Dissertations / Theses on the topic 'Abstract expressionism'
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Engström, Alexander. "Inger Ekdahl : Swedish Abstract Expressionism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182385.
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Inger Ekdahl was a female painter at the center of Swedish Abstract Expressionism in the fifties. This essay investigates how her art was received in Stockholm and Paris. We conclude that although her type of art dominated the avant-garde in Paris during the late fifties, she was too early for the Swedish avant-garde and did not amass enough support to transform it. The analysis used Actor-Network Theory following Latour.
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Kappers, Michael. "VIRTUALLY ABSTRACT." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4011.
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My most recent body of work frees me from traditional animation and graphic design principles that had become second nature in my creative practice over years of commercial work in industry. I now find myself unconsciously creating shape and form without a preconceived vision of the final outcome. This allows for a free-flowing approach to my canvas. The canvas in which my forms are created is virtual space and can be described as an infinite cube. The first step I take in each of my pieces is creating a cube with the center residing at Cartesian coordinates 0,0,0. From there, I make the decision either to subdivide the cube into sections or extrude faces from the cube. In either case, I begin to see the possibilities in which the form can take. Some forms are organic and rhythmic while others become machined and rigid. At this stage, color and light are not a part of the equation.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Geer, Andrea. "The non-representational language /." Online version of thesis, 1990. http://hdl.handle.net/1850/11309.
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Neofetou, Daniel. "Eyes in the heat : the question concerning abstract expressionism." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23677/.
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Since the 1970s, revisionist art historians have elaborated how Abstract Expressionism was exhibited abroad by the post-war US establishment in order to characterise the movement, especially on Clement Greenberg’s account, as an artistic correlate to United States’ post-war dominance and worldwide imposition of capitalism. However, in this thesis, drawing on the theoretical resources of Theodor W. Adorno and Maurice Merleau-Ponty, I argue that Greenberg’s criticism in fact indicates how Abstract Expressionism stakes a claim against the rule of exchange-value. I interrogate the still prevalent notion that a development which Greenberg would retrospectively identify as a shift from Trotskyism to art-for-art’s-sake in the New York art scene of the ‘30s and ‘40s resulted in a movement, Abstract Expressionism, which lent itself to co-optation by US imperialism. I show that Abstract Expressionism’s deployment in efforts of cultural imperialism was certainly informed by Greenberg’s positioning of it as the pinnacle of the European modernist lineage due to its determinate negation of non-medium-specific elements. However, taking cues from philosopher J.M. Bernstein’s Adornian account of Abstract Expressionism, I then contend that this determinate negation is at the same time the affirmation of particularity delegitimated by capitalism. I then take recourse to both Greenberg’s and the artists’ accounts of their praxis, to show that it entailed a dialectic of construction and mimesis whereby the latter is guided by that which it forms. I then elaborate how, contrary to predominate accounts of Greenberg’s criticism, he in fact indicates the way in which the artworks invite mimetic comportment on the part of spectators, and engage cognition in a manner inextricable from corporeality. I contend that, thus, rather than buttressing the reified pluralism of capitalism, Abstract Expressionism both condemns capitalism’s disregard for corporeal subjects and prefigures the possibility of reconciliation which capitalism debars.
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Frisk, Mattias. "En Studie i Rött : Hur beskrivs, uppfattas och kopplas färg samman med innehåll i Mark Rothkos abstrakta målningar?" Thesis, Linköping University, Department of Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-16609.
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Undersökning av färgen i förhållande till innehåll i Mark Rothkos abstrakta verk. Studien innefattar en undersökning i hur man skriver om färg i anslutning till Rothkos abstrakta målningars innehåll och huruvida färg kan avgöra betydelser.
A study about color in relationship to content in Mark Rothko’s abstract paintings. It includes a research in how people write about color when discussing Mark Rothko´s paintings and how that is related to content. It also looks at color in relationship to meaning.
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Smith, Catherine Dicesare. "Synergistic qualities of form and space /." Online version of thesis, 1996. http://hdl.handle.net/1850/11927.
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Shah, Diti. "An abstract expression of September 11, 2001." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4448.
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Historical events captured in an abstract manner have the ability to produce a
profound effect on the emotions. The purpose of this research is to create a time-based
computer media work, using dialogue from playwright Anne Nelson's The Guys, based
on the September 11, 2001 attacks on the World Trade Center in New York City, with
emphasis on visual imagery, particularly the use of line and color, to enhance the
dramatic and emotional content of the piece. The stylistic direction of the thesis work is
greatly influenced by selected works of abstract expressionists Robert Motherwell and
Franz Kline, whose artwork was shaped by the social backdrop of World War II.
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Lai, Victor Ming Hoi. "The influences of Taoism on postwar American abstract expressionism (1940s-1960s)." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274225.
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Alvarez, Leticia. "The Influence of the Mexican Muralists in the United States. From the New Deal to the Abstract Expressionism." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32407.
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This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals.
This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described.
Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created.Master of Arts
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Pollard, Linda Kristine. "Heroes & harmony." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/45607/1/Linda_Pollard_Thesis.pdf.
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The first practice-led research project 'Heroes of the Club', through collaboration with business and community, involved portraying the stories on canvas of heroes of the Australian Surf Life Saving movement. The second project 'Crossing the intersection… art and life' researched a post-modernist approach to a fusion of the aesthetics of Abstract Expressionism and Pop Art. This study resulted in a body of work 'Long Playing' which sought to harmoniously reconcile two apparent polarities of style and context between high and low art characteristics, through personal narrative and with reference to artistic tradition.
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Slivo, Yalda. "Den rörliga bildens formlöshet : En studie av den rörliga bilden." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-148312.
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Denna studie syftar till att studera den rörliga bildens historia och relation till måleriet utifrån de två modernistiska konstnärliga rörelserna minimalism och abstrakt expressionism.This study aims at understanding the history and relation between the moving image and two modernistic art movements, minimalism and abstract expressionism.
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Wang, Hui Ping. "The British response to abstract expressionism of the USA c. 1950-1963." Thesis, University of Newcastle Upon Tyne, 1996. http://hdl.handle.net/10443/461.
