Dissertations / Theses on the topic 'Art, Modern 20th century Australia'
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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House." Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.
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McNamara, Phillip Anthony. "A modernist sensibility and Christian wit in the work of Tom Gibbons." University of Western Australia. School of Architecture and Fine Arts, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0124.
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This thesis is an investigation of how spiritual ideas have contributed to West Australian academic and artist Tom Gibbons’s approach to Modernism. Against the backdrop of the local context I show how Gibbons’s 1950s undergraduate and 1960s post-graduate studies in the area of the occult and esoteric influences on Early Modernism provided him with an atypical perspective on Modernism itself but that this perspective resulted in his development of a Modernist sensibility particularly suitable for the type of questions asked about art in the later part of last century. My thesis traces Gibbons’s development of an integrated aesthetic “theory” that bridged for him the gap between a host of contrary sources. For Gibbons the bridge between divergent views on art, from the Modern period to the Renaissance period, is an ahistorical perspective based on Christian Immanence. He thus adopted a perspective that redefined the metaphysical aspects of Modernist abstraction through a particular approach to realism which celebrates the everyday world because of the Christian structures that for him condition it. I argue that his sensibility, which combines the stylistic features of a Modernist literature witty juxtaposition, irony and paradox with the concept of Christian Immanence, resulted in an oeuvre which can be read as a particular example of what Ken Wilber in the late 1990s termed Integral Studies. I argue that underlying Gibbons’s use of Christian Immanence is the Integralist’s understanding that the world’s great philosophical and spiritual traditions approach consciousness and experience through similar ideas. The argument presented, in agreement with writers such as Wilber, is that Gibbons’s capacity to develop a sense of life’s irony and metaphor, and to then use this as a capacity to embrace the beauty and outrageousness of the whole, is a mature spirituality that provides an integrated perspective filled with joy for the ordinary. I conclude that his art provides a particular example of how the loss of meaning felt by Modernists may be addressed.
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence." Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.
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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
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Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.
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Nasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.
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The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
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Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.
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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).
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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
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Collins, Anne Marie. "Changes in pictorial construction and types of representation which formed the basis of modern art." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1010579.
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The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.
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Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.
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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
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Matthews, Elaine Katherine Simone. "Environmental art and its contribution to establishing an awareness of the sacred in nature." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002209.
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The introduction establishes the goal of the research, which is to discover that art concerned with re-evaluating the relationship to the environment and spirituality can serve to connect people to one another, and to the environment. The context of the research is the contemporary ecological and spiritual crisis of the postmodern world. The background places the discussion within the contexts of modernism and postmodernism. The historical background focuses on the period from the 1960s to the present day. Land and Environmental artists who work in a manner that is conscious of environmental issues and who suggest a sacred and creative attitude to ecology are discussed. My own creative work which is a response to both ancient and contemporary sites as well as to contemporary theories of art and spirituality is discussed. The four projects, are discussed in chronological order, they are: Quest - A journey into Sacred Space; Gaika's Kop - Sacred Mountain; Labyrinth - Journeys to the Centre; and Transforming the Centre. The conclusion shows that the multi-faceted, intertextual and relativistic philosophy of postmodernism has brought about a significant change in the attitude of humanity towards the environment. Artists who reject the modernist aesthetic and philosophy are making art that emphasises relationship to, rather than separation from the natural world.
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Cromer, Bob E. "An analysis of the critical factors affecting the continued development of fiber as an art form." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/520473.
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The purpose of the study was to examine the status of contemporary fiber as an art form and to identify critical factors affecting its continued development.An extensive search of available literature was conducted. From this search, coupled with the researcher's extensive personal involvement with fiber, populations were identified and questionnaires were designed.Three pertinent but different populations, consisting of fiber artists, college/university and art school heads, and museum, gallery, and textile directors/curators were selected to receive the questionnaires. The questionnaires were designed to reflect the similarities and differences of the population.Data were treated to comparative percentages, valid percentages, cumulative percentages, frequencies, and Chi-Squares. Four major concerns were identified and discussed. They are:1. Fiber as Fine Art2. The Importance of Content and Message Orientation in Fiber3. The Problem of Plurality and Fiber4. The Need for a Critical Language Relative to FiberFindings and Conclusions1. The division between fine art and crafts still exists. Therefore, the division also exists for fiber art, which is part of the crafts discipline.2. Most individuals are not in favor of limiting the parameters of what constitutes fiber art in order to help gain a clearer understanding of what fiber art really is.3. There does not appear to be a critical language for fiber art except that which is technique, method, or materials based.4. The opinion of whether fiber art should be message or statement oriented is divided. Some were in agreement while others were not. In addition, some of the respondents answered with "sometimes."
