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Fouquet, Monique. „Contemporary art/contemporary pedagogy : interrupting mastery as paradigm for art school education“. Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31304.
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Contemporary art/contemporary pedagogy: interrupting mastery as paradigm for art school education is a narrative exploration of artistic and pedagogical practices within the specific context of post-secondary art school education in stand alone art schools as opposed to a university art department. This study considers the following three primary questions: How can art school education better reflect postmodern cultural production? What are some of the ways in which pedagogical practice disrupts the monolithic model of mastery? How can art school pedagogy be re-oriented away from an overly deterministic notion of education? Through reflexive inquiry, I offer a personal perspective on art school education, weaving together my own experiences as student, artist, teacher and administrator, and juxtaposing 'my' text against the text of three artist pedagogues, representing specific aspects of field experience. Throughout the dissertation I seek to unearth the hidden assumptions that are embedded in historically inherited ways of being and doing in relation to contemporary art. I suggest that the partitioning of the institutional space into studio disciplines also segregates knowledge, and as such, largely determines the pedagogical framework of art schools. In the face of the interdisciplinary character of contemporary practice, I question the usefulness and relevance of disciplinary pedagogues modeled around the notion of achieving mastery as a paradigm that has shaped curricular practices in art schools in the past, and largely continues to define art school education today. I propose that the three artist pedagogues in this dissertation are each contributing to creating new inquiry structures that challenge boundaries between studio disciplines, between school and not-school, and between and among places of learning. I end by suggesting, as a topic for further research, complexity science as it may offer a productive framework to re-consider art school education.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Mokhtabad-Amrei, Seyed Abdolhossein. „Iranian contemporary art music“. Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.
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Chalker, Melissa Grace. „Contemporary Non-objective Art“. Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18614.
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My project, Contemporary Non-objective Art, is a practice-led investigation into the dominant narratives surrounding non-objective or abstract art, and how they can be revisited and reimagined. This project aims to challenge typical and chronological ideologies that have defined non-objective art and to demonstrate a new outlook. Particularly by demonstrating how theatricality in art can be embraced, filling the work with both irony and symbolic weight. Throughout this project I use the term “non-objective art” as a way of describing and focusing on the aesthetic and technical elements of my work and practice. I want to stress that this is a visual language of modernist painting and sculpture as a form of practice— even when it is carrying the historical values of its time. I argue that the modernist narrative has changed, and that this is an important element of contemporary reductive practices—in particular, geometric abstraction. The social and cultural narrative of modernity is now self-consciously inflected with the self-critique that led to postmodernity. This has created new contexts and interests in art practice that are no longer aligned with the reductive idealism of early 20th century non-objective or “abstract” art.1 At a time when artists are struggling to maintain sense of non-objective art, I hope to use this paper and my artwork to add strangeness and irony as a way to find new interest and vitality in non-objective art. My research illustrates a resistance to the principals and ideas of the early 20th century through the 21st century’s visual language of unconventionality.
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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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Lagana, Louis. „Prehistoric Malta and contemporary art“. Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/7718.
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Malta, a small island in the middle of the Mediterranean is extremely rich in its Prehistoric archaeological heritage. Local and also foreign artists were and continue to be fascinated and influenced by prehistoric art during the course of their careers. This thesis demonstrates the ways in which contemporary artists interpret Neolithic symbolism, particularly the images of Neolithic Goddesses found in various temples on the islands. The well preserved state of the Maltese Temples and their artefacts, and their beauty, still stimulate the imagination of artists to create works of art that show not only their personal reflections, but also their 'collective' psychic qualities. My methodological approach is to employ Jungian theory and contemporary theories of Primitivism to analyse such these works of art. I explore the reasons why artists are still interested in recreating symbols of the past. My general line of argument in the thesis is that some contemporary artists have a strong desire to recapture what they see as the 'spiritual perception of nature' that seems to be lacking at the present time. Through personal and collective symbols artists can be seen to be creating a new vocabulary which might act as a healing agent to relieve society from its persisting ills. The particular facets of this work and issues arising within practices relating to Malta's Neolithic past are explored through a number of case studies, examining closely the works of some well-known artists (local and foreign), such as Neville Ferry, Eva-Gesine Wegner, Sina Farrugia, Louis, Casha, and Jean Busutil Zalcski.
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Hill, Katie. „On relocating contemporary Chinese art“. Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401481.
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Owen, Evelyn. „Geographies of contemporary African art“. Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18143.