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Abstract Expressionism was arguably the most important art movement after the Second World War and it has in many ways influenced all subsequent art movements in the West. This thesis investigates the presence of Abstract Expressionism in Britain and responses to it in the 1950s and early 1960s. Abstract Expressionism was presented to the British public through literature and exhibitions by individual Americans and by American institutions after 1947, but it was not until 1956 that Abstract Expressionist paintings became accessible in any quantity. While it was denounced by many, it won sympathies from two main groups of artists: firstly, established painters who were exploring the incorporation of abstract form with imagery from landscape and figure, and secondly, the younger generation of art students. The British constructivists were unaffected. For these established painters, Abstract Expressionism was more of a pure inspiration than a stylistic stereotype. A few of them experienced dramatic changes of style as a result, while others showed a very restricted interest in it. The reai impact was on the young artists. Under the influence of the Independent Group, which helped in generating an awareness of a new urbanism in London, they treated Abstract Expressionism and its later development Post-Painterly Abstraction, as an authentic reflection of contemporary society. They were not only eager to contribute to it but also to embrace it as their own. At the end of the 1950s, the majority of critics had accepted current status of Abstract Expressionism. Its two major British critics, Patrick Heron and Lawrence Alloway, were activists on t he contemporary art scene. Heron restricted his argument by what was essentially a combination of the painting qualities that Roger Fry had qualified and the idealism of the 1930s abstraction promoted by Herbert Read. Alloway, on the other hand, successfully exploited Abstract Expressionism to promote a new British-movement. His ideas, inspired by Abstract Expressionism as well as American consumerism, popular culture, science and technology, were embraced by young artists. British art was thus transformed in the 1960s, to a urbanisminspired art, which came from the "real' world and was receptive to its influence, rather than retreating into landscape, a psychological inner world or the realms of artistic idealism.
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Taylor, Sarah, and Sarah Taylor. "Toward the Open Lattice: Ibram Lassaw within Abstract Expressionist Sculpture, 1945-1953." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12410.
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This thesis focuses on Ibram Lassaw's open-lattice works by first discussing works from 1945 to 1950 to outline the conceptual and formal themes that contributed to the later style. The open-lattice form presents a complicated interplay between geometric and biomorphic forms, heaviness and lightness, tangibility and remoteness, and openness--which creates a partial boundary whereby the viewer is able to visually penetrate the form, while still being removed bodily. This thesis attempts to root Lassaw's open-lattice works and his metallic accretion process within the Abstract Expressionism movement by comparing the similar bodily experience of viewing Lassaw's works to those of Jackson Pollock's, for example, with a focused attention on material characteristics. This embodied approach offers a new and highly-appropriate language by which to discuss Lassaw's textural open-lattice works. A video of Lassaw's sculpting process is included with this thesis as a supplemental file.
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Frisk, Mattias. "Bilden av den andra bilden : - en undersökning i manligt och kvinnligt uttryck med den abstrakta expressionismen som studieobjekt." Thesis, Linköping University, Department of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-19285.
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Uppsatsen syftar till att undersöka huruvida begrepp som maskulint och feminint kan uppfattas i den nonfigurativa bilden. Med exempel ur den abstrakta expressionismen studeras detta utifrån genus och semiotisk teori. Även konstvärldens roll i producerandet av genus undersöks. En mindre enkätundersökning och bildanalys ingår i studien.
This thesis purpose is to examine whether notions as masculine and feminine can be understood in a nonfigurative picture. Thru gender theories and semiotics some examples from the Abstract Expressionist movement are studied. The art world’s participation in construction of gender is also examined. A picture analysis supported by a small survey is also included in the study.
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Ye, Guo Shin. "Appropriation and hybridity of Taiwanese literati painting and American abstract expressionism (1949-2007)." Thesis, London Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536723.
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For centuries, traditional Literati painting has been unchallenged and has not undergone any real or radical change. The Taiwanese Modem Ink-wash Painting that emerged in the 1950s is an extension of this painterly tradition. This new visual form of modern Ink-wash painting that I am presenting, is a hybrid, combining both Chinese Ink-wash painting and American Abstract Expressionism, and represents a different and I hope more progressive artistic style in comparison to the restricted conventions of Literati painting. My thesis seeks to evaluate the mutual appropriation of the stylistic and ideological assumptions of both Chinese painting, in particular Literati painting, and American Abstract Expressionism. The final objective of my research is to create a new hybrid art that comprises both Eastern and Western aesthetics and with a view to establishing new paradigms in visual arts culture. A dualistic approach was therefore adopted to analyse both painterly traditions in terms of their components such as media, techniques, philosophical and aesthetic theories. Some evidences of previous and existing East-West cross-cultural influences are also evaluated as well as the further developments of both traditions to the present day. The findings of these studies were then used to support the creation of my new hybrid artworks with the main artistic components of both Literati painting and Abstract Expressionism. In addition, a list of criteria is thereby created to enable me to evaluate the elements of hybridity of my artworks. Both modem Ink-wash painting and Abstract Expressionism emerged in similar socio-political conditions with a common interest in abstraction and challenging convention, as well as seeking greater freedom of attitude in visual expression. In the same way, and by handling the components in the table of hybrid evaluation criteria' I have set up, a body of my new hybrid art reveals the increasing hybridism from a totally Oriental Literati painting to a painting that is almost fully Westernised. By varying the combinations in the table of hybrid evaluation criteria, one may utilise this methodological framework to create diverse hybrid artworks and which are limited only by imagination.
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Pasek, Jeffrey Douglas. "Worry My Head: An Exploration of Head-Like Forms as an Expression of Existential Concerns." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1385383454.
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Fitzgerald, Shane. "Abstraction, Space and Photography." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/391080.
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Much of the published writing about my practice, has focused specifically on the technical approach I employ when constructing the visual image, with very little detailed analysis of the underlying influences, visual language references and historical and contemporary methodologies embedded in the work. This exegesis titled “Abstraction, Space and Photography” identifies some of the fundamental aspects of the abstract visual language I create as a regional artist situated in far north Queensland and attempting to capture its ethos as location and conceptual construct.
Consequently, at the outset I provide some context towards the development of the photographic process that I employ. Although I avoid singular focus on the technical aspects of my image making I am aware that both the technical and conceptual aspects of photography merge in an elemental, and even indexical way, when the artistic intent involves constructing abstract images.
Concept and process are intrinsically linked and cannot be separated, as one informs the other. Anne Marsh describes this relationship:
Unlike conventional photographs Fitzgerald’s large landscapes are constructed without referent in the outside world. Fitzgerald recreates his experience of actual landscapes in these unique works by shining light directly into the camera’s aperture – literally painting with light onto the sensitive surface. The result sits between landscape and abstraction, and challenges assumptions about photography’s identity as a medium.
The series of works developed throughout the Masters (produced 2014-2017) demonstrate an increasing maturity and progression in my practice towards a form of visual language which I would conceive as a kind of photographic abstract expressionism. Heavily influenced by, and in many ways attracted to the more traditional arts — their freedom of expression, additive capacity and representational qualities — this body of work explores photographic images which are imbued with a sense of the painterly and gestural, establishing pluralistic aesthetic connections and strategies of abstraction which stimulate the known — through visualising forms of the unknown.
In contrast to my previous works, these images are visually complex, being characterised by a sense of movement and spatial intrigue. In these works I aim to establish a resolved vernacular that moves beyond the experimental, thereby challenge preconceived notions and expectations for the photograph and going some way towards destabilising the accepted narrative of traditional photography as an indexical medium. The exegesis highlights a number of innovative elements I deploy in creating a contemporary visual language in this body of work which I contend offers unique insights into and perspectives on the environment and landscape of central and far north Queensland and northern Australia. I also present contrasting antecedent pictorial traditions and positivist attitudes which have typified the landscape genre that I evoke.
