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1
Pontelli, Elena. „Landscapes before the landscape in ancient Etruscan art“. Thesis, IMT Alti Studi Lucca, 2022. http://e-theses.imtlucca.it/347/1/Pontelli_phdthesis.pdf.
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This thesis approaches the broad field of landscape study from a specialized standpoint, namely by investigating the different ways in which landscape is represented in Etruscan art.
In particular, this analysis aims to identify the significance of what we might nowadays refer to as “landscape elements” in the production-fruition systems of Etruscan visual culture. The iconographic analysis presented here shows that landscape features are working material which, employed in relation to other image elements, express specific meanings in the construction of the image.
This thesis begins with an historiographical overview of the ways landscape representation has been investigated over time, including by visualizing the relationships and influences between the different disciplines that have approached landscape as a research topic. The core section then considers all kinds of representations of landscape elements (landscape elements that appear isolated within images as well as more structured and coherent ensembles of landscape features) in Etruscan art, from its earliest period to the threshold of Hellenism. The analysis and presentation of images is based on a ‘situational’ categorization (theme/context-based categories) designed to enable transversal readings. Dealing with the multiple ‘landscapes’ that existed before the landscape (aesthetically appreciable as a pictorial theme), entails moving along two different but interconnected paths. On the one hand, we can see landscape features performing different functions in different visual occurrences. On the other hand, from the perspective of an unfolding elaboration of figurative structures, these features can be analyzed as individual signifying structures that were only organized into broader uniform configurations over time.
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Sleeman, Alison Joy. „Landscape and land art“. Thesis, University of Leeds, 1995. http://etheses.whiterose.ac.uk/15211/.
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Landscape and Land Art focuses on so-called ‘Land Art' in Britain in the period from the mid-1960s to the present day. The dissertation concentrates particularly on Richard Long who, it is argued, functions as the definitive index of British Land Art. Land Art Beginning investigates how Land Art's earliest instances have shaped its subsequent discourse and introduces the methodological approaches employed in the dissertation. Land Art is then studied through a series of frames or milieus in the following chapters. Land Art Sculpture defends the necessity of viewing Land Art in the context of the practice and theory of sculpture. Land Art Repetition examines repetition as one of the most prevalent and informing strategies of Land Art practice and theory. Land Art Body focuses on one of the most overlooked and yet crucial components of Land Art, the body. Through identifying and delineating the different kinds of bodies and representations of bodies included in (and excluded from) Land Art discourse and practice, this chapter considers the ways in which the body has been suppressed in Land Art and the possibilities for a bodily re-engagement. Land Art Landscape views critically the landscape aspect of British Land Art which serves to link it to past art and particularly to a British 'Landscape Tradition'. The final chapter considers Land Art in relation to gardening and laughter through the construct of the ha-ha. The dissertation thus ends on a humorous note, but also an intensely serious one. Laughter and humour are powerful strategies against the most resistant orthodoxy, and British Land Art is perhaps best characterised in that way, as an orthodoxy, a dogma or an institution. This study aims to uncover and reveal the ways in which that orthodoxy has been constructed and is sustained, offering along the way some suggestions as to how it might be construed otherwise.
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Fiedor, Edward J. „Environmental art in the landscape“. Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230602.
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An effort to understand the basic contextual foundation of environmental art design in relation to site-specific context. As a result of this understanding, environmental artwork designs will be developed based upon the context of chosen sites on the Ball State University's campus with a view toward the development of greater visual literacy. The work effort includes a preliminary exploration of the methods and approaches followed by contemporary designers (including artists, landscape architects, landscape designers, and architects) in the design and execution of environmental art works that have a contextual relationship to a site. This exploration focuses upon Post World War II outdoor installations intended for public viewing and/or interaction. Context of Project WorkThe first step consists of information gathering about professional designers, including landscape architects, artists, landscape designers, and architects, who design outdoor environmental artworks based upon the context of a site. This information will include literature search, site visits, case studies, and possible interviews with designers.This information will then be distilled into sketch designs of environmental art pieces that can be sited on the Ball State University's campus. The designs produced for the artworks will be based upon the information gathered about various designers with attention to the preservation of the stylistic influences from the artists while deleting the possibility of repetition of previous artworks.The work of research on artists and projects will result in an expanded knowledge base from which a group of three or four designers will be selected to serve as exemplars or a case study foundation for the design effort.It is expected that the entire effort will serve as a model of an apprenticeship in outdoor art and site design for a non-art major pursuing a Master of Landscape Architecture degree. In addition, the work effort will serve to promote visual literacy in the Ball State University campus as well as to provide suggestions for physical designers on the placement and execution of site specific outdoor art.Department of Landscape Architecture
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Hogarth, Jan. „'Dislocated landscapes' : a sculptors response to contemporary issues within the British landscape“. Thesis, University of Sunderland, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268041.