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This thesis explores how the art world negotiates what contemporary African art means, in the context of the international contemporary art system and in relation to the histories of Western perspectives on Africa. Using conceptual and methodological approaches drawn from cultural geography, it examines the field of contemporary African art, foregrounding the terms of negotiation framing contested geographical imaginations and ideas of Africa. The research considers curatorial practices, exhibitions, art institutions, networks and the wider art infrastructure as an arena in which geographical concepts and categories are formulated, debated and contested in relation to contemporary African art. It draws on interviews with artists, curators, gallerists, collectors and scholars, as well as ethnographic fieldwork conducted in institutions and at art events, to unpick the idea of 'contemporary African art' as a working category and conceptual frame. It reveals tensions running through the field hinging on questions of categorisation, scale and location, the geographical dimensions and implications of which are currently under-explored. The conclusions argue for the importance of geographical awareness in debates around contemporary art from Africa and its shifting position internationally, particularly in the context of globalising trends in the art world and beyond, which engender complex geographies of mobility, identity, belonging and opportunity. The thesis also highlights the relevance of debates around contemporary African art for geographers, proposing new directions in research on art within cultural geography.
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Withey, Andrew. „Contemporary, emigrant, Middle Eastern art“. Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/44734/.
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The thesis focuses on those artists who have emigrated from their Middle East homelands since the middle of the Twentieth Century. The first Chapter proposes that the artists form an identifiable group, through the use of common themes deriving from their heritage. The second chapter debates if Post-Colonial theories of alienation, hybridity and ‘third space' are useful concepts and tools for these artists. The last chapter discusses the different approaches to the concept of universalism, which is frequently used in the presentations of the work of these artists. Chapter One identifies the themes of calligraphy, literature, nostalgia/longing and politics which are common to the group of artists. These themes demonstrate a clear cultural memory, with each artist using one or more of these characteristics. Chapter Two questions the usefulness and relevance of Post-Colonial concepts of alienation, hybridity and ‘third spaces' in the analysis of the artists' work. The individuality and complexity of the artists, their lack of clear alienation from either or both of East and West and the absence of predictability in their output makes it difficult yo apply these concepts as analytical tools. The third chapter shows the way in which contemporary Middle Eastern art has taken over from the earlier, Western based, Orientalism. The resulting work has frequently attracted the label of Universalism but this term has different connotations for Western viewers and curators compared to the Middle Eastern artists and their patrons. The former results in differentiation, the latter claims to transcend boundaries and geographies. The Conclusion, thereafter, draws together the discussions and attempts to position Middle Eastern art within the current international art scene, rather than as an ‘other' which is outside a usually Western mainstream. The Middle East expatriates are seen as part of a growing but incomplete globalism, within which localism can co-exist.
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Tanchio, Paul Albert. „Transcultural aesthetics and contemporary art“. Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10225.
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‘Transcultural aesthetics’, in Proceedings of the Pacific Rim Conference in Transcultural Aesthetics (1998), is a generic term used by comparative philosophers and aestheticians to denote a theoretical assessment of distinctive applied aesthetic concepts and experience of cultures. This thesis is concerned with transcultural art and transcultural aesthetics, and it uses the argument put forward by comparative philosopher and aesthetician Eliot Deutsch, in his On Truth: An Ontological Theory (1979), that its practitioners’ distinctive art forms, especially Anselm Kiefer, Imants Tillers, John Young, Gao Xingjian, Helmut Federle and Lee Ufan, all bear a consistent singular presentation of intentionality – crossing boundaries that are philosophical, material and aesthetic – one that draws its relationship of unity-in-diversity (an expression of unity without uniformity and diversity without fragmentation) to pure human experience. I will analyse these art forms creation with reference to key transcultural concepts such as ‘catharsis’ (cleansing), ‘kenosis’ (emptying) and ‘homeostasis’ (harmonising into equilibrium), as drawn from the Chinese, Indian and European aesthetics traditions (commonly known as unity traditions by Philosopher Karl Jaspers) and argue that transcultural aesthetics calls for critical theoretical reflexion on the hermeneutics of discourse and action, as well as on the ‘selves-as-agents’ hermeneutic: a cultivation of insight into one’s own approach to the one regulative ideal of inter-dialogue among multiple cultures. These three key concepts of transcultural aesthetics allow practitioners to regard a form of transcultural unity as the site of their final purpose and meaning in their art and practices. Finally, the actions of practitioners in their practices are not performed in a moment of impulse, but rather they stemmed from a concerted, unified motivation.
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Reginio, Robert, David Houston Jones und Katherine Weiss. „Samuel Beckett and Contemporary Art“. Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.
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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.https://dc.etsu.edu/etsu_books/1182/thumbnail.jpg
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Weiss, Katherine. „Samuel Beckett and Contemporary Art“. Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5597.
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McMillan, Kate. „Contemporary art & un–forgetting“. Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/285.
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This research explores the capacity of Contemporary Art to un-forget history, with a focus on the history of Wadjemup/Rottnest Island in Western Australia and its one hundred year history as an Aboriginal prison for boys and men. The exploration of materials within my own practice – photography, film, sculpture, installation and sound – assist in examining the potential of Contemporary Art to respond to what has been forgotten in unique and embodied ways.
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Smurthwaite, Kathryn C. „Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop“. BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.
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There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.
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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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Mulenga, Andrew Mukuka. „Contemporary Zambian art, conceptualism and the ‘global’ art world“. Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/5187.