The following exegesis has been separated into two distinct sections allowing an opportunity to explore my dual interest in abstraction as a device across the mediums of painting and photography and as a vehicle through which to represent spatial subjectivity. Section One: Abstracting Forms explores key texts which I have found most relevant in the development of my practice drawing parallels to the theories and precedents established by critics such as Susan Sontag, Helmut Gernsheim, Aaron Scharf, Lyle Rexer, John Berger, to name a few. Section Two: Representing Space, Time and the Landscape investigates the primary subject which underpins my work discussing the philosophical notions of spatial construction alongside the shifting ideological influences which have underpinned the representation of landscape as it applies in the Australian context.
Throughout the exegesis I have integrated discussion alongside works of key contemporary and historical artists and that of my own to emphasise the resonances between contemporary practice and theory. Artists such as Paul Strand, Man Ray, James Welling, Wolfgang Tillmans, Sigmar Polke, Susan Derges, to name a few, have not only inspired and motivated form and direction within my work but also share similarities in the pursuit of exploration within the medium of photography, seeking to both challenge the preconceived notions of what a photograph is, whilst simultaneously investigating new and progressive developments in the process of image making.Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Ringer, Ruth. "Robert Goodnough (1917-2010): An Artist's Insider View of Abstract Expressionism in the United States." Doctoral thesis, Universite Libre de Bruxelles, 2020. https://dipot.ulb.ac.be/dspace/bitstream/2013/302087/6/AVENANT.pdf.
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Robert Goodnough was an American artist (painter and sculptor) and writer, who was active during the second half of the twentieth century. He became involved in the discussions on the subject matter of the artists which took place in the 1940s and early 1950s. He contributed to the debate through organising discussion sessions amongst contemporary artists, who later became known as Abstract Expressionists.Abstract Expressionism was the label given to an emblematic period in American painting, which emerged after World War II and was the subject of much debate in the 1940s and 1950s in New York art circles.
Doctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
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LEVA, SHANNON ARMSTRONG. "JACKSON POLLOCK'S 1942 PAINTINGS: DEPICTIONS OF HERMAPHRODITIC UNION." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195578410.
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Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.
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This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.Department of English
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Strahl, Lisa Beth. "Gender Construction and Manifestation in the Art of Elaine de Kooning." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/44952.
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Art HistoryPh.D.
As a woman whose career lifted off during the era of Abstract Expressionism, Elaine de Kooning is precariously positioned between her gender and her career. She began painting in the midst of a male-dominated movement and in later years continued to use very masculine themes in her art; however, her gender sets her apart from her mostly male colleagues during the Abstract Expressionist period. The mid-century expectation of machismo and masculinity shaped Elaine de Kooning’s art and career, and there is a tension within her art as she tried to fit the established (male) persona of the typical Abstract Expressionist artist while also maintaining a female identity. As the wife of Willem de Kooning, Elaine is most often discussed with respect to this relationship. Her name is infrequently mentioned in scholarship without reference to Willem, and her contribution to art history has only recently been studied in any length in Jane Bledsoe’s Elaine de Kooning (1992) and in a series of smaller gallery publications. Furthermore, Elaine has become recognized and respected, in some cases, more for her critical writings for Art News during the 1950s and 1960s than for her art. She was an artist turned art critic, and this crossover has further complicated the scholarly attention devoted to her. Elaine consistently revisited male-inspired subject matter: in her portraiture she painted predominantly male sitters; in her cave painting-inspired work she reflected a society of primitive male hunters; in her series of sports paintings she depicted male basketball and baseball players in dynamic postures; in her Bacchus series she investigated a male god and the vitality of the statue’s writhing male musculature; and in her bull and bison series she worked with the clichéd animalistic symbol of masculine strength and virility. These subjects, combined with the ejaculatory style of Abstract Expressionism’s loose brushwork and vibrant swirling colors, provide a unique contrast to the artist, herself, as a female personality.
Temple University--Theses
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Schultz, Ruth. "Being of shape : being--The ground through which all things are /." Online version of thesis, 1989. http://hdl.handle.net/1850/11082.
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Appelsved, Emelie. "Graffiti på spel : En kvalitativ undersökning, via NUG, om graffitins autonomi." Thesis, Södertörns högskola, Konstvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33650.
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Abstract Comments regarding Swedish graffiti writer NUG’s film Territorial Pissing (2008) express how graffiti and art appear to be two different worlds and when these worlds come together the expression of graffiti seems to transform. This thesis, Graffiti at stake: a qualitative study, via NUG, about the autonomy in graffiti, aims to both examine and bring about a general discussion on whether graffiti is autonomous when it enters the art world. The thesis also discusses transformed content and expression in the works of NUG when performed in a different context; what is exhibited in an institutional art context and what positions does NUG occupy? The French sociologist Pierre Bourdieus conceptions field and autonomy has been used as a theoretical framework, and partly as method as well. By studying the works of NUG another expression has been found within an institutional art context – black irrational lines and cascades. These are interpreted as energy generated from the act of performing graffiti and have been discussed in relation to the graffiti- and art practice as well as the symbolic capital. The thesis argues that the autonomy is situated in what is recognized and acknowledged. The thesis also concludes that NUG is entering into a masculine, conventional and strong artist position, similar to Pollock.Populärvetenskaplig sammanfattning Uppsatsen, Graffiti på spel: en kvalitativ undersökning, via NUG, om graffitins autonomi, tar avstamp i kommentarer rörande den svenska graffitiutövaren NUG:s videoverk Territorial Pissing (2008). Kommentarer som uttrycker att graffiti och konst tycks vara två separata världar och när dessa världar möts tycks uttrycket i graffiti inte vara detsamma – är det graffiti? Om graffiti är autonomt när det inträder i konstens fält är en generell diskussion som denna uppsats lämnar ett bidrag till. NUG har en magisterexamen i konst och tillhör de största namnen på Sveriges och Europas graffitiscener. Inom en konstinstitutionell kontext har ett annat uttryck, än de traditionella graffitibokstäverna, kunnat konstateras; irrationella streck och kaskader av svart sprayfärg. De förstås som energi, alstrad från akten att måla graffiti, samt framstår som en nödvändighet. Uppsatsen diskuterar en graffitipraktik och dess relation till konstfältet. I konstens fält står graffiti på spel och autonomin hamnar i det som igenkännes och erkännes. Detta är också en uppsats om hur NUG går från en manlig utövarposition, in till en manlig, konventionell och stark konstnärsposition, i förening med Pollock, samt hur NUG har en fot i ”graffitins fält” respektive en fot i konstens fält och hur han manövrerar dessa fält.
