Dissertations / Theses on the topic 'Agnes Martin'
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1
Lo, Siwin. "Work and the work of art : Agnes Martin, 1959–1964." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54533.
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Agnes Martin's grids confound easy classification. Each is a six-foot square consisting only of horizontal and vertical lines arranged in stable, rhythmic patterns that emphasize no one portion of the canvas over another. In 1960, the grid emerges from the wall, from the canvas, and from Martin’s own hair and clothing. The artist herself retreats, sheathing herself in the very same graphic strategy that she commits to in the decades of painting to come. Yet, there is ample visual evidence that she was already exploring aspects of this final form in two 1959 works, both Untitled, that demonstrate Martin’s exploration of detail’s relationship to viewing distance and an awareness of the grapheme’s ability to testify to the labour of artwork. An examination of this rigorous disciplinary process offers a means of considering artistic labour as a form of resistance to the elision of human labour time inherent in capitalist modes of production. By addressing abstract labour under capital through an analysis of the painterly abstraction of Martin’s artistic practice, this study aims to demonstrate the critical potential of formal analysis by means of two major interventions into recent Marxist theory. The first addresses a lacuna within Marx’s own definition of the work of art. The second involves a repurposing of Italian feminist theory on housework to address the slippages of meaning within artwork that can act as potential moments of resistance to the logic of industrial capitalist production.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Hardman, Andrew. "Studio habits : Francis Bacon, Lee Krasner, Jackson Pollock and Agnes Martin." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/studio-habits-francis-bacon-lee-krasner-jackson-pollock-and-agnes-martin(972d3759-4ecf-48d5-9995-beae9229348c).html.
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This thesis is about studio habits. Specifically, it considers what happens in practice in the artist's studio and ways in which creative acts have been visualised and disseminated. The chapters of this thesis are organised around views of the studios of four twentieth century painters: Francis Bacon (1908-1994), Lee Krasner (1909-1984), Jackson Pollock (1912-1956) and Agnes Martin (1913-2005). Each of these artists' studio habits has been fundamental to their respective mythologies and the studios they occupied in their lifetimes have inflected discussion of their work. Drawing on critical theories of sexuality, gender and space, this thesis argues that the idea of the artist as a master continues to dominate as an explanation of art-making but that this characterisation is called into question by these four artist's specific practices in the studio. Close readings of the studio habits in these case studies, considered here as a situated negotiation between artist and studio, challenges the idea of mastery that studio-view exhibits and images tend to promote. Notions of mastery are inclined to construct practice as a paradigm between an active artist and passive studio materials and these, in turn, are apt to be read in terms of masculinity and femininity, respectively. Thus, the role of studio artist has tended to privilege a male lead. Therefore, analysing particular performances of masculinity by these artists provides a means to contest reading studio-view images as statements of mastery and the damaging and inequitable connotations this designation implies. Furthermore, this thesis argues that the recent trend to preserve studio material, or to otherwise encompass traces of practice in exhibits, films and photographs, may be correlated with theoretical shifts which took place in latter half of the twentieth century as a response to philosophical losses entailed in the critique of authority and objecthood and the rise of performance and conceptual art practices.
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Phelps, Sharon. "Agnes Martin : painting as making and its relation to contemporary practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12401/.