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Sin, Ka-ki. „Narrator-public art landscape regeneration strategy /“. View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34609659.
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Sin, Ka-ki, und 冼家琪. „Narrator-public art landscape regeneration strategy“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45009661.
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Harris, Elizabeth. „Transparent landscape“. PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3407.
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Rhode, John C. „The inner landscape“. Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53300.
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Hays, Dan. „Screen as landscape“. Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/24599/.
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People have become accustomed to living with - and inside of - the media screen. Not just in the cinema or living room, but more pervasively with mobile telephones, advertising hoardings, and computer interfaces. It has infiltrated the art gallery, its high definition, contrast ratio and immersive scale tending to blind the audience to its mediating presence. And what about the genre of landscape today, beyond the latest BBC wildlife spectacular, computer simulated Hollywood blockbuster, video game or Google Earth? As the screen populates the cultural landscape, and increasingly mediates between the actual landscape and humanity, where are the points of contemporary artistic reflection on - or resistance to - the screen's increasing ubiquity and transparency? The thesis comprises three components to be taken as a whole: Screen as landscape, an exhibition of seven paintings; Touch screen, documenting the development of practical research; and Screen as Landscape, a dissertation examining contemporary artworks across a diversity of media, including film, photography, printmaking, painting, and computer-generated imagery. Supplementing these, a Guide book offers an overview of the thesis: its origins in an established practice; its developing themes and research methods, emerging out of making and writing; its resolution into three interrelated parts; and its distinctiveness within a range of recent curatorial projects. Echoing the landscape theme, the thesis takes a journeying form rather than being fixed in a specific geographic, art-historical, or theoretical situation. Landscape is salvaged as a live genre for visual art, as a web of interrelated perceptual and symbolic forms that are insistently present. This is despite landscape's annexation as an art-historical anachronism after Post-Impressionism, ripe for nostalgia and parody; its default appearance as seamless photographed or simulated backdrop to fantasies of wilderness and escape; or as a cartographic plane for the projection of information and ideas of control, containment, or exploitation. Landscape is an idea born of familiarity and estrangement, with which artistic interventions with screen technology can actually offer insights. Through its apparatuses - its obstructive lenses and artificial surfaces - the screen can reveal forms of imaging analogous to - yet not identical with - the perceptual and cultural formation of landscape, between experiences of nearness and distance, presence and absence, discovery and loss. Screen as landscape proposes an inter-medial approach, describing a field of contemporary concerns with potent art-historical resonances, harbouring essential questions about human subjectivity in the face of the screen's replacement of landscape with depthless surfaces. For the screen interface threatens subjectivity through the fluid integration of perspectival viewpoints, textual or graphical information, and networked interconnectivity. Through the immediacy of spatial and temporal proximities, and the replacement of physical location by virtual access points, the dimension of depth is increasingly lost to perception. The screen must be landscaped to counter the screening of the landscape - the supplanting of atmospheric, ambiguous, and multisensory encounter. Against the backdrop of cyberspace, it fathomless depths and infinity of virtual frames, Screen as landscape performs a bold or foolhardy attempt on the sheer, inhuman edifice of the screen.
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von, Wiedersperg Carolina Sophie. „Kyoto art in nature habitat /“. Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/von_wiedersperg/von_WiederspergC0509.pdf.
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The purpose of this thesis is to find architectural solutions which apply the theoretical findings centered around the biophilia hypothesis. The principles resulting from this investigation should help architecture to soften the separated conditions of the natural and the man-made environment. The application of these principles will then result in the design development of an Art in Nature Habitat in Kyoto, Japan.