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Jacobs, Margo. "Assembling the Everyday: The Three-Dimensional Work of John Chamberlain from 1958 to 1963." Cincinati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147714752.
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Thesis (M.A.)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed Jan.16, 2007). Includes abstract. Keywords: Assemblage; Abstract Expressionism; Automobiles; General Motors; Everyday Includes bibliographical references.
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Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.
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The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layering imagery that provoke thought concerning nature and our place in it. This collection of paintings is representative of the process I have developed through a wide variety of influences, and is a means of communicating my concern for the ever dwindling natural environment and our connection to it.Department of Art
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Keast, Lindsay. "The Indeterminacy of Abstraction: Philip Guston 1947-1951." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18403.
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Many scholars exclude New York painter Philip Guston (1913-80) from the artistic tradition of Abstract Expressionism due to his absence from New York City during the group's early formative years. This thesis asserts, however, that Guston's role in Abstract Expressionism can be firmly established through his unique interpretation of the formative influence of surrealist automatism. Though never engaging with the surrealists directly, Guston explored automatist ideas upon meeting New York School experimental music composers John Cage and Morton Feldman. This trio's engagement with the Zen Buddhist concepts of unimpededness and interpenetration influenced Guston to create compositions through chance operations, a process Cage would call "indeterminacy." My aim is to enrich an understanding of Guston's idiosyncratic relationship to Abstract Expressionism and, ultimately, to offer a more expansive definition of Abstract Expressionism in general, allowing for a broader understanding of the formation of American modernism.
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Ellis, Hele. "Decentering the subjective: The transcendent experience of formlessness in an abstract expressionist painting practice." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107658/1/Hele_Ellis_Thesis.pdf.
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This practice-led research project is based on the experimental strategy of Formlessness within painting, a negation of representation within the compositions, which potentially act as a pathway to sensory immersion and without a subject-matter to an awareness of Self. The colour palette chosen for the colour fields introduces chromatic couplings that are specifically hung for maximum charge. The colours present as taking on their own lives, explaining the compelling force behind these works that lead to a pure sensation. Key tenets of Anthroposophy - with particular concern towards Steiner's writing on colour - are central to the theoretical position the project takes.
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Homad, Johnson Jewell. "Robert Motherwell: the artist the spiritual the modern." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13329.
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Throughout history the role of the artist has often been an expression of worship and the depiction of the sacred realms interaction with our own. “As above so below” was typical. In certain periods of art history, in the various eastern and western traditions, the ‘divine’ was often regarded as the source of the artist’s inspiration, work and abilities. The artist had a role to communicate the sacred reflection in what they surveyed, and was an integral part of creative endeavours. The artist did not make art for art’s sake, nor seek fame in the process. It is this dynamic process of the inspired artist’s connection and communication with the ‘sacred’ however the artist or their society defined it, that is the subject of this research thesis. This is undertaken through centering on Robert Motherwell and the analysis of his 1944 paper delivered on “The Place of the Spiritual in a World of Property” at Mt. Holyoke during the Âmericain decades. In active collaborative roles were individuals from throughout Abstract Expressionism, Dada, and Surrealism joined with members of the academy in defending, expanding and redefining how we perceive the sacred role of the artist in the face of post-modernism. Robert Motherwell (1915-1991), whose academic studies in philosophy at Stanford University, Harvard and Columbia University prepared him in art history and theory, laying a unique foundation for the man who, though self-taught, found himself one of the most important painters and cultural ambassadors for the New York School of Abstract Expressionists and Surrealism. In the documentary ‘Robert Motherwell: Storming the Citadel’ he spoke on the importance of each generation discovering “their task,” which usurps the symbolic citadel’s power of the past. For ‘them’ this was to create work that equalled or surpassed that of Europe by painting the ‘truth’. While their work was ‘new’, it could be said they weren’t seeking a disconnection from the past but rather what Schuon calls “something more ample, and sublime, or explicit; to crown and not abolish.” Art historian Jack Flam noted this implacability for authenticity caused these artists to be “someone instead who’s inspired- a kind of seer.“ These religious implications are confirmed by Motherwell’s 1944 lecture originally titled “The Place of the Spiritual in a World of Property”: “ . . . The social condition of the modern world, which gives every experience its form, is the spiritual breakdown, which followed the collapse of religion. This condition has led to the isolation of the artist from the rest of society. The modern artist’s social history is that of a spiritual being in a property-loving world. No synthesized view of reality has replaced religion. Science is not a view, but a method. The consequence is that the modern artist tends to become the last active spiritual being in the great world. It is true that each artist has his own religion. It is true that artists are constantly excommunicating each other. It is true that artists are not always pure, that some times they are concerned with their public standing or their material circumstance. Yet for all that, it is the artists who guard the spiritual in the modern world . . . “ In the wake of the Enlightenment, and the perceived coup d’état of Science and the Rational Mind, the seat of Knowledge as sacred activity has fallen from view, yet prior to the 1960’s these artists and intellectuals appear to have deeply reconsidered sacred contemplation that covertly or in view, informed their artistic activity. In Judaism and Islam, the arts’ emphasis is non-representational because these matters extend beyond the Rational. In the modern era, it was key Jewish benefactors that championed Abstract Expressionism when these artists were fought as enemies of the desired American culture. These interdisciplinary characters challenged the historical establishment and increasingly individualised precepts of ‘truth’ and ‘reality’ [the seeds of post-modernism] through new perceptions of the world. This included framing the metaphysical as a companion, if not an antidote, to the prejudice of the empirical gaze. That this was achieved outside of the umbrella of religious art both reflects the confines of literal representation these artists worked to escape through abstract interpretation. This discretion vis a vis ‘the spiritual’ laid the ground for a politically correct relationship that answered secular demands and fostered an interfaith community that spanned the atheist to the orthodox, and new forms of religion that had been developing from the prior century. Robert Motherwell’s paradoxical relationship with the academy, Arthur Lovejoy (‘History of Ideas’) and Alfred North Whitehead, English mathematician and philosopher, revealed an ongoing project between the scientific arts and fine arts to confront particular concerns for religion, and art, in a materialistic age. The artist manifests particular aspects of the human being [individual], while representing the creative potential of humanity at large [culture, community], which are ultimately applied to all forms of activity [professional and recreational] and further expose common characteristics and dynamics involved in the artist’s role to express, communicate and reflect the ‘sacred or the divine’ however that is defined.
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Manchur, Jeffrey M. "But why is it so Long?: Eschatology and Time Perception as an Interpretation of Morton Feldman's 'For Philip Guston'." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428440096.
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Trapp, Elizabeth J. "Cy Twombly's 'Ferragosto' Series." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276609006.
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Alvarez, Andrea. "Art Criticism, Scholarly Interpretation, and Curatorial Intent: A Reassessment of the 1998 Jackson Pollock Retrospective at the Museum of Modern Art." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/439.
