manipulating conditions of time and scale, films of the dancers are used as a backdrop for the performance. A seamless relationship was created between the dancers and the projections, using pre-recorded and live footage, blurring the boundaries of reality and illusion, both past and present. "Construction Sites'foil owed 'desire lines'through Leeds Millennium Square, the walking routes before and after the square's construction. Through film, people could follow these desire lines, exposing construction work inside the square and reconnecting the streets. Nn Transit'explores the city by creating maps that alter conventional perceptions of urban time and space. The maps are created by personal journeys through the city, using different combinations of networks. The maps are then constructed to show points in time rather than space. They re-organise the city's form in a temporal dimension. Context is crucial. The work responds to a specific environment. A site for the work needs to be found in advance of the production. The thesis questions the value of creating artwork in isolation.

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Li, Shuang. „City of Art - Beijing Huantie Art District“. Thesis, KTH, Arkitektur, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280176.

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Chinese contemporary art start in 1979, the new art era has led to the emergence of a large number of art workers (artists). Workshop with large space and quiet environment would be the ideal place to do the artwork, Huantie Art District is one of the ideal places in China (Beijing), with low rent and big empty space. In 2017, Huantie Art District faces demolition and reconstruction because of the informal construction, security problem ( the structure of the building), and land-use problems. This kind of situation also occurred in other art districts. From this, I began to think about what kind of way can we help artists maintain their creation and survival in Beijing, as an architecture student, what can I do for them. To weave the broken land, protect the Art District, have a sense of belonging, and become a city within city.

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Lysowski, Mark Robert. „Groundbreaking: art-making life; life-making art“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303231854.

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Smith, Timothy. „Nomadic Encounters with Art and Art Education“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480418270792104.

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Peiry, Lucienne Frank James. „Art brut : the origins of outsider art /“. Paris : Flammarion, 2001. http://catalogue.bnf.fr/ark:/12148/cb39042381k.

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Texte remanié de: Thèse universitaire--Lausanne, 1996. Titre de soutenance : De la clandestinité à la consécration, histoire de la collection de l'Art brut, 1945-1996.
Bibliogr. p. 303-313. Notes bibliogr. Index.

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Willis-Fisher, Linda Salome Richard A. „A survey of the inclusion of aesthetics, art criticism, art history, and art production in art teacher preparation programs“. Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203045.

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Thesis (Ed. D.)--Illinois State University, 1991.
Title from title page screen, viewed December 21, 2005. Dissertation Committee: Richard A. Salome (chair), Jack Hobbs, Noreen Michael, Marilyn P. Newby, Fred A. Taylor. Includes bibliographical references (leaves 112-115) and abstract. Also available in print.

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Underhill, Helen P. V. „Art school, art world, art circuit : an ethnography of contemporary visual art education and production in two Palestinian locations“. Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30303/.

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Williams, Cheryl Lynn. „Mapping the art historical landscape : genres of art history appearing in art history literature and the journal, Art education /“. Connect to this title online, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1102365647.

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Magliozzi, Marielle. „Art brut, architectures marginales : un art du bricolage /“. Paris [u.a.] : Harmattan [u.a.], 2008. http://swbplus.bsz-bw.de/bsz285369385inh.htm.

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30

Hughes, Melissa. „Street art & graffiti art developing an understanding /“. Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/50/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 1, 2010) Melody Milbrandt, committee chair; Melanie Davenport, Teresa Bramlette Reeves, committee members. Includes bibliographical references (p. 49-50).

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Carpenter, Eleanor J. „Politicised Socially Engaged Art and New Media Art“. Thesis, University of Sunderland, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485986.

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Exploring the connections and conflicts within politicised socially engaged new media art practices has involved an investigation into the language, characteristics and methodologies of visual art, new medi~ art (NMA) and socially engaged art (SEA), as well as the hybrid practice of socially engaged new media art (SENMA). The investigation includes research through the practice of curating RISK: Creative Action in Political Culture which presented SEA and NMA practice and encouraged dialogue which informed the themes and vocabularies.The thesis focuses on the vocabulary used to: understand values of object and process; define and utilise different kinds of tools; and describe differences between concepts of interactivity, participation and collaboration. It then contextualises the political relevance of these themes by situating them within current theoretical debates about politicised creative practice in chapter 5, mapping the tensions of political intent, strategy and tactics, distribution and distance. Topologies of different types of networks, platforms and open source development methodologies are used to map parallel concepts between politicised NMA and SEA.

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Imms, Wesley David. „Boys doing art negotiating masculinities within art curriculum /“. Thesis, Full text available online (restricted access), 2003. http://images.lib.monash.edu.au/ts/theses/Imms.pdf.

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Fulton, Lori Beth. „Building Art Education Relationships with Local Art Agencies“. Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/37.

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This educational study on building art education relationships between art educators and local community art agencies was conducted in early February of 2009. Data was collected by means of an art teacher survey, mailed to the homes of metro Atlanta art educators and by conducting face-to-face interviews with professionals working in the education departments of high profile metro Atlanta art agencies. The data analysis provides insight into the goals of local K-12 art educators, and they are compared to the goals of community art agencies. The findings of this study reveal that art teachers and art agencies share many common goals and face similar challenges. And together, through networking and close communication, they may better serve the needs of students K-12 as they become lifetime participants and supports of the visual arts.