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Greening, Daniel John. „Art, landscape and material : subject into media“. Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/299209.
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A research investigation that illustrates the development of the European landscape tradition as an unbroken interactive and material movement, through discussion of artists from Annibale Carracci (1560-1609) to Richard Long (1945 –). The contribution of each artist within their respective epoch will be used to propose that the subject of landscape has become an actual creative medium, integral to and consistent with the external Plein-Air technique. Thus, presenting a ‘creative narrative’ from the observed into the articulated that will demonstrate how the examination and representation of actual landscapes have become physically used within creative presentations. The study uses key artworks that have been inspired by landscape to show the shift from documentation into interaction with the reality of the natural world. This entails the chronology of the investigation and commences with the concept of Ideal Landscape, established by Carracci, within the late 16th century, through the development of the Plein-Air tradition and culminating with particular emphasis on European landscape artists’ and movements since 1945 that have interacted with actual sites and natural materials: from the ideal to the actual. Furthermore, the European transfer and diffusion of interactive and material based landscape methods, including drawing and painting outside, the collection of organic items and photography, passed and developed from one generation to the next, informs a body of personal creative work. This is a 50/50 co-dependent strand used to illustrate the practical and creative discourses between practitioner and landscape, involving the articulation of actual land materials, found objects and Plein-Air excursions to the drawing locations of previous practitioners’, sketchbooks and journals. The insights provided, by the personal practice and associated theoretical position, aid the evaluation, analysis and description of the evolution of the creative methods inherent in the development of subject into media, but not presently described in historical accounts, therefore, presenting a Material Chronology and thus the original contribution of knowledge for this investigation.
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Vickery, Veronica. „Fractured earth : unsettled landscape through art practice“. Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/25237.
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This thesis brings feminist ontologies into a renewed dialogue with post-phenomenological landscape studies through the development of a critical arts-research practice. Contemporary landscape scholarship in cultural geography foregrounds landscaping practices as performative; visual culture studies, similarly influenced by phenomenology, critiques the powerful fixings of representation; whilst current commentaries on art-geographies focus on questions of interdisciplinarity, rather than the potential for art practice-as-research to be generative of politically complex cultural geographies. Landscape, replete with complex power geometries and tension, both resists fixing and framing, and also becomes defined or imaged by these same operations. My goal in this thesis is to find a way of working, as an artist, with an understanding of landscape as being continually in eventful—and sometimes violently eventful—process, beyond conventional framings of image and landscape. Initially, this art practice (undertaken as research within cultural geography) worked with a violent flash flood and resultant loss of life, and was set against the backdrop of picture-postcard West Cornwall. Whilst focused through practice on this usually trickling mile-long moorland stream, something happened. This research became infected by concurrent geo-political events. Through practice in the studio, the violent lifeworld of the stream collided with an activist project associated with the 2014 Gaza conflict. Land and image became both occupied and ghosted. This corporeal and material collision of practice(s) afforded a productive entanglement of practice and theoretical engagement. My search for a way of working with landscape as an artist that accounts for the unpalatable dimensions of material formations, for the dying within living, for the exclusions, subjugation, violence, or even extinctions of landscape—led me to realise that I cannot stand back innocently and safely behind the camera, outside of the frame. I propose that landscape is inherently violent, and that as such, landscaping practices are always politically differentiated and situated. It is a violence in which there can be no innocent place of on-looking; we are all mutually implicated in landscape and landscaping-practices, and indeed, the ghosts of our own vulnerabilities are never far away. The thesis demonstrates that the unpredictability and riskiness of researching through a critical arts practice, can produce the conditions for disruptive interventions generative of new ways of (body)knowing in the world. These ways of knowing serve to confront the violence and contradictions of a fast changing enviro/geopolitical landscape. Working from within an art practice—as geographical research—contributes a perspective of political complexity and generative encounter, in which unexpected collisions, between things, practices, and bodies function to produce spatial connections beyond contemporary analysis.
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Fishwick, Emma. „Choreography as landscape: Landscape discourse framing choreographic practice“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2466.