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Can nuances of surface – by drawing the viewer close – offer contemplative experience, and enable art-making methods to be better understood? I investigate Agnes Martin’s methods, which are available to those looking carefully at her paintings, focusing on the late 1950s and early 60s. Her constructions of materials found near her New York studio have received little critical attention in existing writing, despite their pivotal role in the development of her grid paintings. I re-enacted some of her methods, and adopted some of the elements that I observed in her artworks from this period, in order to better understand the relationship between found objects in these works and the marks and lines within later paintings and drawings. I focused on the particular quality of attention Martin devoted to marks, materials and surfaces, both in her work and in her working environment; this involved analysing and attempting to follow her ‘contemplative’ approach (see Chapter 2). A practical analysis extended the understanding of Martin’s methods and the effects of local North American influences, and resulted in a new body of layered and two-sided artworks, described throughout this thesis. This investigation of her meditative methods and how the field of painting can include objects and sculpture relates for the first-time Martin’s attitude toward making with some artists who are working today (see Chapters 7 and 8). It also adds to existing scholarship on Martin by comparing her surfaces’ demand for closeness (see Chapter 9) with the participatory practices of Lygia Clark and Gego in South America (see Chapter 10). Mondrian’s influence is thereby traced in separate but parallel lines of abstraction. This thesis’ main contribution is a new workshop methodology (see Chapter 12) as a guide for those who wish to research an artist and their methods. The methodology offers a discursive structure within which to investigate art practice through new practice. The presentation of new artworks in participatory workshops in an exhibition setting invites discussion about art-making methods, emphasising the role of practice in the artistic research process. New artworks were offered to be hand-held by the viewer, and this invitation to attend closely was accompanied by art-making and dialogue around practice. The responses I gathered from participants indicate that this type of active engagement can disseminate tacit knowledge and offer experience of a contemplative approach.
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Cseh, Agnes [Verfasser], Martin [Akademischer Betreuer] Skutella, Martin [Gutachter] Skutella, and Gerhard J. [Gutachter] Woeginger. "Complexity and algorithms in matching problems under preferences / Agnes Cseh ; Gutachter: Martin Skutella, Gerhard J. Woeginger ; Betreuer: Martin Skutella." Berlin : Technische Universität Berlin, 2016. http://d-nb.info/115601204X/34.
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Beermann, Agnes Verfasser], William F. [Akademischer Betreuer] [Martin, and Simeon [Akademischer Betreuer] Santourlidis. "Epigenetische Biomarker für die Diagnose und Prognose des Harnblasenkarzinoms / Agnes Beermann. Gutachter: William Martin ; Simeon Santourlidis." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2015. http://d-nb.info/1074999010/34.
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Beermann, Agnes [Verfasser], William F. [Akademischer Betreuer] Martin, and Simeon [Akademischer Betreuer] Santourlidis. "Epigenetische Biomarker für die Diagnose und Prognose des Harnblasenkarzinoms / Agnes Beermann. Gutachter: William Martin ; Simeon Santourlidis." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2015. http://d-nb.info/1074999010/34.
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Isaeus-Berlin, Dina. "EN FORTGÅENDE UNDERSÖKNING AV KONSTNÄRLIGT GÖRANDE OCH DESS FÖRUTSÄTTNINGAR." Thesis, Konstfack, Institutionen för Konst (K), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5674.
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Friend, Zoe L. "Normal What." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1305.
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The title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.
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Friend, Zoe L. "Normal What." University of Sydney, 2005. http://hdl.handle.net/2123/1305.
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Master of Visual ArtsThe title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.
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Hayek, Dayana [Verfasser], Agnes [Akademischer Betreuer] Flöel, Alfons [Akademischer Betreuer] Hamm, Agnes [Gutachter] Flöel, Alfons [Gutachter] Hamm, Martin [Gutachter] Lotze, and Michael [Gutachter] Nitsche. "Association of cognitive performance with hippocampal network integrity of healthy adults and its modulation through non-invasive brain stimulation / Dayana Hayek ; Gutachter: Agnes Flöel, Alfons Hamm, Martin Lotze, Michael Nitsche ; Agnes Flöel, Alfons Hamm." Greifswald : Universität Greifswald, 2019. http://d-nb.info/1193177782/34.
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Hayek, Dayana [Verfasser], Agnes [Akademischer Betreuer] Flöel, Alfons [Akademischer Betreuer] Hamm, Agnes Gutachter] Flöel, Alfons [Gutachter] Hamm, Martin [Gutachter] Lotze, and Michael [Gutachter] [Nitsche. "Association of cognitive performance with hippocampal network integrity of healthy adults and its modulation through non-invasive brain stimulation / Dayana Hayek ; Gutachter: Agnes Flöel, Alfons Hamm, Martin Lotze, Michael Nitsche ; Agnes Flöel, Alfons Hamm." Greifswald : Universität Greifswald, 2019. http://nbn-resolving.de/urn:nbn:de:gbv:9-opus-29229.