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In Zambia, ‘contemporary art’ (as a category constructed by the European-dominated international art world), was introduced by the European settler community and continued within its preserve, remaining largely inaccessible to the indigenous community of Africans until Zambia’s independence in 1964. This thesis traces the integration of Africans into the contemporary art community and attributes the process, in part, to a small group of artists of European descent who played a significant role in engaging with Zambians, working side by side with them, subsequently influencing their art production and implicitly shaping the ways in which ‘Zambian’ art ‘ought to’ look for decades to come. The research traces the early days of contemporary art practice in Zambia to the Lusaka Art Society and Art Centre Foundation that was founded and run by an all-settler group of formally trained artists with a particular inclination towards sculpture and painting. In the wake of the integration however, art production in the formalist manner was further proliferated by the European diplomatic community which would also go as far as dictating artistic subject matter. This thesis argues that the Eurocentric and pre-eminently formalist approach to contemporary art has cost Zambian artists an international presence. I submit that the few instances where contemporary Zambian art practice has penetrated the ‘global art’ scene or caught the attention of international curators is due to artists adopting more radical conceptual approaches to art production, often creating tensions with local viewers. This thesis also examines conceptualism in contemporary Zambian art practice and examines the inequalities of the ‘global art’ world. I argue that conceptual art, although not generally accepted on the Zambian art scene, has played a vital role in helping Zambian artists enter the global art world, albeit modestly.
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Nedkova, Iliyana. „Curating contemporary art : an investigation into the relationships between new media art and contemporary art through curatorial theory and practice“. Thesis, Liverpool John Moores University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555800.
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This thesis contributes to an understanding of contemporary curatorial practice and theory through an investigation into the complex relationship between new media art and contemporary art. A fresh curatorial perspective is introduced charting three major forms of relationships between new media art and contemporary art - antagonism, ambiguity and convergence. A historical evolution starting with antagonism, moving through ambiguity and finally converging the forces of new media art and contemporary art is proposed and explored throughout the thesis. The overarching research question: is there a need for distinct curatorial theory and practice of new media art underpins the hypothesis and furthermore puts the selected curatorial projects to the test. What emerges is a strong argument for the incorporation of new media art and its associated curatorship into the more encompassing entity of contemporaineity - its art, as well as its theory and practice of curating. Inspired by the method of critical reflection, Curating Contemporary Art opens with a hypothesis featuring an introduction, literature review and curatorial methodology outline. A novel notion of curatorial constituents: pre- production, production and post-production is proposed and then further investigated in relation to each of the four selected case studies. This approach provides a navigable structure for each of the three chapters. Specific issues of the curatorial constituents are highlighted under the relevant stage in each chapter. This host of curatorial issues with references to a range of appendices, including a detailed bibliography, lie at the thesis research core. The thesis ends with a synthesis or a conclusion. Overall, the thesis aims to enrich the current curatorial discourse through professional-confessional analysis of issues such as curatorial premise, theme-led practice, eo- curatorship, curatorial commissions, public commissions, funding, added value, ownership, genre and time-based notions. Here, a refreshing curatorial eye is cast on those issues in an attempt to foreground the importance of exhibition making, its theory and practice. Period-wise, the current investigation positions the thesis as part of the larger and ongoing project for curatorial historisation of the decade at the end of the 20th and at the beginning of the 21 st Centuries. It also asserts its intention to boldly go where no comprehensive curatorial study has ventured before by probing deeply into our assumptions about new media art, contemporary art and curatorship such as: is there a specific entity as curating computer based art or just curating contemporary art? Furthermore, it builds its innovative hypothesis around the three forms of relationships between the two art worlds under scrutiny: antagonistic, ambiguous and convergent, by comparing curatorial views and analysing experiences from across the two 'ideological camps'; by distinguishing between curatorial practice and curatorial theory while tracing their own origin and historical precedents. The antagonism of the mainstream art world towards new media and vice versa has contributed to the marginalisation of new media art and even its demarcation outside of the cultural mainstream. The marked ambivalence between the two fields of study is explored through the oscillating love-hate relationship which provides evidence for the reasons why the contemporary art world still sends out mixed signals of love and enmity about its digital other half. At the other end of the spectrum, the relationship between new media art and contemporary art appears much more convergent, amicable and mutually beneficial. The pioneering example set by New York's Postmasters Gallery is discussed in the self-reflective contemporary context of ARC Projects Gallery, Sofia.
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Willis, Gary C. „Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production“. Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.
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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)
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Ranyard, Marie Phyllis. „Transcontextual mechanisms in contemporary art music“. Thesis, City University London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264241.
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SRITONGSUK, PONGCHAI. „A STUDY OF CONTEMPORARY ART MUSEUMS“. The University of Arizona, 1997. http://hdl.handle.net/10150/555225.
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Simoniti, Vid. „The epistemic value of contemporary art“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:82a1ee71-98a3-44ac-93ac-2a91eebe8100.