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In 1998, the Museum of Modern Art held a retrospective exhibition of artworks by Jackson Pollock. Curators Kirk Varnedoe and Pepe Karmel worked in an art historical context that had been significantly shaped by the early critical writings by Clement Greenberg and Harold Rosenberg. The curators’ stated intention for the exhibition installation was to provide “a fresh chance for new generations of artists to come to terms with a legendary figure” and to enable “the broader public to reassess a quintessentially American artist in light of three decades of new scholarship,” without “ hewing to any particular critical dogma.” Despite this curatorial intention, this thesis examines the ways in which the retrospective inscribed Greenberg’s and Rosenberg’s theories, while disregarding subsequent scholarship that did not explicitly inscribe or align with the mid-century criticism in its account of Jackson Pollock.
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McColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2180.
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This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.
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McColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)." University of Sydney, 2007. http://hdl.handle.net/2123/2180.
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Master of PhilosophyThis thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.
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Lause, John F. "Matter under Mind." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3270.
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The artist discusses the work for his Masters of Fine Arts exhibition, Mind under Matter, held at the Tipton Gallery in downtown Johnson City, Tennessee. Exhibition dates are from March 27th through April 5th 2017. ‘Matter under Mind’ explores the balance of control and non-control within the art-making process. This technique creates an automatic dialogue resulting in abstraction guided by the subconscious. The title ‘Matter under Mind’ is a slight play on the phrase ‘mind over matter’ emphasizing how matter/material is manipulated by the mind through the making of artwork, and within the mind’s eye or imagination.
The video installation featuring the work is accompanied by a soundscape to bring the viewer deeper into the creative process. The video symbolizes the idea of ‘solve et coagula’ or, dissolve and coagulate, destroy to recreate by revealing how the process of cleaning paint off of a surface creates artwork in itself.
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Younge, James Gavin Forrest. "The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.
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Bibliography: pages 232-240.This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.
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Lynch, Regina. "Corporeal Modernity: Shared Concepts in the Work of Jackson Pollock, Martha Graham, and Merce Cunningham." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197560.
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Art HistoryM.A.
Although working in two different mediums, Jackson Pollock, Martha Graham, and Merce Cunningham created works during the 1940s and 1950s that share several analogous formal characteristics, as well as a body-centered process that reminded viewers of both the corporeality of the artists and of themselves. My thesis identifies and interprets the formal analogies evident in each the artists' approach to asymmetry, repetition, gravity, and space. I argue that the common aspects among the works of the three artists resulted from their participation in a shared modernist discourse circulating post-war America, especially in New York. This discourse provided the artists access to common sources of inspiration, such as the writings of Carl Jung, Native American imagery, and Asian cultures. Each of these elements characterizes the work of all three artists, along with similar ideas concerning the individual, national identity, and modern technology.
Temple University--Theses
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Pinent, Antoni. "Dreaming “Macbeth’s film Project”. La práctica artística como investigación. Proceso de construcción del proyecto cinematográfico “Macbeth / The Empire State” y su contextualización." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/374246.
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El trabajo que aquí se presenta trata de dar cuenta del trayecto frustrado a lo largo de más de un lustro. La intención inicial era tratar de poner en pie un proyecto de largometraje cinematográfico, para que éste se convirtiera en objeto de estudio para el trabajo de tesis. Viéndose frustrado en varios intentos en su pre-producción, y llegando a las fechas establecidas para la conclusión y la entrega de la tesis, lo que se incluye aquí es el trabajo realizado hasta el momento durante ese camino. En éste se traslada el recorrido establecido desde la primera idea, su particular casting, el contexto en el que se podría encasillar este tipo de película, las intenciones artísticas para afrontar el proyecto, las diferentes piezas con las que se va construyendo su corpus de imagen y sonido, los titubeos reflejados en el propio proceso creativo del mismo, así como un gran 'anexo / portafolio' con varios materiales allí reunidos como cuaderno de bitácora.
Es por tanto que el trabajo de tesis que aquí inicia, es un viaje para ayudar a imaginar el potencial proyecto cinematográfico que concluirá más allá de este primer cierre [el de la tesis], para seguir su camino en solitario.The work presented here tries to explain the failed path over more than five years. The initial intention was to try to put in place a feature film project, so that it became an object of study for the thesis. Seeing several attempts frustrated in its pre-production, and coming to the dates set for the completion and delivery of the thesis, what is included here is the work done so far in that direction. In this travel set from the first idea, his particular casting, the context in which they could classify this kind of film, the artistic intentions to tackle the project, the different pieces that are being built moves his body image and sound, the hesitation reflected in the creative process of it himself; as well as a great 'Annex / Portfolio' with various materials gathered there as logbook. It is therefore the thesis work starts here, it is a journey to help imagine the potential film project which will conclude beyond this first closing [the thesis], to follow his path alone.
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Block, Katherine M. "Veils: Truth in Translation." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2540.
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This supporting document for the thesis exhibition entitled “Veils: Truth in Translation” will discuss Block’s exploration of painting during her time at East Tennessee State University. The supporting document also provides the historical background and influences which have contributed to Block's overall process and techniques. These influences include the Abstract Expressionists, Carl Jung, Ferdinand de Saussure, John Dewey, Theodor Adorno, Joan Mitchell and Gerhard Richter. In the supporting document Block probes the idea that non-objective painting is more than a language confined by linguistic elements of sign, signifier, and signified, but is a process of thinking, which is communicated on a higher level of perception than verbal speech or visual symbolism. Block will discuss how she translates experiences from the metaphysical realm of feeling and thought to the physical reality of paint and surface which communicates the experience to the viewer.
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Gillies, Peter. "'Poems to the Sea', and, Painterly poetics : Charles Olson, Robert Creeley, Cole Swensen." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/5225.
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Poems to the Sea: Rather than narrating or describing a work of visual art, the poems that form this collection show an accumulation, juxtaposition and realignment of material ranging from art historical detail and critique to a more personal, location specific response to works viewed in galleries and museums. Many of the poems engage with non-representational artworks and question how best to reflect, translate or expand upon their transformative effects. The first section, ‘Museum Notes’, explores Charles Olson’s open field poetics by giving artists and writers a conversational voice. ‘Sound Fields’, the second section, responds to individual works of art and reflects a systems-based approach. The authorial voice within ‘Poems to the Sea’, the third section, is that of an artist involved in making a series of palimpsest drawings to capture a sense of place as drawing and writing overlaps and intertwines. Painterly Poetics: Charles Olson, Robert Creeley, Cole Swensen: This thesis explores three American poets from successive generations to examine three related types of engagement with visual art. As literary models that have informed my own poetic practice, Charles Olson, Robert Creeley and Cole Swensen have theorized their own writing process to consider ways of using language to enhance the transmission and transcription of their visual stimuli and ideas. All three are interested in visual art as a model for the writing process: as a means of seeing, thinking and perceiving. After an introduction that surveys relations between verbal and visual art, a chapter is devoted to each of the three poets. In the opening and longest chapter, examples of Olson’s writing are compared to the approach of several Abstract Expressionist painters who contributed to the culture of experimentation and spontaneity that emerged under Olson’s leadership at Black Mountain College in the early 1950s. Following a discussion of Olson as a uniquely influential figure, the chapter on Creeley considers the role of visual art in his poetics. Swensen’s writing is subsequently explored for its extension of the Black Mountain legacy: how she builds upon established critical methods to achieve what she calls ‘a side-by-side, walking-along-with’ relationship between the poem and the artwork.