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At the centre of this research is the notion of landscape and how thinking and talking about landscape impacts choreography. The result of the research is a new work, Dance, Quiet Riot, and an exegesis discussing the process of making it as well an exploration of various art forms, field experiences and the area of cultural geography. I use the development and presentation of Dance, Quiet Riot as a case study or creative artefact, if you will, for how landscape discourse can support and intersect with choreographic practice. This exegetical discussion understands landscape as a relational conversation between the human and non-human, shaping the way one moves through and sees the world. I argue that ideas of landscape can be used as a tool for choreographic practice and propose that this process can be applied effectively to choreography across multiple or singular art forms. Dance, Quiet Riot explores themes of gendered visual materiality and how such ideas (quietly) underpin my way of seeing and moving in the world. These themes are discussed throughout the exegesis, however, they are considered secondary to the focus of the research itself, which is landscape as a tool for choreography. This research asks how might approaching choreography as a type of landscape (symbolic rather than literal) shape how choreography is made, watched and performed.
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Gross, Bernard O. „Sex, death, and the landscape /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11898.
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Donald, Colin University of Ballarat. „Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria“. University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12759.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Donald, Colin. „Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria“. Thesis, University of Ballarat, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/37534.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Donald, Colin. „Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria“. University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14594.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Lambert, Raymond John. „Landscape existing with art : a study of ideas and style in John Constable's landscapes“. Thesis, Birkbeck (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313592.
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Parker, Margaret Ina. „Landscape painting : connection, perception and attention /“. Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.
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Thesis (M.Visual Arts) -- La Trobe University, 2006.Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
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Neale, Stacey J. „Light and landscape /“. Online version of thesis, 1990. http://hdl.handle.net/1850/11315.
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Piercey, Daniel. „Cultural geography : public art and the urban landscape“. Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323896.
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Strydom, Gerrit. „The value of public art in landscape architecture“. Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/7535.
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To design spaces for public art has become an increasingly difficult exercise due to the constant shifts in the public's social behaviour and attitude towards art. This is exacerbated by the fact that the discipline of art is so unique and diverse it is almost impossible to find a commonly applicable definition. Although these challenges sound daunting, it provide opportunities for creative thinking and unique design solutions. This dissertation is in response to a brief received from the City of Cape Town concerning public art and public space, this brief will be mentioned in detail later. Responding to this brief the dissertation deals with issues of art in public spaces and provides guidelines on how to design these spaces to compliment and celebrate artworks. The document will set up a framework for identifying and designing spaces for public art. The process is through an analysis in the form of a site selection criteria and a spatial selection matrix. Thereafter a set of design guidelines will be drafted and will provide the basis for the design. Finally a design proposal will be executed and complemented by an Environmental Art installation. The emphasis of the dissertation would be to illustrate how art in public space enrich and activate our built environment.
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Betlem, Gloria. „Landscape and the light /“. Online version of thesis, 1989. http://hdl.handle.net/1850/11519.
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Haley, Rochelle Denise Art College of Fine Arts UNSW. „Land incorporated: moving through landscape“. Awarded by:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43796.
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Land Incorporated is a practice-based investigation into the relation between the land, the body and its representation. The textural and haptic nature of light, philosophical notions of reflection and the embodied and phenomenological experience of movement through the landscape are explored via mediums of incised paper, etched mirror and line drawing. Studies in philosophy, film theory and anthropology into the structure of vision in space, the touch of the eye upon an object and the haptic nature of the mark that in-scribes a surface, have illuminated bodily perceptual relationships to the land and informed an understanding of 'inscription' that incorporates mobile narratives of the artist and the viewer.
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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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Selwood, Michael. „Inside landscape : an iconography of delusion“. Thesis, University of York, 1993. http://etheses.whiterose.ac.uk/10931/.
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Roberts, Judith. „Drawing the Artesian: Extracting Methods to Visualise Unseen Landscapes“. Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366164.