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Recently in analytic philosophy, interest in the issue of the epistemic value of art has been revived. Philosophers have sought to establish whether and in what ways art is a source of knowledge, understanding or a means of inquiry. In philosophy this is a longstanding question, addressed both in the Greek and German traditions, but it seems pertinent to ask the question again today in light of significant changes that have taken place in contemporary art practice. In my thesis, I investigate this question from two perspectives: in terms of analytic philosophy of art, and in terms of developments in contemporary art since the 1960s. In Part I, I offer a defence of a philosophical theory of artistic value, critically overview the extant philosophical literature on the question of epistemic value of art, and explain why the inherently experimental character of contemporary art makes it difficult simply to apply the available theories. I argue that a philosophical engagement with contemporary art requires a different, more inductive method. In Part II, I closely consider three recent developments in which the relationship between art and knowledge has been rendered more complex. The Conceptual Art movement of the 1960s and 1970s privileged concerns with concepts, thought processes and truth over expression, materiality and fidelity to genre. The social turn of the 1990s cast the artist in a position that is almost indistinguishable from that of a teacher, social activist or even of a technology developer. And the artists working within the bio art movement of the 1990s and 2000s have assimilated the activity of the artist to that of the scientist, sometimes blurring the two roles. The goal of the thesis is twofold. On the one hand, I show how cases from recent art history put pressure on some key commitments in recent analytic philosophy. Revisions and challenges are suggested in particular for extant theories of artistic value, conceptions of artistic autonomy and heteronomy, and some popular accounts of the epistemic value of art. On the other hand, concepts from analytic philosophy are used to shed light on some of the more radical developments in recent art practice, and to rethink the ways in which art participates in the broader culture.
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Lu, Shih-Yun. „Site specific interventions in contemporary art“. Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/691/.
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Site-specific interventions in contemporary art are still a relatively new area of study. The relevant disciplines include site-specific art, cyberspace, new media art and interdisciplinary art, and installation art. In addition to practical experimentation the work draws upon literature and practice from these disciplines in order to create a theoretical framework. In response to the emerging practical and theoretical framework, site-specific installation works were created in contrasting locations that presented both internal and outdoor spaces. The frameworks created through theoretical investigation have been used to analyse both the creative process and the art work itself in relation to both physical space and cyberspace. An experimental art method approach was used in order to gain a deeper understanding of the issues relating to spatial concepts. The analysis uses a wide range of documentary material such as video and photographic recording, as well as the visual interpretation of the art work through exhibition and creative practices. This investigation explored site-specificity in both physical and virtual space in three distinct parts; projects in physical and virtual site-specificity, projects in physical site specificity, and Net art projects. These projects have been analysed from the perspective of spatial concepts theories and Zen philosophy within the framework provided by the four elements - space, time, media and practice. This research examined the value of site-specificity in both physical and virtual sites through the results of the creation of art work in `interdisciplinary art'. This led to the principal conclusion from this research: namely, that physical sites can be duplicated and documented by using emerging digital technology and then be transmitted as a particular mix of physical and virtual sites using the Internet as a medium. This research is an exploration of the under-examined area of site-specificity within contemporary art.
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Hughes, Angela. „Considering Cruelty: Animals in Contemporary Art“. Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365449.
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Animals have been represented in art from earliest times, emphasising the integral roles they have played within human civilisation as labourers, food, entertainment, spiritual influences and companions. In contemporary society, this representation has come to include the use of physical animals in art, often causing their harm or death. This research investigates the exploitation of animals in the making of contemporary art. It asks how art is complicit in furthering the exploitation of animals within society more broadly, and describes the artwork made in order to evoke a discussion of these cruelties and educate viewers about how society treats animals.
Key themes surrounding the different types of exploitation that animals endure within art and society are identified. These themes include: use of the animal as metaphor; violence towards animals in art; how these types of shocking exploitation have the ability to normalise cruelty to animals within society; hypocrisy and the placing of blame as effective ways of looking at the artist–viewer relationship; speciesism and anthropomorphism as at the base of these exploitative practices, with particular emphasis on art that causes harm to ‘lesser’ animals, such as insects and rodents; the animal as an artistic medium; and the concept of education as a solution to this enduring problem. Each theme is approached from the perspective of art criticism while discussing the impact on and by society.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
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Binder, Lisa M. „Contemporary African art in the London art market : 1995-2005“. Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500812.
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This thesis explores the market for contemporary African art in London from 1995 to 2005 using case examples of artists, museums, art festivals and fairs, auctions and galleries. The study is generally bracketed by two festivals, africa 95 and africa 05, touching also on events that transpired during the intervening decade. Many artists from Africa who were working, living or exhibiting in London during this time experienced degrees of marketable success as a result of their participation or relationship with actors involved in the marketplace and in private and public institutions. However, this was not the case for all connected with the two events. The purpose of this thesis is to examine the underlying network of market systems, in a particular place and time, for work by contemporary artists from Africa, in order to frame the various points of entry into the market and, by extension, the broadening of contemporary art historical canons
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Rinaldi, Juan. „Art and geopolitics : politics and autonomy in Argentine contemporary art“. Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.