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Walter, Christopher D. "On Yonder Mountain." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/112.
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The road to becoming an artist is paved with much confusion as we try to mold our brains into understanding abstract concepts and ideas. I became fascinated with how people perceive art, in particular, southern males that have no previous knowledge of art history or desire to learn. I contemplated long and hard about this and asked myself the question, “What if they did want to understand art?” The only difference between my brethren and I is this desire to pursue this seemingly foreign world. By creating an imaginary world and culture based on my own southern upbringing I have created a series of figurative paintings exploring various contemporary art themes in an effort to clarify my own understanding of the two worlds I am closest to and how they may or may not be related.
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Lee, Chanju. "Birth and Women in Mythology." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/35.
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The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.
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Rampin, Dantas Neves. "A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284696.
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Orientador: Denise Hortencia Lopes GarciaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T15:11:52Z (GMT). No. of bitstreams: 1 Rampin_DantasNeves_M.pdf: 9209358 bytes, checksum: 374af3500d1f2a9923260762214a4c2a (MD5) Previous issue date: 2008
Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou concepções advindas da pintura na composição técnica e estética em sua música. Para discorrer sobre este tema, a dissertação apresenta uma breve contextualização histórica da década de 50, do século passado, momento do encontro de Feldman com os pintores. Em seguida, apresentamos as concepções desenvolvidas por Feldman em sua música derivadas da pintura. Para tanto, apresentaremos análises que nos permitam compreender como estas concepções se concretizam musicalmente através da história notacional do compositor. Do ponto de vista metodológico a pesquisa se vale das declarações do próprio compositor, de pesquisas que abordam o trabalho composicional de Morton Feldman e da análise de obras. Priorizamos a análise da peça Crippled Symmetry, já que ela apresenta uma das notações mais originais produzidas por Feldman, o que nos inspirou a composição de Sombras Sobre o Encoberto 11, peça que apresentamos neste trabalho como resultado composicional desta pesquisa. Nas considerações finais, além do resultado de Sombras Sobre o Encoberto 11, discutimos como as concepções utilizadas por Feldman a partir da pintura pode ser amplamente explorada como base composicional singular.
Abstract: This research is about the relation between the music of the American composer Morton Feldman and the group of painters of Abstract Expressionism The New York School of Visual Arts - from the point of view of himself. It will focus the way Feldman developed concepts drawn from painting in the technique and aesthetics of his music. Thus the dissertation presents a historical account of the 1950s, when Feldman and the painters met. Then we present concepts Feldman drew from painting and developed in his music. We provide analyses which allow us to understand how such concepts work musically throughout Feldman's notational history. The method of this research is based on Feldman's statements, researches about his compositional work and the analysis of pieces. Crippled symmetry, whose notation is among the most original devised by Feldman, undergoes extensive analysis. It has also been the inspiration for the composition of our work Sombras sobre o Encoberto II, We present this piece as the compositional outcome of this research. In addition to this piece, the conclusion shows how the concepts Feldman drew from painting can be vastly explored as a unique basis for the composition of music.
Mestrado
Mestre em Música
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Barnitz, Peter. "Repetition and the Power of Simplicity." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1300.
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My art consists of the repetition of patterns, shapes, numbers, text, and found objects that communicate concepts in language, science, and math as art. My work addresses aesthetic and formal aspects of the art itself and embraces the process and experience of creating. I use repetition of lines and shapes to create a complex mass of infinite amounts of shapes, which create what I regard as a peaceful gathering of energy. These patterns can be freely interpreted as the co-dependency between everything in existence, which contributes to the changing balance of life. Similar to my patterns, my sculptures fuse several layers of found objects to form a larger structure with the intention of creating a new meaning and life of those objects. The wide variety of subject matter in my artwork stems from a continuous and honest investigation into our constantly changing world.
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Nauronis, Gintautas. "Abstrakti vizija." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120211_115650-43829.
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Darbais kuriame savo istoriją, tarsi stebuklinį mitą, kuris tampa savotišku veidrodžiu, rodančiu regimus ir neregimus mūsų sielos pavidalus. Gintauto Nauronio tapyba taip pat jo gyvenimo metraštis, abstraktūs vaizdai, žmogaus pažvelgimas į save, į savo vidinį pasaulį, charakterio, temperamento savybes, egzistenciją.
Aliejinės tapybos darbų kolekcija "Abstrakti vizija"- tai sielos harmonija, kurios nereikia filosofiškai paaiškinti – užtenka išgyventi, pajusti, nuspėti.
Dailininko prigimtis, įvaldyta tapybinė technika, sugebanti įkvėpti gyvybę drobei. Įvairiausių spalvų ir atspalvių deriniai, kompozicijose panaudota linija, tapybos ciklui suteikia ypatingo skambesio. Darbuose dvelkianti ramybė, nuoširdumas, tyrumas, fantazija, jautrumas, optimizmas, ryžtas, geros, šviesios mintys užpildo naujais pojūčiais kiekvieno žiūrovo sielą ir gerą nuotaiką…
Dinamiškas modernistinis tapymo būdas, kurio pagrindas - tikėjimas, esą vidines pajautas, intuicijas, jausmus, potyrius bei būsenas betarpiškai perteikia spontaniška estetinio impulso raiška, suardanti nusistovėjusį pasaulį, jo vaizdą ir deformuojanti jo pavidalus.
Magistro darbas susideda iš dviejų dalių: teorinio aprašo ir praktinio kūrybinio darbo.