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Groundwater basins are vast subterranean reservoirs of water whose complexity is not yet fully understood by scientists. These ancient aquifers resist simple imaging and, through their enormity, depth and systemic complexity, present challenges to scientists and artists alike. My research practice has sought to deploy various drawing strategies and print processes to uncover something of the land/water interactive systems that we cannot visibly experience. A deeper personal understanding of the fragile history and geography of Western Queensland has been revealed through the physical act of mark making on site at these watersheds. Through the construction of my immersive drawing investigations, the earth, rocks, water and the surrounding physical environments have influenced my ways of seeing, reacting and perceiving and, in the process, enabled a new response to land.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Boggess, Jennifer Hall. „Mapping Appalachia“. Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1770.
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Thesis (M.F.A.)--West Virginia University, 2000.Title from document title page. Document formatted into pages; contains v, 35 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 29).
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Alonzo, Gerard J. „Furniture from the landscape /“. Online version of thesis, 1990. http://hdl.handle.net/1850/10908.
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Whitson, Robert. „Sacred landscape : An unsettling“. Thesis, Mt. Helen, Vic. :, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/36547.
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"This project is concerned with a visual exploration of the land of the Western Plains of Victoria and the nature of "the sacred" in that landscape. Specifically, I have explored these ideas through the medium of painting and works on paper. The studio practice has been informed both by my personal experiencs of this geographic region and by research into the histories associated with white settlement and the subsequent forms of erasue of aboriginal presence."Master of Arts- (Visual Arts)
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Whitson, Robert. „Sacred landscape : an unsettling“. Mt. Helen, Vic. :, 2002. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15639.
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"This project is concerned with a visual exploration of the land of the Western Plains of Victoria and the nature of "the sacred" in that landscape. Specifically, I have explored these ideas through the medium of painting and works on paper. The studio practice has been informed both by my personal experiencs of this geographic region and by research into the histories associated with white settlement and the subsequent forms of erasue of aboriginal presence."Master of Arts- (Visual Arts)
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Covell, Anne Lindsey-Alvey. „Towards a just landscape“. Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/1575.
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Towards a Just Landscape is a multi-part project about the 49th Parallel, the 20-foot swath of clear-cut that divides the US from Canada along its International Boundary, as it physically marks the landscape between the Lake of the Woods and the Northern Rockies. More specifically, it is a project about the portion of the border swath that runs through the center of Waterton-Glacier International Peace Park, dividing in two an area of land reserved to commemorate international peace and good will between two nations. Comprised of three artist's books, these works each address the political and ecological consequences of the border clearing on their surrounding landscape in their own unique way, and together seek to reimagine the way we interact with border regions.
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Garman, Keli L. „The Art of Designing a Meaningful Landscape through Storytelling“. Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32181.
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Meaning in the landscape is a concept that is receiving attention from many landscape architects asking the questions: how is meaning found in the landscape, or what makes a landscape meaningful? While there are many design processes that incorporate meaning into the design, it is the art of storytelling that the thesis investigates. The research for the thesis and a comparison analysis is performed on three texts, which explore meaning in the landscape. The three texts are Marc Treibâ s â Must Landscapes Mean?â ; Matthew Potteiger and Jamie Purintonâ s Landscape Narratives, and Mark Francis and Randolph T. Hester, Jr.â s The Meaning of Gardens: Idea, Place, and Action. Applying these approaches to case studies has resulted in the finding of common ideas between the three texts. The commonalities led to my position that storytelling can be used as an approach to design, and that landscapes designed as a story narrative can be meaningful. The design project investigated the strength of the position on a site in the West Potomac Park in Washington DC. The story for the project is a Japanese folktale that communicates the culture of Japan. The project is a case study that explores if the set of design principles within the storytelling approach can invest meaning into a landscape.Master of Landscape Architecture
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Dass, Meera I. „Udayagiri : a sacred hill : its art, architecture and landscape“. Thesis, De Montfort University, 2001. http://hdl.handle.net/2086/13256.
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Rozdilsky, John. „The landscape art of Richard Haag roots and intentions /“. Google Book Search Library Project, 1991. http://books.google.com/books?id=_pNRAAAAMAAJ.
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Chandler, Patricia Elaine. „Aesthetics of healing : joining feminism, autobiography and landscape /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11759.
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Edwards, Leah. „History, identity, art: visually expressing Nicodemus, Kansas' identity“. Kansas State University, 2014. http://hdl.handle.net/2097/17545.