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Müller, Stephanie [Verfasser], Ágnes [Gutachter] Fekete, Rosalia [Gutachter] Deeken, and Martin J. [Gutachter] Müller. "Plant thermotolerance: The role of heat stress-induced triacylglycerols in Arabidopsis thaliana / Stephanie Müller ; Gutachter: Agnes Fekete, Rosalia Deeken, Martin J. Müller." Würzburg : Universität Würzburg, 2017. http://d-nb.info/1138566659/34.
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Dorn, Christine Agnes [Verfasser], Gernot [Akademischer Betreuer] KeyßEr, JOERN [Akademischer Betreuer] KEKOW, and Hanns-Martin [Akademischer Betreuer] Lorenz. "Vergleichende Untersuchung von Modifikationen der medikamentösen Therapie bei Rheumatoider Arthritis und ihre Auswirkungen auf Parameter der Krankheitsaktivität / Christine Agnes Dorn. Betreuer: Gernot Keyßer ; Jörn Kekow ; Hanns-Martin Lorenz." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2015. http://d-nb.info/1078898456/34.
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Bailey, M. D. "At the margin : Suffolk Breckland in the Middle Ages." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383715.
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BARLOW, NADINE GAIL. "RELATIVE AGES AND THE GEOLOGIC EVOLUTION OF MARTIAN TERRAIN UNITS (MARS, CRATERS)." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184013.
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Existing martian relative age chronologies rely entirely or predominantly on Mariner 9 images, extrapolated numbers of craters, and craters 500(DEGREES)K) for the planet are consistent with the derived chronology.
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MacGregor, James Bruce. "Salue Martir Spes Anglorum: English Devotion to Saint George in the Middle Ages." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1014136452.
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Oliveira, Andreiza Valéria de. "Idade média e modernidade: a recepção crítica e criativa das cantigas do mar de vigo." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-04022010-114542/.
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Esta dissertação, seguindo os preceitos teóricos da Estética da Recepção de Hans Robert Jauss, aborda a proximidade que pode existir entre as produções literárias de períodos distintos por efeito de sua recepção em épocas diversas. Em um primeiro momento, foi necessário conhecer, recorrendo principalmente às pesquisas de Paul Zumthor, a tradição poético-musical predominante na Idade Média. O foco central deste estudo, em relação ao período medieval, corresponde às sete cantigas de amigo do jogral Martim Codax. As conquistas do século XX, em relação ao passado medieval, não se limita ao plano filológico e musical. O trabalho desempenhado por poetas, como Ezra Pound e T.S. Eliot, que se propuseram a recuperar certos valores medievais na poética modernista trouxe à tona uma recuperação criativa, diversa de se imitar o passado, mas disposta a renová-lo. Tal aproximação criativa entre presente e passado também foi alvo de estudo de Mikhail Bakhtin, cujas ideias muito contribuíram para esta pesquisa. Foram vários os escritores modernistas que de alguma forma resgataram marcas de uma tradição possível de ser recuperada. Este retorno ocorreu em diferentes países, contemplando poetas de nacionalidades distintas. O intuito principal, entretanto, foi o de perceber as provas de contato entre as cantigas de Martim Codax e a poesia modernista. Examinamos a recepção criativa de dois poetas contemporâneos: Adília Lopes e Duda Machado e, em maior profundidade, a recepção realizada por Mário de Andrade no livro Lira Paulistana.This research, following the theoretical principles of the Aesthetic of Reception by Hans Robert Jauss, addresses the relationship that may exist between the literary productions of different periods, the effect of its readings at different times. At first, it was necessary to know the research of Paul Zumthor, the poetic-musical tradition prevalent in the Middle Ages. The focus of this study, concerning the medieval period, is on the seven cantigas de amigo of Martin Codax. The achievements of the twentieth century from the medieval past are not limited to philological and musical background. The work performed by poets such as Ezra Pound and TS Eliot, who proposed to retrieve certain values in medieval modernist poetry, brought about a creative recovery, different from imitating the past, but willing to renew it. This creative approach between past and present was also studied by Mikhail Bakhtin, whose ideas contributed greatly to this research. Several modernist writers who somehow rescued marks of this tradition showed that it can be recovered. Such rereading occurred in several countries, including poets of different nationalities. The main purpose of this work, however, was to see the evidence of contact between the songs of Martin Codax and modernist poetry. We examine the creative reception of contemporary poets: Adília Lopes and Duda Machado, and further, the reception hosted by Mário de Andrade in the book Lira Paulistana
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Puel, Olivia. "Saint-Martin de Savigny : archéologie d’un monastère lyonnais : Histoire monumentale et organisation spatiale des édifices cultuels et conventuels (IXe-XIIIe siècle)." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20121/document.