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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's definition of society, given that the interconnectedness of capitalism as a system is negated by the restriction of that definition to industrialised societies. In other words, there is a universalisation of the particularity of industrialised societies underlying Adorno's social theory, that hides a functionalist understanding of the state and disavows its constitutive character for capitalist social relations. The introduction of an analysis of the particularity of the state in latin American societies serves as a counterpoint to the societies analysed by Adorno. latin American societies are analysed from the point of view of Dependency Theory, particularly in relation to Henrique Cardoso's and Enzo Faletto's concept of dependent development. This concept allows a further differentiation internal to latin American societies and problematises the common assumption that structural heterogeneity is a key concept for understanding these societies. Consequently, the thesis focuses its analysis on the socio-economic and political situation of the societies in the Southern Cone of South America, particularly Argentina, given their relative social homogenisation during the 1960s. The thesis claims that contrary to Adorno's assumption that capitalist social development destroys collective subjectivities while producing homogenisation, the Southern Cone societies show that development and relative social homogenisation in contexts of dependency do not necessarily produce political neutralisation but rather its opposite. The problematisation of Adorno's social theory is further complicated by the historical development of capitalism during neoliberalism. The decoupling of the spatial grounding of the relation between capital and labour constituted during monopoly capitalism is presented from the point of view of the radical transformation of Argentine society from the mid-1970s onwards. The thesis introduced the concept of the 'destruction of the social' in reference to the central role that the process of accumulation by dispossession, as theorised by David Harvey, has for the transformation of Argentina. Given this expanded global context, the thesis then discusses the effects that the transformation of the relation between capital and labour has for the conditions of production of artistic labour during neoliberalism. In particular, it claims that the 'developmentalist' dynamic that aligns technological development, industrialisation and artistic material in Adorno's concept of the new, has been problematised by the primacy of financial valorisation as a form of accumulation, and the dynamic role that accumulation by dispossession has in it. The emergence of a globally expanded labour theory of culture is analysed in relation to the contemporary art produced in Argentina between the late 1960s and the 2000s. The relation between the socially regressive tendencies developed during this period and artistic technique is analysed throguh the introduction of the notion of the 'return to craft.'
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Drinkall, Jacquelene Ashley School of Art History & Theory UNSW. „Telepathy in contemporary, conceptual and performance art“. Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/31097.
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This thesis investigates the impact of telepathy and psi on conceptual and performance art from 1968. Emerging from the author???s art practice, the thesis argues telepathy is a key leitmotif and creative concern within much post 60s art, and has become central to the practice of a number of contemporary video, performance and new media artists. This thesis is composed of two interrelated parts: an exhibition of the artwork by the author concerning telepathic processes, and a written project which uses the major themes of the exhibition to frame an historical study of a number of key contemporary artists whom, it is argued, work with telepathy. These artists, Jane and Louise Wilson, Suzanne Treister and Susan Hiller are discussed under the themes of ???twinning and doubling,??? ???technological mediums??? and ???telepathy experiments???. These themes also overlap in the authors artwork, are introduced through an overarching analysis of the work of performance artist Marina Abramovi?? and philosopher Jacques Derrida who, it is argued, provide a new model of telepathy as an art practice. In addition, the thesis argues that telepathy is an often suppressed thematic in art which may not appear to directly address it, and uses the work on the Wilsons, Treister and Hiller to re-look at other 20th Century artists and artistic themes in the light of the conclusions it draws on telepathy and art. Walter Benjamin greatly admired the Surrealists, but had virtually no time for their interest in telepathy, hypnosis and psi. Together with positive materialist misappropriations of Adorno???s Thesis Against Occultism, artistic and theoretical work with telepathy and psi has been sidelined from other important themes in art and critical theory, all of which telepathy and psi illuminate, energise and empower. The art of the author and other more recognised and established artists can be seen to work with telepathy in ways that flow into and reinforce the grain of progressive leftist practice and aesthetics. Women???s work with telepathy should be considered as important as women???s work with sexuality. Women, sexuality, Otherness, liminality, spirituality, telepathy, trauma, healing, radical politics, and other taboo areas of patriachal codes, were adandoned by macho participants of fluxus and Conceptual art. The recent conceptual and performance tilt in contemporary art sheds new light on the problem of working within and developing an effective and dynamic lineage of telepathy in post 60s art as well as early modern art movements. Contemporary developments in science, engineering, biology, psychoanalysis, warfare, popular culture and sociology show the wider relevance of discourse on telepathy. There is much at stake for visual art, aesthetics and visuality in representing, celebrating and interrogating the theme of psi and telepathy in current practice and art history. Artists??? work with telepathy and psi, although not always explicitly psychological, political or aesthetic, is often very psychologically, politically and aesthetically effective.