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Master of Landscape ArchitectureDepartment of Landscape Architecture
Mary Catherine (Katie) Kingery-Page
History is embedded in a landscape. History of a community is embedded in the landscape where land was inhabited, cultivated, and where people have and continue to thrive. Rural communities have this embedded history and culture to look back. However, these communities are suffering from loss of population, jobs, economic stability, and accessibility (Woods 2008). This phenomenon can destroy not only communities and peoples’ lives, but also the history and culture that is embedded in a landscape. Nicodemus, Kansas a rural communities with an important history. This history begins after the Civil War during times of new found freedom and the reality of independence for many former African-American slaves. The residents and descendants of Nicodemus are passionate and proud of their history and see their community identity as embedded in the history and culture. Nicodemus has experienced loss of population and economic vitality throughout its history. However, Nicodemans’ strong connection to the history remains intact. The study argues that art can provide a way of expressing Nicodemus, Kansas’s identity. This study is primarily an art-based investigation into what materials, mediums, and forms of art can best express the identity and history of Nicodemus, Kansas. Art-based research is less concerned with the discovery of truth than with the creation of meaning (Eisner 1981). “...[V]isual art is a significant source of information about the social world, including cultural aspects of social life” (Leavy 2009, 218). Research methods include historiography, literature review, oral history, reflexive critique and site visits, culminating in the creation of a series of mixed media artworks. Through the research and creation of artworks, the identity of Nicodemus, Kansas is expressed visually.
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Chak, Chung-Ho. „A visual study of Indiana's landscape“. Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/461933.
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The purpose of this Creative Project was to create and analyze the student's art work,which was finished within the academic year 1985-86, at Ball State University. Due to the difference in geographical features between Indiana and Hong Kong (where the student originally came from), the attitude and approach of the student towards painting was affected. This paper traced and identified how and where his works of art changed.The whole analysis was based on three major pieces. They were Frankton I, A Cold Summer, Frankton II and LandscaDe VI (which was a landscape of Muncie). These three works were oil paintings. The student also used some of the preparatory watercolor sketches that he made to help describe the different developing stages of his art. During the analysis, technical aspects of handling oil paint were discussed too.
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Biederman, Angela L. „Body in the Landscape of the Mind“. Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461593111.
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Mah, D. B., University of Western Sydney und of Performance Fine Arts and Design Faculty. „Australian landscape : its relationship to culture and identity“. THESIS_FPFAD_Mah_D.xml, 1997. http://handle.uws.edu.au:8081/1959.7/257.
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This paper is an examination of the relationship of Australian landscape imagery to culture and identity. Visual and historical ideas in the Heidelberg School and more contemporary landscape work is assessed in relation to social history in the work of Ian Burn et al and the social history in the work of Anne Maree Willis. These two types of history are compared and conclusions are made about their similarities and differences in the articulation of identity and culture. It will be concluded that identity and culture are ideas and values which are recycled and relocated with the passage of time and that certain central themes reoccur in the construction of identity and cultureMaster of Visual Arts (Hons)
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Briggs, Susan H. „Landscape as metaphor: artist as metaphier“. Thesis, Curtin University, 2002. http://hdl.handle.net/20.500.11937/1470.
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This research records a three year journey of exploration through the visual arts, specifically painting and drawing in relation to the landscape. The written work presented here provides a support document to my final exhibition of paintings that were exhibited in the John Curtin Gallery at Curtin University of Technology from November 24th - December 15th 2002.The writing of this exegesis is in itself a creative piece, but it is not the same as the visual research that culminates in the paintings. I am convinced that to talk about creating art actually leads one away from being in the experiencing of that art, hence this writing discusses the processes involved and not the finished work. My primary objective within this exegesis is to present a discussion centred around some of the philosophical issues that became visible whilst carrying out my practical work. This discussion is also about process itself in art making practices and research, hence this exegesis is intended to run as a parallel to the visual body of work as presented in the final exhibition of works held in the John Curtin Gallery.I have intentionally used my own practice as a device to question the choices and outcomes of art making generally in an effort to add a little colour to the larger discourse of creative practices. Some of the writing may seem personal (apart from the journal notes) and again, this is an intentional device in order to bring about a sense of embodiment within the writing itself and a way of mirroring the processes within the paintings.