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Fondée à l’époque carolingienne et supprimée à l’aube de la Révolution française, l’abbaye de Savigny (Rhône) est restée longtemps ignorée des archéologues en raison de son niveau de destruction avancé. L’approche épistémologique des études saviniennes a d’abord révélé le potentiel archéologique du site, en soulignant toute la différence entre les publications officielles et les archives personnelles des savants. La confrontation des résultats de l’analyse des sources d’archives et de l’analyse des vestiges archéologiques a surtout permis de reconstituer l’histoire monumentale des édifices monastiques et de proposer des restitutions en plan du monastère, pour l’époque carolingienne, l’époque romane et la fin du Moyen Âge. De nouvelles conclusions peuvent désormais être proposées en rapport avec l’histoire savinienne. En adoptant vraisemblablement le plan standard des abbayes bénédictines dès sa création, dans le premier tiers du IXe siècle, l’abbaye témoigne d’abord de l’insertion rapide des idéaux carolingiens de vie communautaire dans le diocèse de Lyon. Elle subit ensuite de nombreux remaniements qui ne remettent pas en cause son organisation générale, mais qui adaptent les édifices existants aux exigences d’une liturgie nouvelle. La transformation de la deuxième église aboutit paradoxalement à la création d’une église mariale, à l’intersection de l’infirmerie et du cimetière, mais aussi d’une avant-nef. Ce faisant, elle répond à la fois à la multiplication des messes pour les défunts et à la ritualisation de l’accompagnement des mourants, qui reflètent les coutumes clunisiennes. Aussi faut-il envisager que l’abbaye de Savigny ait été réformée par l’abbaye de Cluny à la charnière du Xe et du XIe siècle, sans pour autant être intégrée à l’Ecclesia cluniacensisThe abbey of Savigny (Rhône), founded during the Carolingian period and nearly destroyed at the dawn of the French Revolution, has long been ignored by archaeologists due to the extent of its destruction. The epistemological approach of the Savigny studies revealed at first the archaeological potential of this site, emphasizing important differences between the official publications and the personal archives of the scientists. Comparing the results of the analysis of both archival sources and archaeological remains enabled to reconstitute the monumental history of the monastic buildings and to suggest drawing reproductions of the monastery for the Carolingian period, the Romanesque period and the end of the Middle Ages. New lines of thinking can now be put forward with regard to Savigny history. Probably built to the standard plan of benedictin abbeys from its onset during the first third of the IXth century, the abbey mainly reflects the fast integration of the Carolingian values of community life in the diocese of Lyon. It then underwent several changes which do not challenge its general organization but help the existing buildings to adapt to the requirements of a new liturgy. The transformation of the second church paradoxically results in the creation of a marian church at the intersection of the infirmary and the cemetery and, in addition, of a front-nave. Consequently, it is both an answer to the growing number of funeral masses and to the rituals used to accompany the dying that reflect the Cluny traditions. We may then consider that the abbey of Savigny could have been reformed by the abbey of Cluny at the turning from the Xth to the XIth century without being integrated into the Ecclesia cluniacensis
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Rocha, Janaína Marques Ferreira. "Espetáculo jogralesco: o gesto vocal." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14733.