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Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.
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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
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Lacy, Stephen W. "The sandbox line." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1045636.
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This Creative Project documents and explains the significance of the exhibition space known as the Sandbox and its members. The goal was to bring together a cohesive body of work that commemorated the people and events related to the Sandbox gallery. This was accomplished by using a variety of materials and tools including video tape, slides, bronze, paint, silk-screens, and super 8 film, to name a few.Department of Art
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Lloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.
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Bonilla-Puig, Alicia I. "Printmaking, Politics, and the Art of Protest in Modern Mexico." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/310769.
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Art HistoryM.A.
My thesis seeks to establish a fuller, more nuanced historical account of socially and politically oriented printmaking during the long 20th century in Mexico. In order to remedy what is currently a fragmented and incomplete narrative composed of canonical artists, my project integrates recent studies that acknowledge the role of lesser-known artists from various moments of the 20th and 21st centuries. The broader approach of this thesis reveals that the history of politically oriented Mexican prints spans a longer period of time and a larger geographic area than previously thought. Mexico experienced several waves of political turmoil and social upheaval throughout the 20th century, beginning with the Mexican Revolution (1910-1920), including the 1968 student movement, and extending to present day clashes between citizens and their government leaders. In this context, art and printmaking in particular served as persistent vehicles for Mexican artists to engage in social and political activism. Integrating the critical analysis of earlier research along with newer studies that recognize the impact of Mexican printmakers often overlooked in broad survey texts and exhibitions allows for further conclusions to be drawn regarding the multifaceted relationship between the print medium and the art of protest. My thesis introduces the notion that educational institutions in Mexico played an active part in this historical narrative, highlights the significance of Mexican artists' choice to work in collaborative environments versus individually, and notes modern activist printmakers' strong preference for the woodblock print.
Temple University--Theses
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Victor, Suzann, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "The Image Stammers." THESIS_FPFAD_SD_Victor_S.xml, 1999. http://handle.uws.edu.au:8081/1959.7/454.
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Bodies, burdened with narratives and inscribed by laws, function as signifiers of the State propaganda and nationalisms that supercede the Individual. The Image Stammers discredits the seamless fusion of the body-politic of the Singapore state with that of the Individual. This paper looks at the State as its singular source of artistic stimulation and seeks to dislodge the ventriloquised voice of that State acting upon the art object and its producer, so as to liberate the image from the singular meaning the State imposes. To do this, the analysis in this paper intervenes in the State and its organ, the media, in their attempt to imprison the reality of the performance image so as to reverse the silence that has been demanded of the artist. By reinstating this voice into the visual work the author has produced in this text, based on theories of 'internalised' Orientalism discussed by Geraldine Heng and Janadas Devan, as well as notions of abjections in the work of Elizabeth Grosz anfd Julia Kristeva, this paper attempts to strip the State of its veneer of 'purity' to expose an underside that subjects female bodies to forms of nationalism which are now more codified than ever. This paper foregrounds textual and visual embodiment as a testimony of lived experience which may further entrench, notions of Singapore as an authoritarian state. The Image Stammers bears no pretension of objectivity nor a 'politically safe and correct' one within the context of this paper, but instead, strewns fragments of subjectivity throughout its textual landscape. It seeks to overturn the 'impurity' of the abject (signified by performance art and contemporary artists) as defined, loathed and expelled by the State, into the power of resistance and maintenance of the integrity of the Individual. The Image Stammers retrieves the abject as markers of the limits of State power to become signifiers of resistance for its reconstitution into allies of the artistFaculty of Performance, Fine Arts and Design
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McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
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This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.
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Piva, Márcia Helena Girardi. "Anselm Kiefer = paisagem, memória e ruínas nas megalópolis." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283948.