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Gilhooly, Jonathan. „Enchanted Objects : Agency in the Magic Act and Contemporary Art Practice“. Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523528.
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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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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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Bydler, Charlotte. „The global art world inc. : on the globalization of contemporary art /“. Uppsala : Acta Universitatis Upsaliensis : Univ.-bibl. [distributör], 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4309.
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Nijsse, Jennifer Jean. „Beauty: deepening an understanding of contemporary art, art practice and theory /“. Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2100.
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Davila, Victor. „THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART“. Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.
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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Cornell, Christen. „Contemporary Chinese Art and the City: Beijing Art Districts 1989‐2013“. Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16364.
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As themes in Chinese art since economic reform, space and the environment have been crucial. Many artists have focussed on issues of urbanisation, globalisation, and the radical spatial reorganisation of Chinese society during the reform and post-‐reform era, and many scholars have written about these artists’ spatial concerns. What, however, of these artists’ formative relationship to space itself? What might we learn by going beyond the text and asking how space has produced these artists – and their work – and what places their communities and culturalactivities have produced in turn? This thesis presents an alternative history of the emergence of China’s Contemporary Arts scene, focussing on these artists’ everyday engagements with the rapidly transforming space of Beijing in the years between 1989-‐2013. Drawing on a series of case studies, it traces the emergence of the residential ‘painters’ village’ (huajiacun 画家村) through to the transnationally networked ‘international art district’ (guojiyishuqu 国际艺术区) and state-‐endorsed ‘creative industries precinct’ (chuangyi chanye jujiqu 创意产业聚集区), foregrounding the agency of participant artists within these new socio-‐spatial formations throughout its research. By taking a spatial approach, this analysis identifies modes of political engagement beyond those typically identified within the work of art history. In considering the ways in which these artists worked tactically from within the country’s new spatial disorder, it also seeks to illuminate a politics that is not disruptive, but which capitalises instead upon ambiguity and ambivalence. Such a politics is described with the use of concepts developed across the work of Michel de Certeau and Henri Lefebvre, among other cultural and spatial theorists. The political function of the thesis itself, however, is considered in dialogue with the work of Inter-‐Asia Cultural Studies, and Lawrence Grossberg’s writings on contextual and conjunctural analysis. To this extent, this study is both a history of these artists’ interventions within the disorder of Beijing’s urban change in these years, as well as a reflection on the ways and reasons such a history might be told. While advancing its own interpretation of this particular era, it is also self-conscious about the act of its own interpretation, theoretically addressing the situatedness of different forms of knowledge, the contingency of its own propositions, and the material effects of epistemological work.
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Valente, Liz Fagundes Oliveira. „Space and art – interrelations between architecture and contemporary art at Inhotim“. Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.
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A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.
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Roberts, Teresa L. „Collaboration in Contemporary Artmaking: Practice and Pedagogy“. Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248880538.
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Whitehouse, Denise Mary 1947. „The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961“. Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.
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Duclos, Rebecca Taylor. „The topology of objecthood and contemporary art“. Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493687.
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Forty years after the writing of "Art and Objecthood," this thesis presents an alternative idea of objecthood that moves from Michael Fried's original association of the concept with the objects of literalist (minimalist) art to an idea of objecthood as a field (of both vision and action). The potential for objecthood to be separated from Fried's attendant term "theatricality" inspires an intensive re-reading of Fried's short passage concerning Tony Smith's night time drive along the New Jersey Turnpike.
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Tait, Stuart. „Becoming multiple : Collaboration in Contemporary Art Practice“. Thesis, Birmingham City University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527468.
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Scragg, Rebbecca Elizabeth. „Consuming Contemporary Art : London c.1914-1923“. Thesis, University of Nottingham, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518727.
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Gilson-Ellis, Jools. „The feminine/oral in contemporary art practice“. Thesis, University of Surrey, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326477.
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Correia, Alice Anne. „Questions of identity in contemporary British art“. Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426230.
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Gilmurray, Jonathan. „Ecology and environmentalism in contemporary sound art“. Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.
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In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time - something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new 'ecological' genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two significant gaps in sound art scholarship: the first critical in nature, regarding the lack of ecocritical engagement with sound art; and the second curatorial, regarding the failure to recognise the growing number of ecologically-engaged works of sound art as a distinct genre in their own right. The research detailed within this thesis will address each of these gaps by conducting a comprehensive investigation into ecology and environmentalism in contemporary sound art. The critical gap will be tackled by coupling a thorough analysis of the field of ecocriticism with an investigation into the ways in which ecological principles manifest within sound as a medium and listening as a means of engagement. This will then be used to develop a new ecocritical framework specifically designed for sound art, which will be employed to conduct ecocritical listenings to a selection of canonical and contemporary sound works. To address the curatorial gap, meanwhile, a new genre of 'ecological sound art' will be proposed, with a second set of ecocritical listenings focused upon a selection of ecological sound works in order to determine the precise nature of their ecological engagement, and to develop both a comprehensive definition and an initial catalogue of works for this important and timely contemporary movement.