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Departing from the concept of 'performance' by Paul Zumthor, this work searches, in the occitane narrative of the XIII th century and in the seven galicianportuguese cantigas de amigo by Martin Codax, the voice modulation and the body expressivity in jongleurs, seeking to identify in which way both these genres, narrative poem and lyric poetry, give prior to distintct gestures. In the occitan roman, we analyse - in the perspective of dialogical interventions - the relation of the interpreter with the listeners. In the seven chaints, we mark the using of rhetorical-styllistc resources as support to memory and voice expressivity. In this way, we contextualize the social function of jongleurs, delimiting its space, its habilities and marking its importance as trasnmissors of medieval literary production. As a synthesis of this investigation we reflect about the presence of this tradition in contemporary times through the transcription of Codax's chaints to the dance show "Sem Mim", made by Grupo Corpo
A partir do conceito de performance, segundo Paul Zumthor, buscamos, na narrativa occitana do século XIII, Roman de Flamenca, e nas sete cantigas de amigo galego-portuguesas, do poeta Martin Codax, os elementos que atestam a modulação da voz e a expressividade do corpo dos jograis, procurando identificar como esses dois gêneros, poema narrativo e poesia lírica, priorizam gestualidades distintas. No roman occitano, analisamos, na perspectiva das intervenções dialógicas, a relação do intérprete com os ouvintes. Nas sete cantigas, destacamos a utilização dos recursos retóricoestilísticos como suportes para a memória e expressividade da voz. Nesse sentido, contextualizamos a função social dos jograis, delimitando seu espaço, suas habilidades e ressaltando sua importância como transmissores da produção literária medieval. Como síntese dessa investigação, refletimos sobre a presença dessa tradição na contemporaneidade por meio da transcriação das cantigas de Codax para o espetáculo de dança Sem Mim , realizado pelo Grupo Corpo
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He, Yanhong, and 何艷紅. "Ages and geochemistry of the Xiong'er volcanic rocks along the southern margin of the North China Craton: implications for the outgrowths of the paleo-mesoproterozoicsupercontinent Columbia (Nuna)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B4163424X.
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He, Yanhong. "Ages and geochemistry of the Xiong'er volcanic rocks along the southern margin of the North China Craton implications for the outgrowths of the paleo-mesoproterozoic supercontinent Columbia (Nuna) /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B4163424X.
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Lamm, Debra Z. "Salvation through Suffering: Imaginative Pilgrimage in Schongauer's Christ Carrying the Cross." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437827993.
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Traisnel, Florence. "L'INTER-DIT : UN JEU D'ADRESSES : quand écrivent pour la jeunesse à L'école des loisirs et pour les adultes aux Éditions de l'Olivier Christophe Honoré et Manuela Draeger et Olivier Adam, Geneviève Brisac, Agnès Desarthe, Marie Desplechin, Christian Lehmann, Maya Nahum, Christian Oster, Martin Page, Claude Ponti, Florence Seyvos, Valérie Zenatti." Thesis, Valenciennes, 2016. http://www.theses.fr/2016VALE0028/document.