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Pietrantoni, Nicole Susonne. „Encountering landscape: printmaking & placemaking“. Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/572.
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The landscape has long been the focus of my artistic research. Yet no matter how often I return to it, I continue to wrestle with how to engage, respond to, and conceptualize landscape and my place in it. I recognize "that which is real (the actuality of one's experience) butting up against the forms of cultural representation that encode it." There are two primary ways that I encounter landscape: 1) through my body and a phenomenological orientation; 2) through layers of discourse, stories, and representations. While the landscape and its features may be neutral space and objects, it is a site fraught with highly charged stories and competing systems of representation, narration, and perception surrounding the same events, time, and place.
To this end, my thesis is guided by the following questions: what stories shape my interaction with and understanding of landscape and nature? How have I been disciplined by cultural and historical scripts, media, and technology? How does a lineage of art history influence a particular way of picturing and framing the natural world? And finally, what stories do I perpetuate or contribute in my work as an artist to this discourse about landscape?
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Pente, Patti Vera. „Being at the edge of landscape : sense of place and pedagogy“. Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2579.
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This study is an experiment in landscape art where artists put large pieces of fabric in personally significant places to be marked by the land. Landscape art is a site of power that can challenge embedded assumptions regarding national identity within tensions among local, national, and global scales. This research ruptures the Canadian myth of wilderness nation through the creation of an alternative landscape art that is informed by a theoretical discourse on the threshold as a site of difference and of learning. Inspired by the creative processes of the participating artists, Peter von Tiesenhausen, Pat Beaton, and Robert Dmytruk, I consider pedagogical implications for art education when pedagogy is structured on the powerful premise that learning is an uncertain, relational, and continual process.
Using my understanding of the methodology of a/r/tography, I create and poetically analyze art that offers opportunities for personal reflection into the nature of transformative educational practices. This form of arts-based research is influenced by the notion of assemblage, as presented by Deleuze and Guattari (1984), as well as practices of narrative, action research, and autoethnography, all of which echo the research method of currere (Pinar & Grumet, 1976). Within a/r/tography, image and text are creatively juxtaposed to inspire new understandings about the pedagogical thresholds among my roles of artist, researcher, and teacher. Arguing that social change must begin from a personal awareness of one's tacit values, I posit that a/r/tography can be an educational opening into reflection of such values due to the embodied, personal nature of art-making.
Through a philosophical discussion of subjectivity and community following the work of Jean-Luc Nancy and Jacque Derrida, I take the participants' and my local, significant places as sites from which to reverse the binary of landscape and artist, following an artistic version of deconstruction. From this a/r/tographical inquiry into elements of the land that serve as structural and heuristic supports, I critique the neoliberal subject position within nationalism, education, and landscape art. I draw on understandings of identity as theorized and performed from the premise that it, like learning, is an unpredictable, relational activity of emergence that is alway slocated on the threshold of difference between one person and another. Thus, I examine the educational, ontological, and social importance of what it means to exist within community in the land. In doing so, I raise questions regarding the normative structures of our educational institutions and suggest that social transformation could begin through art practices as a creative form of pedagogy.
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Beyer, Anjelie, und mikewood@deakin edu au. „Our ground : A study of artmaking and landscape in Mildura“. Deakin University. School of Social Inquiry, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060831.115529.
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Woodfield, Linda University of Ballarat. „The landscape of my life“. University of Ballarat, 2007. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12801.
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The investigations surrounding the topic ‘The Landscape of My Life’ questions whether it is possible for a landscape to delineate the way in which we live our lives. For a period of thirty-two years my home has been a historic rural property comprising a dwelling and outbuildings on twenty acres of undulating countryside at Carngham. The work conveys the story of my life at this locale and pursues the motives behind the purchase of the country property, the experiences and remembrances that exist from this period of time and reflects upon the implications of a way of life over the last three decades. While considering the impact that a landscape can have on individual lives, it became important to consolidate the insights that surfaced for me with respect to my own life and works and compare it with that of other selected landscape artists. This comparison took into account personal and family backgrounds, artistic techniques, relationships with the land and the motivations that resulted in the depiction of particular landscapes. The result of these observations led to a consideration that not only can a landscape define the way in which we live our lives but, also identifies an affinity between human beings and the environment.Master of Arts
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Woodfield, Linda. „The landscape of my life“. Thesis, University of Ballarat, 2007. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/32088.