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Rowe, Lois. „The address of spirituality in contemporary art“. Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/4198/.
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The thesis explores the use of religious themes and the notion of self-design in contemporary art practice. It argues that art today that addresses religion does so primarily for its rhetorical function: for a recognizable pattern of persuasiveness, which is ultimately defined by its established mechanisms of belief. Furthermore, it suggests that it is through an engagement with this secularized rhetoric that the art viewer today can potentially be provoked to re-create oneself in ones own terms; or, in Richard Rorty's terms, to 'revocabularize'.
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Edamura, Taisuke. „The visibility of glass in contemporary art“. Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617019.
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This thesis discusses the visibility of glass in contemporary art. By "visibility," I mean the potential perceptual and epistemological character of the material that can undermine its understanding exclusively in terms of transparency. Glass may seem to lack visual interest because of its transparency; our focus apparently lies on the other side of a glass pane. Glass mediates between here and there, between the subject and the object, and between seeing and being seen, without calling attention to its mediation. The more invisible this mediating function of glass becomes, the less visible its other material qualities are, even though, as I argue, each can have the same importance as transparency• in contributing to the meaning of the material. The distinctive use of (un)broken glass in contemporary art prompts a reconsideration of our understanding of the "invisibilization" of glass across different levels. Diverse works are brought together in this thesis because they all challenge conventional understanding in their presentation of glass, treating it either as an image or as a real object; as a subject matter or as an artistic medium; and as an aesthetic phenomenon or as a perceptual experience. More importantly, these works collectively serve to demonstrate the ambiguity of glass by revealing a variety of contrasts in its character, including those between durability and fragility, between transience and endurance, and between transparency and opacity. Through examining the sheer diversity of the physical manifestation and conceptual exploration of glass since Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even (1915-1923), whose chance breakage opened up a new perspective on evaluating the potential of the material, this study aims to cultivate a keen awareness of the reality of glass that resists being incorporated into a conventional discourse in which only its role as inconspicuous mediator is crucial.
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Nikolic, Bojana. „Light art in Contemporary Architectural Lighting Design“. Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-208660.
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This research focuses on understanding the relationship betweenlight art and architectural lighting design and determining towhat extent can aspects of light art be used when designingfunctional lighting for architecture.The first part of this paper looks into the historical applicationof light as a material. Light has been an important element inart even prior to the introduction of artificial light sources, butthe exploration of light as an independent material throughinstallation art only developed in the last century. Similarly inarchitecture, the impact of light on creating and shaping spaceshas been recognized since ancient times, yet it was much longerbefore the development of lighting design as an autonomousdiscipline.In recent years there is an increased need for creative expressionfrom lighting designers who are pushing the boundaries ofcommunication through light. In order to understand the extentto which successful innovative lighting schemes can drawinspiration from artwork, this research further analyses keyvisual and emotional properties of light art, as well as potentialconstraints of functional spaces. Distinction of roles of the artistand designer as well as the conditions in which they work withthe medium of light pose a challenge in relating these twodisciplines.Findings from first two parts of this research are further used toanalyse an example of an architectural lighting project, to drawconclusions about light art’s applicability to functional lighting.
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Antoniadou, Alexandra. „Realisations of performance in contemporary Greek art“. Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31283.
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This is the first study to approach, both historically and theoretically, the emergence and development of performance art in Greece from the 1970s to the 2010s. Drawing on an interdisciplinary framework - including feminist theory, philosophy, sociology, art history, and more - the study aims to address an evident gap in histories of contemporary Greek art. The research begins with the emergence of performative artistic practices in the 1970s, in the conditions set out by the seven-year Dictatorship (1967-1974) and follows, selectively, the complex trajectory of these practices while investigating their connection with wider socio-political and economic developments. The thesis should not be read as a survey, despite being the first book-length analysis of Greek performance art in both English and Greek. The material included here has been selective (drawn out of years of field research) and yet presents, and represents, the spectrum of themes and positions making up the history of performance art in Greece. My contention is that the rise and establishment of performance art in Greece reflected both the political ferment of the time (early 1970s) and an enquiry into the possibility of flight from traditional media. The dual aim of this study is, first, to facilitate and encourage the integration of performance art in a revised Greek art history; and, second, to contribute to an expansion of performance art histories in an international context through the negotiation of hitherto unknown material synthesised in a study of adequate length. This thesis has required large-scale in situ research and overcoming the major obstacle of the absence of relevant publicly held archives. This was one reason why even an elementary linear history of performance art had been such an overwhelming task in the past; a second reason is the overall marginalisation of performance art theory in the Greek context. Through the Greek paradigm, the thesis illuminates new aspects not only of performance but also of post-performative participatory practices, engaging new conceptualisations. By identifying fundamental issues in the production, dissemination, and reception of performance art in Greece, I provide a critical analysis not only of its achievements and potential but also of its impasses and failures. My intention in undertaking this research has been to disprove the notion - implied or stated as a matter of fact in histories of contemporary Greek art - that performance art has had only a sporadic and inconsistent presence in this 'periphery' scene. I argue that the artists investigated in this study are conclusively part of the history of performance in the 20th and 21th centuries, thereby setting the terms and calling for further research on the subject.