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Le nombre d’auteurs contemporains qui écrit pour les adultes et pour les enfants va croissant, à tel point que la critique anglophone a forgé le terme de crosswriters pour les désigner. Ce travail se propose d’observer ces va-et-vient entre L’école des loisirs et les Éditions de l’Olivier de 1991 à 2011. Ces circulations répondent à d’importants enjeux éditoriaux et témoignent du rôle crucial des éditeurs dans l’accompagnement des écrivains. Cette thèse s’intéresse plus particulièrement à Christophe Honoré et Manuela Draeger (un des hétéronymes d’Antoine Volodine). Tous deux usent singulièrement du crosswriting puisque certains de leurs textes pour enfants et de leurs textes pour adultes se répondent au point qu’un inter-dit peut siéger dans le blanc qui sépare ces deux corpus. Ce phénomène d’intratextualité, adossé à un geste de polyadresse, remet en cause l’intransitivité supposée de la littérature car pour être décrypté, ce dit en suspens appelle un lecteur transgénérationnel. Cet inter-dit est le lieu où se jouent des transitions d’un âge vers un autre, des transmissions d’une génération à une autre... Mais c’est aussi le lieu de ce qui ne passe pas et vient trouer l’œuvre pour faire écho au trauma individuel ou collectif. Et si c’est toujours le texte pour adultes qui délègue au texte pour enfants ce qui ne peut être articulé dans une langue adultocentrée, ces transferts ne viennent jamais suturer la béance du dispositif intratextuel mais explorent en littérature jeunesse d’autres rapports à la langue et disent quelque chose de l’être de langage que nous sommesThe number of contemporary authors who write both for adults and children keeps rising, so much so that anglophone criticism has coined the term crosswriters to label the phenomenon. This work proposes to observe back-and-forth crossings between L’école des loisirs and Éditions de l’Olivier between 1991 and 2011. What motivate these crossings are important editorial stakes that attest to the crucial role played by publishers in guiding their authors. This dissertation will look more specifically to Christophe Honoré and Manuela Draeger (one of Antoine Volodine’s heteronyms). Both writers resort to crosswriting in singular ways as some of their children’s books and books for adults respond to one another to such an extent that what I call an “inter-diction” lodges itself in the interstice that divides their respective corpuses. This phenomenon of intratextuality, supported by a gesture of polyaddress, calls into question literature’s supposed intransitivity given that, in order to be decrypted, this suspended diction calls for a transgenerational reader. This inter-diction is the stage where are performed transitions from one age to another and where occur transmissions from one generation to the next. But it is also the site of what does not pass, of what punctures the work in an echo to individual or collective trauma. And if it is always the texts written for an adult readership that devolve to those for children what cannot be articulated in an adultocentered language, these transfers never seek to suture the abyss opened by intratextuality but rather explore through children’s literature alternative relations to language, thereby teaching us something about the linguistic beings that we are
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Yandell, Ariana. "WARP/WEFT: AGNES MARTIN, TEXTILES, AND THE LINEAR EXPERIENCE." 2017. http://scholarworks.gsu.edu/art_design_theses/214.
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This essay is a study of Agnes Martin (1912-2004), a Canadian-born and American-based contemporary artist, and her earlier painting practice including, but not limited, to her work Falling Blue of 1963. The exploration of this piece and others frames Martin’s early work as a process of material exploration analogous to weaving and fiber art. This framing is enhanced by the friendship and professional exchange between Martin and artist Lenore Tawney (1907-2007). The textile lens, as explored in this paper, has been undeveloped compared to other approaches to Martin’s early work and practice.
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Bichão, Sara Coelho 1986. "Open gates : (pre)sentimentos de um caminho : David Lynch, Matthew Barney, Agnes Martin." Master's thesis, 2011. http://hdl.handle.net/10451/2532.
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Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2011The research contained in this theoretical/practical thesis aims to clarify and reinforce some beliefs that constructs my artistic discourse, especially one surrounding a certain type of feeling (or intuition) that moves me and seems to lead into a path that is somehow unclear but perceptible and also reliable. However, I don’t want to go deeper within the concepts of truth, perfection or a certain kind of sublime that could be related to that diffuse goal. While using those possibilities, in this specific moment I simply want to understand better the condition to undertake from the experience of other authors who determined my career. So far - David Lynch, Matthew Barney and Agnes Martin - authors who despite the differences that distinguish them, can be identified in a similar way in the path to interpret the artistic creation. Meaning that art should be seen as an universal degree of perfection in which also participates an atmosphere of strangeness. By the end of this journey, perhaps my own artistic thread may be understood - experienced in the expression and constrution of objects characterized by a strong programmatic opening, but fully consistent with the mentioned influences
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RISTVEDT, MILLY MILDRED THELMA. "Reinhardt, Martin, Richter : Colour in the Grid of Contemporary Painting." Thesis, 2011. http://hdl.handle.net/1974/6771.