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The investigations surrounding the topic ‘The Landscape of My Life’ questions whether it is possible for a landscape to delineate the way in which we live our lives. For a period of thirty-two years my home has been a historic rural property comprising a dwelling and outbuildings on twenty acres of undulating countryside at Carngham. The work conveys the story of my life at this locale and pursues the motives behind the purchase of the country property, the experiences and remembrances that exist from this period of time and reflects upon the implications of a way of life over the last three decades. While considering the impact that a landscape can have on individual lives, it became important to consolidate the insights that surfaced for me with respect to my own life and works and compare it with that of other selected landscape artists. This comparison took into account personal and family backgrounds, artistic techniques, relationships with the land and the motivations that resulted in the depiction of particular landscapes. The result of these observations led to a consideration that not only can a landscape define the way in which we live our lives but, also identifies an affinity between human beings and the environment.Master of Arts
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Woodfield, Linda. „The landscape of my life“. University of Ballarat, 2007. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15613.
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The investigations surrounding the topic ‘The Landscape of My Life’ questions whether it is possible for a landscape to delineate the way in which we live our lives. For a period of thirty-two years my home has been a historic rural property comprising a dwelling and outbuildings on twenty acres of undulating countryside at Carngham. The work conveys the story of my life at this locale and pursues the motives behind the purchase of the country property, the experiences and remembrances that exist from this period of time and reflects upon the implications of a way of life over the last three decades. While considering the impact that a landscape can have on individual lives, it became important to consolidate the insights that surfaced for me with respect to my own life and works and compare it with that of other selected landscape artists. This comparison took into account personal and family backgrounds, artistic techniques, relationships with the land and the motivations that resulted in the depiction of particular landscapes. The result of these observations led to a consideration that not only can a landscape define the way in which we live our lives but, also identifies an affinity between human beings and the environment.Master of Arts
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Gray, Sarah Willard. „Abstracting from the landscape a sense of place /“. Access electronically, 2008. http://ro.uow.edu.au/theses/147.
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Mercado, Nicholas. „A framework for site informed light art installations“. Kansas State University, 2015. http://hdl.handle.net/2097/19162.
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Master of Landscape ArchitectureLandscape Architecture/Regional and Community Planning
Mary C. Kingery-Page
The purpose of this study is to investigate and design public light art installations. The investigation consisted of evaluating select examples of public light installations in order to develop a typology, and designing two site-specific light art installations: one in Wichita, Kansas, and the other, in Denver, Colorado. Though public light art is found in most cities, its potential is often lost or unrecognized. In certain cases, public light art can be ‘plop art,’ which is plopped senselessly without much regard to context or experiential qualities. This project seeks to explore the different types of public light art and to find what approach or qualities should be considered when designing public light art. My approach can be described as artistic research. The methods include an apprenticeship to an artist, a precedent study, development of a light typology, an analysis of site and context, establishing a design matrix for two design projects, and an iterative process of making. Each of these methods were undertaken in order to effectively address my research question: What type of public light art is most appropriate for a specific site and how does it relate to creative placemaking? This project overlaps with a collective project group entitled Creative Place-Making, which is comprised of other fifth-year master of landscape architecture students with an underlying interest in art and design as place-making tools. Each student in the group addressed the site in Wichita, Kansas in a unique way. I addressed this site as a temporary landscape, creating an interactive light installation intended to be in place up to five years. In contrast, I addressed the Denver, Colorado site as a long term landscape, and designed a sculptural illuminating gateway. Each of these light art installations were informed by a particular set of characteristics that make each design site-specific.
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Hemingway, Andrew. „Landscape imagery and urban culture in early nineteenth-century Britain /“. Cambridge (GB) : Cambridge university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35573738q.
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