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Ovens, Jayne. „Rethinking word/image relationships in contemporary art“. Thesis, University of Central Lancashire, 2000. http://clok.uclan.ac.uk/21971/.
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This thesis explores the interaction of word and image through an intellectual framework which engages with artistic practice. By providing an overviev of interarts debates, it is suggested that notions such as the 'sister arts' have tended historically to privilege word over image. This privileging which has circumscribed word / image relationships is addressed by the Enlightenment thinker Gotthold Lessuig who differentiates between the arts in terms of medium specificity. In problematising the ways in which interarts debates have posited word/image in a dualistic relationship, this thesis exposes the difficulties in establishing an adequate critical discourse for dealing with the conjunction of words and images. A broadly poststructuralist critical framework is introduced in order to challenge the ideologies and ingrained assumptions that have dominated imcrarts debates. This study will attempt to put into practice a deconstruction of binary relations, by questioning the stability and the authority of language. It will also address the notion of an 'imperialism of language' in fixing the meaning of the visual image. Drawing upon the work of Barthes, Derrida and Lyotard, this thesis will attempt to find ways of reconfiguring the dialectical relationship between word/image wherein the two are seen to be engaging in dynarruc interactions. It will be suggested that the overcoming of word/image antagonism since the 1960s has begun to shape interactions of theory and practice in the art world itself where the influence of poststructuralist theory can be seen in artistic practices such as Concepwal art. Key issues that will be addressed include representation and meaning, the notion of textuality, framing, and the 'eruption of language into the aesthetic field'. The intellectual framework is enhanced through a detailed analysis of selected contemporary artists whose work is based on the creative juxtaposition of word and image. These case studies, which focus on Barbara Kruger, Susan Hiller and artists' books, integrate word and image, theory and practice, in order to consider issues such as a feminine aesthetic, peinture fiminine, a critique of representation, and the interaction of form and content. The case studies will be examined within the context of postmodern artistic practices. Overall, this thesis engages with the complexities of developing: a suitable framework for visual analysis, one in which word and image are in a dynamic relationship. This study will suggest that many of the issues directly conceming word and image interaction are played out in the work of contemporary artists, and that it is the challenge of theory to attempt to engage with artistic practice.
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Reddleman, Claire. „Cartographic abstraction : mapping practices in contemporary art“. Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18965/.
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This thesis proposes a theory of cartographic abstraction as a framework for investigating cartographic viewing, and does so through engaging with a series of contemporary artworks concerned with cartographic ‘ways of seeing’ (Berger 1972). Cartographic abstraction is a material modality of thought and experience that is produced through cartographic techniques of depiction. It is the more-than-visual register that posits and produces the ‘cartographic world’, or what John Pickles has called the ‘geo-coded world’ (2006). By this I mean the naturalized apprehension of the earth as a homogeneous space that is naturally, even necessarily, understood as regular, consistent and objective. I argue for identifying cartographic techniques of depiction as themselves abstract, and cartographic abstraction as such as the modality of thought and experience that these techniques produce. Abstraction within capitalism comes to be socially real and material, taking place outside thought. I propose a series of viewpoints, that are posited by the relations of viewing enacted by the selected artworks themselves. I analyse these viewpoints in relation to modes of cartographic viewing offered by theorists. Through close readings of cartographic artworks, I expand the current possibilities for understanding cartographic abstraction and its effects, through proposing a range of viewpoints that are both deployed in, and themselves problematize, cartographic viewing. I connect cartographic abstraction to debates about abstraction in Marxist and materialist approaches to philosophy, arguing for interpreting cartographic viewing as an abstract practice through which subjects are positioned and structured in relation to the ‘viewed’. This study discerns ‘real abstraction’ functioning in a particular area of ‘the operations of capitalism’; that is, modes of visual, and epistemological, abstraction that we can identify by exploring artworks concerned with cartographic depiction and conceptualisation. This approach to abstraction explores how cartographic knowledge can be theorized through recognising cartographic abstraction as a material modality of thought and experience.
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Mason, Jonathan D. „Can contemporary art methods facilitate designers' creativity?“ Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/33711.
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Art and industrial design share a long history, with some of the first industrial designers originating from the arts. Through the early part of the twentieth century many designers were educated and influenced by artists and on occasions they collaborated in the development of art/design movements. In recent decades this relationship has weakened with artists and industrial designers working towards different goals and paying less attention to how one another work. This research was undertaken to investigate whether contemporary artists were now using methods that may facilitate industrial design.
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Wang, Xuan. „Gallery's Role in Contemporary Chinese Art Market“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258577100.
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Cordy, Raven. „Making Christian Art in a Contemporary Setting“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.
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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.