Full textAbstract:
The objective of my thesis is to extend the scholarship on colour in painting by focusing on how it is employed within the structuring framework of the orthogonal grid in the paintings of three contemporary artists, Ad Reinhardt, Agnes Martin and Gerhard Richter. Form and colour are essential elements in painting, and within the “essentialist” grid painting, the presence and function of colour have not received the full discussion they deserve. Structuralist, post-structuralist and anthropological modes of critical analysis in the latter part of the twentieth century, framed by postwar disillusionment and skepticism, have contributed to the effective foreclosure of examination of metaphysical, spiritual and utopian dimensions promised by the grid and its colour earlier in the century.
Artists working with the grid have explored, and continue to explore the same eternally vexing problems and mysteries of our existence, but analyses of their art are cloaked in an atmosphere and language of rationalism. Critics and scholars have devoted their attention to discussing the properties of form, giving the behavior and status of colour, as a property affecting mind and body, little mention. The position of colour deserves to be re-dressed, so that we may have a more complete understanding of grid painting as a discrete kind of abstract painting.
Each of the three artists I have examined here employed colour and grid in strategies unique to their work and its purposes. Ad Reinhardt arrived at his 1960s “black” paintings out of a background that included strong political beliefs, resistance to the dominant strain of 1950s Abstract Expressionism, and a deep interest in eastern religions and Buddhism. Agnes Martin shared Reinhardt’s interest in Buddhism and eastern religions, but chose to move toward the light in the atmospheric colour of her paintings, speaking of the quest for perfection of the mind in her writings and interviews. Gerhard Richter’s colour charts, a longstanding major subset of the vast range of this prolific artist’s work, speak to a need to go beyond his love of painting to the ungraspable substance of colour itself.Thesis (Master, Art History) -- Queen's University, 2011-09-27 12:34:58.813
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Castillo, Gonzalez Paula Alejandra. "Evolution of the patagonian-west antarctica margin of gondwana in the palaeozoic–early mesozoic: new models constrained by zircon u-pb ages, and o and hf isotopic compositions." Phd thesis, 2016. http://hdl.handle.net/1885/130073.
Full textAbstract:
A number of conflicting tectonic models have been proposed to
explain the geological relationships between southern South
America (Patagonia) and West Antarctica within the palaeo-Pacific
margin of Gondwana. Extensive fragmentation and isolation of the
various tectonic blocks during Gondwana break-up have complicated
interpretations and palaeogeographic reconstructions. In order to
explore and test the different tectonic models, I combine zircon
U-Pb, Lu-Hf and O isotopic data for samples from key locations
throughout the north and south of Patagonia, the Antarctic
Peninsula and the Ellsworth Mountains in West Antarctica. Zircon
is a robust refractory mineral that occurs in igneous and
metamorphic rocks and survives multiple sedimentary cycles with
little change to its isotopic composition. It therefore preserves
a perfect archive for testing tectonic correlations.
Igneous rocks from the Ellsworth Mountains were dated at ca. 680
Ma, older than previously reported. These zircons indicate that
rifting, which affected Mesoproterozoic crust, likely occurred in
the Cryogenian and supports a connection between the
Ellsworth-Whitmore Mountain block and East Antarctica before the
amalgamation of Gondwana. This agrees with the break-up of
Rodinia in the context of the southwest United States and East
Antarctica configuration. U-Pb zircon dating and O-Hf isotopic
compositions of detrital zircons from the Ellsworth Mountains
also support this connection, indicating a likely East Antarctic
provenance. A Cambrian magmatic event is recorded by zircon at
ca. 520 Ma, also related to an extensional setting – but in
this case with crustal recycling. I interpret this Cambrian
magmatism as a result of a tectonic escape after a collision
between the Australo-Antarctic and West Gondwana/Indo-Antarctic
plates.
In Tierra del Fuego, samples from drill cores indicate that
Cambrian magmatism occurred between ca. 540 and 520 Ma with
strong similarities to the Pampean Orogen of Argentina.