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Hughes, Melissa L. „Street Art & Graffiti Art: Developing an Understanding“. Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/50.

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While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.

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Masters, Hannah L. „Art Therapy and Art History Theories, an Inquiry“. Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/515.

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This research uses critical theory inquiry with interviews and arts-based research to explore biases about art making in clinical art therapy practice. The literature review establishes an historical link between theoretical tenets in fields of art therapy and art history. Participants are chosen from experts in the fields of art therapy and art history. Interviews explore what art making means to each participant, utilizing both verbal and arts-based processing. The data is condensed through coding and arts-based reflection, and seven emergent themes are identified. The themes are checked with the participants for accuracy. The findings of the paper integrate the insight from the literature review with the expressed views of the participants to illuminate meaning-making processes of art. The paper concludes with identification of an “art historical lens” for practicing art therapy and discussion of treatment considerations, limitations of the study, and suggestions for further research.

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Lintner, Natalie Elaine. „Living art history in the elementary art room“. The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407397595.

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Meneses, Romero Mariana. „Women cooking art : hospitality and contemporary art practices“. Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20638/.

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This thesis examines the notion of hospitality in light of contemporary food-based artistic practices created from 2000 to 2015 by female artists Sonja Alhauser, Mary Ellen Carroll, Leah Gauthier, Ana Prvacki, Alicia Rfos, Jennifer Rubel I, Miriam Si mun, and Anna Dumitriu, and the experimental food artists Sam Bompas and Harry Parr. The aim is to make sense of how food practices, art, and feminism intersect, especially in light of the gendered history of the food system, including cooking, when opened onto a philosophically developed notion of hospitality. I explore the intricacies of hosting the "other", considering the multiple levels in which the relationship between the host and the guest develops. Hospitality is examined as a continuous cycle of relationships where dynamics and discourses of power and of generosity are constantly rehearsed. I focus on four main stages within the food system: 1) the gathering of edibles; 2) the cooking process; 3) the moment when food is shared and ingested with others; and 4) the digestive process. Throughout this thesis, I consider hospitality as an open structure that sheds light on the understanding of the encounters between human and non-human species-including animal, vegetable, and microbial-in the food chain. My analysis is situated within contemporary debates of gender studies, cultural studies, food studies, and philosophy of hospitality, in particular, Jacques Derrida's ethics of the other, and the imperative that "one must eat well". Eating is discussed as the literal and metaphorical assimilation and incorporation of the other, and incorporates feminist theoretical engagements which highlight Western thought as being structured by a series of gendered dichotomies, including those of nature-culture, male-female, mind-body, object-subject. I argue that the philosophical notion of hospitality and feminist theory enable a critical approach to the food system as a continual ethical imperative for and to the other.

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Klayman, Charles P. „Making Art Work: A Pragmaticistic Interpretation of Art“. OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1255.

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Works of art can be interpreted a variety of ways. A work might be judged as moving while it may also be interpreted as worthless. I argue that a pragmaticistic interpretation of art – that is a theory based on the philosophy of Charles Sanders Peirce – can encompass the variety of interpretations of a work of art. The first mode is the aesthetic interpretation that focuses on the quality or the degree of feeling of unique presence. The second mode is the semiotic interpretation that focuses on the sign function of a work of art. The aesthetic interpretation is founded on the view of aesthetics as a theory of perception that is similar to eighteenth-century German and British aesthetics. The semiotic interpretation draws upon Peircean semiotics and its three major sign types: icons, indexes, and symbols. The outcome of the aesthetic interpretation is that every work of art has value insofar each work is a unique presence. The feeling of unique presence is an esthetic value. The outcome of the semiotic interpretation is the notion that different interpretations of art are part of an ongoing historical communal inquiry. So every reasonable interpretation of a work of art can add to or enrich the meaning of that work.

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Haugen, Magnus. „ART HABITAT“. Thesis, Norges teknisk-naturvitenskapelige universitet, Fakultet for arkitektur og billedkunst, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-13885.

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Філатова, Марія Андріївна. „Poster art“. Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13179.

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Dobrorodnia, A. O., und A. M. Tkalenko. „Concept art“. Thesis, ГО "Інститут інноваційної освіти", 2021. https://er.knutd.edu.ua/handle/123456789/18990.

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Morávková, Zdeňka. „EKO - ART“. Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-234279.

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Caron, Jean-Michel. „Art - expérience“. Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26336.

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Le présent mémoire est un texte d’accompagnement qui témoigne du développement de mon travail de recherche tout au long de mon parcours de maîtrise en arts visuels. Ce texte prend la forme d’un journal de bord qui aborde mon cheminement d’artiste d’une façon chronologique. Ce texte évolue au rythme des réalisations ponctuelles et des réflexions qui y sont liées. L’aboutissement prend la forme d’une synthèse par la mise en espace des meilleures expériences retenues durant mes études.