Teorinėje dalyje apžvelgiama kolekcijos koncepcija, idėjos ir temos paieška, darbe nagrinėjama problema, darbo tikslo bei uždavinių konkretizavimas, apžvelgiamos abstrakcionizmo, ekspresionizmo, fovizmo temos, spalvos reikšmė mene, kompozicijos... [toliau žr. visą tekstą]By works we create own history, sort of magic myth, which becomes a peculiar mirror showing visible and invisible our shapes of soul. The painting of Gintautas Nauronis and also his chronicle of life, abstract images, and human’s look into himself, his inner world, character, temperament’s features, existence. The creative collection of oily paintings Abstract Vision – it is soul‘s harmony, which is needn‘t to explain philosofically – it is enough to outlive, feel, foresee. The nature of painter, acquired pictorial technique, which is able to animate for a linen. The combinations of various colours and tones, a line used in the composition give a special sound for cycle of painting. The calm, warm, energy, breath, optimism, strength, sensibility and even love whiffling in the paintings, fill every spectator‘s soul and moode by new feelings... Dynamic modernistic method of painting, whose principle - belief that sensations, intuitions, feelings, experiences and states are proximately conveyd by spontaneous aesthetical expression of impulse, which destroys a well-established view of life and deforms its shapes. Dissertation consists of to parts: theoretical schedule and practical creative work. In the theoretical part it is overlook ideas and search of theme, the significance of abstractionism, expressionism, fovism and colour in the art, conception of composition, it is also provided theoretical material of Dr. Robert Belton What is Art?, What is... [to full text]
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Angrand, Pierre-Yves. "Contributions à l'étude de la dérivation des expressions rationnelles et à l'étude des systèmes de numération abstraits." Phd thesis, Télécom ParisTech, 2012. http://pastel.archives-ouvertes.fr/pastel-00850633.
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Les travaux de cette thèse s'inscrivent dans la théorie des automates et des langages formels. ils peuvent se diviser en deux parties qui donnent également deux visions différentes de manipuler les langages dans la théorie des automates. La première partie s'intéresse à la notion de dérivation des expressions qui permet de faire passer le formalisme des quotients de langages au niveau des expressions rationnelles. en particulier cette thèse étudie les termes dérivés cassés d'une expression rationnelle. ces termes dérivés cassés permettent, sous certaines circonstances, et à l'aide d'autres opérations, une réversibilité de la transformation d'un automate en une expression rationnelle. Dans la seconde partie, la théorie des automates est utilisée pour traiter des problèmes sur les systèmes de numération. les systèmes de numération représentent des nombres par des mots. il est possible d'utiliser des automates et des transducteurs afin d'être capable de 'compter' sur un langage rationnel représentant les entiers. plus précisément ces automates sont étudiés pour le cas des systèmes de numération abstraits qui associent à chaque entier un mot d'un langage rationnel, ordonné par l'ordre radiciel. dans un tel système, la fonction qui permet de calculer le mot suivant est une fonction co-séquentielle par morceaux, c'est-à-dire qu'il suffit de lire deux fois le mot d'entrée de la droite vers la gauche pour qu'une machine calcule son image.
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Neishi, Miwa. "The Formless Self." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461685555.
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Weng, Cho-jui. "Pile Up, And Swing Back : Abstract Expressions of Travel Fetishism." Thesis, Konstfack, Grafisk Design & Illustration, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3664.
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Grzonka, Sabine Alice. "Die Erfindung der Moderne: Das Manifest Refus global und die identitätsstiftende Rezeption von Surrealismus und Automatismus in Québec." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2003. http://nbn-resolving.de/urn:nbn:de:swb:14-1049805467906-74977.
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The manifesto of the Quebecer art movement Automatism, the Refus global (Montreal, 1948), is today one of the best known socio-political writings of Quebec. It is considered to have been the beginning of Quebec's cultural modernity and an early sign of its political modernity. In the early 1940's the manifesto's author Paul-Émile Borduas (1905-1960) had already been praised for his art later named "Automatism". It was seen by the automatists as the evolution of Surrealism (like Abstract Expressionism). Many art critics called this the first Canadian painting that followed the modern aesthetics of the time. According to the surrealist program the automatists aspired to create a new Quebec society. In 1948, the fact that their manifesto differed greatly from the conservative political and social ideas of Maurice Duplessis (Prime Minister of Quebec from 1936 to 1939 and from 1944 to 1959) made Borduas and the manifesto famous. It was considered to be an attack against the traditionalistic institutions because it not only required pictorial but also general liberty. Maurice Duplessis' death in 1959 was the beginning of the Quiet Revolution. During this eventful time the Quebecois began officially to identify with the modern state they were creating. The end of the old regime was also the beginning of a new Quebec nationalism which is important for the new reception of Automatism. The intellectuals discovered the Refus global and saw in Borduas their spiritual father in their claim for an original Quebec culture and a greater political autonomy. In the former condemnation of the manifesto they found the proof that the old political system in Quebec prevented modernity. This thesis traces the reception of Surrealism, Automatism and the Refus global in Quebec throughout the period from the 1940's to the turn of the century. It shows how modern (cultural and national) identity has been established, which groups have been interested in its construction and how the commemoration of the manifesto still helps today to support the nationalist project in QuebecDas Manifest des Automatismus, der Refus global (Montreal, 1948), zählt heute zu den bedeutendsten soziopolitischen Schriften Québecs und wird als Beginn der kulturellen und als Vorzeichen der politischen Moderne Québecs angesehen. Die Dissertation untersucht die Rezeption des Manifests und der quebecer Kunstströmung, die sich als eine Weiterentwicklung des europäischen Surrealismus sah, sowie den Wandel in der Sinnzuweisung. Der Untersuchungskorpus besteht aus Artikeln, Ausstellungskatalogen, Monografien, Dokumentarfilmen etc., die in den letzten 50 Jahren über den Automatismus bzw. den Refus global in Québec erschienen sind. Für ihre Analyse wurden literarische Rezeptionstheorien und "Gedächtnistheorien" (u.a. von Jauß, Assmann und Nora) herangezogen. Mit ihrer Hilfe wird der Weg nachgezeichnet, wie die Schrift und die Kunstbewegung in das kollektive quebecer Gedächtnis eingingen, um dem Aufbau einer modernen quebecer Identität zu dienen und den politischen Diskurs des Souveränismus in Québec zu stützen. Die Ergebnisse werfen auch ein Licht auf die Gruppen, die an diesem Prozess beteiligt waren und noch immer sind. Bereits zu Beginn der 1940er Jahre hatte der Autor des Manifests, Paul-Émile Borduas (1905-1960), die Aufmerksamkeit der Intellektuellen auf sich gezogen: Zahlreiche Kunstkritiker erkannten in seiner Malerei den Beginn einer originären kanadischen Kunst der Moderne, die nicht mehr die europäischen Vorbilder kopierte, sondern mit der zeitgenössischen Ästhetik (s. Abstrakter Expressionismus) aufschloss. Wie den Surrealisten, so ging es auch den Automatisten um die Schaffung einer neuen Gesellschaft. Ihr im Refus global dargelegtes Programm kontrastierte denn auch aufs Schärfste mit dem konservativen politischen und sozialen Diskurs von Maurice Duplessis (Premierminister von Québec von 1936 bis 1939 und von 1944 bis 1959), der zudem vom Antikommunismus in den USA beeinflusst wurde. Der Tod Duplessis' im Jahr 1959 war zugleich der Beginn der Révolution tranquille. Während dieser ereignisreichen Zeit identifizierten sich zahlreiche Quebecer mit dem modernen Staat, den sie schufen. Durch die Kontrastierung des Traditionalismus Duplessis' mit den Neuerungen der 1960er Jahre entstand der Eindruck, Québec trete erst jetzt in seine politische Moderne ein. Vor dem Hintergrund dieser Geschichtsinterpretation entstand ein neuartiger quebecer Nationalismus, der auf eine größere Autonomie Québecs abzielte und entscheidend für die Wahrnehmung des Automatismus war: Die Intellektuellen entdeckten den Refus global wieder und sahen in seinem Autor den geistigen Vater ihres Rufes nach einer originären quebecer Kultur der Moderne als Grundlage einer größeren politischen Autonomie. In den folgenden Jahren bedienten sie sich des Automatismus zur Schaffung einer neuen quebecer (Kultur-)Geschichte, in die der Ruf nach kollektiver Selbstbestimmung eingeschrieben wurde. So avancierten Borduas und die anderen Automatisten zu Vorvätern des modernen Québec. Diese Wahrnehmung der Bewegung wird begleitet von einer Abwertung der Leistungen anderer moderner quebecer Künstler und Immigranten und dient bis heute der Stärkung des nationalen Ichs
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Grzonka, Sabine Alice. "Die Erfindung der Moderne: Das Manifest Refus global und die identitätsstiftende Rezeption von Surrealismus und Automatismus in Québec." Doctoral thesis, Technische Universität Dresden, 2002. https://tud.qucosa.de/id/qucosa%3A24203.