Metamorphism occurred at ca. 265 Ma, when zircon crystallised
from high temperature hydrous fluids that previously interacted
with Grenvillian rocks. Importantly, igneous rocks from Tierra
del Fuego record the first evidence of Permian magmatism at ca.
255 Ma, arising from melting of Cambrian rocks. This suggests
prolongation of Permian magmatism from the North Patagonian
Massif in northern Patagonia and also connections to the Eastern
Domain of the Antarctic Peninsula. Granitic rocks in northern
Patagonia record mantle-like O magmatic inputs at ca. 280 Ma and
255 Ma, but with reworking of upper crustal materials between
these two events. In northwestern Patagonia, early Permian
granites indicate continuity of the Permian magmatic belt along
the western margin of South America farther north. Further,
detrital Permian zircons in late Palaeozoic–early Mesozoic
accretionary complexes suggest a continuation of a slightly older
Permian subduction-related magmatic arc, partly located in
Patagonia and extending to the Antarctic Peninsula.
All this data, together with other geological considerations, are
in line with an autochthonous or parautochthonous origin for
northern Patagonia. It also confirms connections between southern
Patagonia and the Antarctic Peninsula from late Palaeozoic to
Jurassic times. I suggest that Patagonia rifted from the South
African-Ellsworth sector of the paleao-Pacific margin of Gondwana
to then collide with the same sector during the Guadalupian.
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Bowden, Laura Leigh. "A comparative study of detrital zircon ages from river sediment and rocks of the Karoo Supergroup (Late Carboniferous to Jurassic), Eastern Cape Province, South Africa : implications for the tectono-sedimentary evolution of Gondwanaland’s southern continental margin." Thesis, 2014. http://hdl.handle.net/10210/11320.
Full textAbstract:
M.Sc. (Geology)The Mzimvubu River, situated in the Eastern Cape Province of South Africa, drains essentially strata of the Late Carboniferous to Jurassic Karoo Supergroup with minor intersection of the underlying Devonian Msikaba Formation near the mouth of the river at Port St. Johns. Rock- and river sediment samples were collected at specific points from within the Mzimvubu River drainage basin, based on changes in the geology through which the rivers flow. Detrital zircon age population data was obtained by LA-ICP-MS for each sample in order to meet the two-fold objective of the study; firstly to investigate the reliability of using detrital zircon grains as indicators of sedimentary provenance and secondly to determine possible source areas for the Karoo strata and underlying Msikaba Formation. Through the comparison of detrital zircon age population data for the rock units of the Karoo Supergroup and Msikaba Formation to that of the river sediment, it is concluded that detrital zircon grains hold value in deciphering the geological history of a sedimentary basin. This interpretation is based on similar distributions and trends that are present in both the zircon age populations of the rock- and sediment samples. However, complexities associated with detrital zircon analysis pertaining to rock type and depositional settings are noted and therefore certain procedures that can be implemented during field sampling have been suggested in this study so as to ensure accurate results are obtained. This will further ensure that reliable interpretations of the geological history of a sedimentary basin are achieved. Additionally, by utilising the detrital zircon population data obtained in the first part of the study in conjunction with published scientific data, the provenance of the Karoo Supergroup in the southeastern part of the Main Karoo Basin has been determined. From this data it was determined that, especially the upper part of the Karoo Supergroup in the Eastern Cape Province of South Africa, was deposited much later than previously thought and that many of the stratigraphic layers in the Karoo Basin were deposited coevally in different parts of the basin with lithostratigraphic boundaries being time-transgressive. Ultimately the data allowed for the construction of a tectono-sedimentary model to explain the deposition of the upper Cape- and Karoo Supergroups that started with the deposition of the Msikaba Formation in a passive continental margin setting, to deposition of the lower part of the Karoo Supergroup in an Andean type of foreland basin, with rifting starting during the times of deposition of the Molteno Formation. The deposition of the Molteno-, Elliot- and Clarens Formations took place as Gondwanaland was breaking apart coeval with the formation of the Karoo Igneous Province.