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Li, Ting. „Art Center“. Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/53954.

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For any artist, imagination is a powerful and necessary instrument for everyday creation. It is like a magical engine that drives the artist forward. But what is imagination? How do we keep this engine running nonstop? According to the Italian philosopher Giovan Battista Vico, imagination is nothing but extended or compounded memory, imagination is nothing but the springing up of reminiscences, and ingenuity or invention is nothing but the working over of what is remembered.So we can easily understand that people create or invent things out of what they have seen, what they have experienced, and what they have engaged with their own bodies. In my thesis, I'm not competing with the artists in imagination or creation, but I'm trying to offer them this architectural environment that would be transfigured into memory through senses. The artists living and working in this tower building are encouraged to move vertically through stairways and vertically aligned public spaces. By engaging the body and senses in this vertical movement, the artists would find their way out of the urban canyon to the sky of imagination. They would also be able to live lightly above the bustling world of reality.
Master of Architecture

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Swayze, Eddie. „Techno art /“. Online version of thesis, 1995. http://hdl.handle.net/1850/12179.

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Schacht, Nina Agerholm. „Pornographic art“. Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202823.

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Lang, Martin. „Militant art“. Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50237/.

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This thesis is an analysis of ‘militant art’ – a type of art activism that is prepared to break the law, use violence against people (including the artists themselves), property, or incite others to do the same, in order to realise a cause. This thesis considers militant art as a continuation of the expanded field of relational aesthetics fused with a renewed interest in 20th century avant-garde art practices and the organisational structure, politics and tactics of the Global Justice Movement – which I conceptualise as a direct response to a lingering post-political spectacular malaise. Although there has been a surge of recent writing about Socially Engaged Participatory Art practices and, to a lesser extent, art activism, the more militant forms are still under-researched. The thesis is divided into two parts: the first is an art historical, theoretical and political analysis; the second uses qualitative research methods to verify and interrogate claims made in the first. A series of ten interviews with contemporary artists (and collectives) and an ethnographical study provide new data on militant art, which are analysed fully in a dedicated chapter. The findings give us insight into the militant artists’ psychology, motivations and tactics providing a description, analysis and definition of hitherto overlooked contemporary practices.

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Leal, Tacel Coutinho. „Daring art“. Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/89077.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente
Made available in DSpace on 2012-10-22T16:31:19Z (GMT). No. of bitstreams: 1 227233.pdf: 1394110 bytes, checksum: 8c1a9129f3f6922e8c73ee84e6eb26fc (MD5)
As representações eróticas são o foco principal deste estudo. Mais especificamente, esta pesquisa tem por interesse a análise de representações eróticas que desafiem imagens patriarcais que advoguem a dominação e a hierarquia como atributos naturais das relações amorosas. Para tanto, este trabalho propõe uma investigação das obras "Calamus," de Walt Whitman, e "Twenty-One Love Poems," de Adrienne Rich, como uma maneira de interrogar as limitações do erotismo dito "mainstream." O corpus desta pesquisa é formado por obras de poetas e filósofos renomados como Platão, Octavio Paz e Georges Bataille - teóricos que discutiram extensivamente a questão do erótico - e por estudiosos de destaque nas áreas de feminismo, "gay and lesbian studies" e "queer studies", tais como Teresa de Lauretis, Ellen Greene, Catherine Belsey, Liz Yorke, Audre Lorde, Robert K. Martin, Jay Grossman e Greg Woods, entre outros. Este estudo demonstra que Whitman e Rich não apenas questionaram todo um sistema de representações eróticas patriarcais e excludentes, mas também propuseram uma estratégia política que é fruto de um erotismo desafiador e democrático.

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Kay, Lacey. „Fashionable Art“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3337.

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My final thesis exhibition, Fashionable Art, opens up a link between art and fashion. I used clay as my primary medium to create hyper-realistic handbags in the style of Trompe l'oeil. I am interested in placing art in fashion settings and fashion in art settings. In the show, I placed many purses on pedestals for a gallery setting, in a glass case for a purse shop setting and also placed large photos in a fashion photo shoot setting. I am concerned with creating an environment that celebrates the handbag from just an accessory to an art object. By using clay as my primary media, the purse becomes a more permanent representation. I am able to freeze in time a small piece of our cultural timeline. I am interested in creating these hyper-realistic works because I want the viewer to be led into thinking these are real purses and to explore the idea of fashion being more than just a piece of clothing or accessory, but also the history and affect it has on each of us, big or small.

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Váňová, Gabriela. „Panel art“. Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232434.

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The main theme of the thesis are surface mines in northern Bohemia, the Most. Grasping the subject is moving mainly in personal as well as social aspects. The basis for practical thesis served theoretical thesis. Exploring the phenomenon of a block of flats in theoretical thesis led to turn to the topic of the panel surface mines. At first glance unrelated topics, however, contains an important connection. The coal industry forms an essential part of the development of the current form of North Bohemia, a form of large prefabricated housing. Interest in the originality of the construction in the settlements led to this issue. The work consists of several authentic records and materials from surface mines in Bílina processed in painting and video.

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Dissertationen zum Thema „Art“

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