Full textAbstract:
The manifesto of the Quebecer art movement Automatism, the Refus global (Montreal, 1948), is today one of the best known socio-political writings of Quebec. It is considered to have been the beginning of Quebec's cultural modernity and an early sign of its political modernity. In the early 1940's the manifesto's author Paul-Émile Borduas (1905-1960) had already been praised for his art later named "Automatism". It was seen by the automatists as the evolution of Surrealism (like Abstract Expressionism). Many art critics called this the first Canadian painting that followed the modern aesthetics of the time. According to the surrealist program the automatists aspired to create a new Quebec society. In 1948, the fact that their manifesto differed greatly from the conservative political and social ideas of Maurice Duplessis (Prime Minister of Quebec from 1936 to 1939 and from 1944 to 1959) made Borduas and the manifesto famous. It was considered to be an attack against the traditionalistic institutions because it not only required pictorial but also general liberty. Maurice Duplessis' death in 1959 was the beginning of the Quiet Revolution. During this eventful time the Quebecois began officially to identify with the modern state they were creating. The end of the old regime was also the beginning of a new Quebec nationalism which is important for the new reception of Automatism. The intellectuals discovered the Refus global and saw in Borduas their spiritual father in their claim for an original Quebec culture and a greater political autonomy. In the former condemnation of the manifesto they found the proof that the old political system in Quebec prevented modernity. This thesis traces the reception of Surrealism, Automatism and the Refus global in Quebec throughout the period from the 1940's to the turn of the century. It shows how modern (cultural and national) identity has been established, which groups have been interested in its construction and how the commemoration of the manifesto still helps today to support the nationalist project in Quebec.Das Manifest des Automatismus, der Refus global (Montreal, 1948), zählt heute zu den bedeutendsten soziopolitischen Schriften Québecs und wird als Beginn der kulturellen und als Vorzeichen der politischen Moderne Québecs angesehen. Die Dissertation untersucht die Rezeption des Manifests und der quebecer Kunstströmung, die sich als eine Weiterentwicklung des europäischen Surrealismus sah, sowie den Wandel in der Sinnzuweisung. Der Untersuchungskorpus besteht aus Artikeln, Ausstellungskatalogen, Monografien, Dokumentarfilmen etc., die in den letzten 50 Jahren über den Automatismus bzw. den Refus global in Québec erschienen sind. Für ihre Analyse wurden literarische Rezeptionstheorien und "Gedächtnistheorien" (u.a. von Jauß, Assmann und Nora) herangezogen. Mit ihrer Hilfe wird der Weg nachgezeichnet, wie die Schrift und die Kunstbewegung in das kollektive quebecer Gedächtnis eingingen, um dem Aufbau einer modernen quebecer Identität zu dienen und den politischen Diskurs des Souveränismus in Québec zu stützen. Die Ergebnisse werfen auch ein Licht auf die Gruppen, die an diesem Prozess beteiligt waren und noch immer sind. Bereits zu Beginn der 1940er Jahre hatte der Autor des Manifests, Paul-Émile Borduas (1905-1960), die Aufmerksamkeit der Intellektuellen auf sich gezogen: Zahlreiche Kunstkritiker erkannten in seiner Malerei den Beginn einer originären kanadischen Kunst der Moderne, die nicht mehr die europäischen Vorbilder kopierte, sondern mit der zeitgenössischen Ästhetik (s. Abstrakter Expressionismus) aufschloss. Wie den Surrealisten, so ging es auch den Automatisten um die Schaffung einer neuen Gesellschaft. Ihr im Refus global dargelegtes Programm kontrastierte denn auch aufs Schärfste mit dem konservativen politischen und sozialen Diskurs von Maurice Duplessis (Premierminister von Québec von 1936 bis 1939 und von 1944 bis 1959), der zudem vom Antikommunismus in den USA beeinflusst wurde. Der Tod Duplessis' im Jahr 1959 war zugleich der Beginn der Révolution tranquille. Während dieser ereignisreichen Zeit identifizierten sich zahlreiche Quebecer mit dem modernen Staat, den sie schufen. Durch die Kontrastierung des Traditionalismus Duplessis' mit den Neuerungen der 1960er Jahre entstand der Eindruck, Québec trete erst jetzt in seine politische Moderne ein. Vor dem Hintergrund dieser Geschichtsinterpretation entstand ein neuartiger quebecer Nationalismus, der auf eine größere Autonomie Québecs abzielte und entscheidend für die Wahrnehmung des Automatismus war: Die Intellektuellen entdeckten den Refus global wieder und sahen in seinem Autor den geistigen Vater ihres Rufes nach einer originären quebecer Kultur der Moderne als Grundlage einer größeren politischen Autonomie. In den folgenden Jahren bedienten sie sich des Automatismus zur Schaffung einer neuen quebecer (Kultur-)Geschichte, in die der Ruf nach kollektiver Selbstbestimmung eingeschrieben wurde. So avancierten Borduas und die anderen Automatisten zu Vorvätern des modernen Québec. Diese Wahrnehmung der Bewegung wird begleitet von einer Abwertung der Leistungen anderer moderner quebecer Künstler und Immigranten und dient bis heute der Stärkung des nationalen Ichs
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Riepma, Lindsy. "Mor' better, mor' worse : the effects of marriage on the valuing of art." Honors in the Major Thesis, University of Central Florida, 1998. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/49.
Full textAbstract:
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