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Orientador: Maria Jose de Azevedo MarcondesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T23:09:11Z (GMT). No. of bitstreams: 1 Piva_MarciaHelenaGirardi_M.pdf: 35482788 bytes, checksum: 0393304bb581c47b50ffd090dd83d342 (MD5) Previous issue date: 2010
Resumo: Esta pesquisa teve por objetivo analisar a série de obras do artista plástico Anselm Kiefer, produzidas a partir da visita ao Brasil no ano de 1987, na qual as vistas aéreas da paisagem urbana de São Paulo tornaram-se elemento propulsor. O registro em fotos, sobre a metrópole brasileira, transformou-se em material para o desenvolvimento de uma nova série de criação que marca mudanças nos temas e nos procedimentos pictóricos dentro do conjunto de sua produção artística. A pesquisa desenvolveu-se através da análise dos registros sobre a obra de Kiefer em arquivos e bibliotecas de Instituições artísticas brasileiras como Museu de Arte Moderna de São Paulo, Fundação Bienal de São Paulo, Pinacoteca do Estado e Instituto Goethe, além da análise de uma obra original da série citada, disponibilizada por uma colecionadora brasileira. O trabalho foi fundamentado através de publicações de autores como Walter Benjamin, Daniel Arasse, Andrea Lauterwein, Andreas Huyssen, Brissac Peixoto, Sérgio Paulo Rouanet, Alberto Tassinari, Márcio Seligmann-Silva, W.J.Mitchell, Mieke Ball, Hans Belting entre outros. Através do material pesquisado, foram desenvolvidas reflexões no âmbito da arte contemporânea, utilizando-se conceitos desenvolvidos pelos teóricos e críticos da arte. Houve a necessidade de retomar a produção do artista desde suas primeiras obras, em que os temas concentravam se na história alemã e na origem do povo germânico. A influência da poesia de Paul Celan reflete uma mudança de temas na produção do artista que passa a explorar a cultura judaica. Estas questões tornaram-se necessárias para a compreensão dos motivos que levaram Kiefer a dedicar-se a uma série de obras sobre a paisagem brasileira. A situação do artista alemão no pós-guerra e a necessidade de mudança na concepção tradicional da representação a partir do Holocausto, a memória e a paisagem em ruínas, são temas transferidos para diversos contextos e passaram a funcionar como metáfora no desenvolvimento de sua produção artística. Assim, no período analisado concluiu-se que há um deslocamento, que parte da problemática gerada pela catástrofe histórica, vivenciada por Kiefer, para a compreensão de vários questionamentos que aludem à paisagem urbana contemporânea. A percepção da transitoriedade é sentida através dos materiais utilizados pelo artista em questão, que guardam as marcas do tempo e abrem um campo complexo de discursos. Relações traçadas através da paisagem de São Paulo partirão do lugar específico da megalópole brasileira, para questões que se colocam em âmbito global
Mestrado
Artes Visuais
Mestre em Artes
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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.
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Roche, Judith D. "The role of the artist at the beginning of the twenty-first century: An exploration of dialectical processes in art and science with particular reference to biologically based art." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1571.
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This thesis examines the role of the artist at the beginning of the twenty-first century. It focuses on the interaction between art and science in an exploration of the dialectical processes that may occur in that interaction. Researchers have recently developed techniques in stem cell technology and genetic modification that offer remarkable potential and bring possible advantages and disadvantages for scientists and the wider community. In response to these new technologies, scientists and artists have developed collaborative projects and, in some instances, artists have moved from the studio to the science laboratory to create work called sci-art, bio-art, or moistmedia. This new inter-disciplinary activity affords prospects of dialectical processes: it crosses many boundaries and disturbs some existing conventions and practices, and, for the artists involved, the access to innovative materials has moved their work into areas of new skills and concepts. The extent to which traditional artists and those with collaborative sci-art practices contribute to the debate on important social and cultural issues forms part of this study. The research data was gathered during semi-structured interviews with scientists and artists, of whom three scientists and five artists are involved in sci-art collaborations. Proposed dialectical processes identified in the data are outlined throughout the document. A discussion about the ways in which contemporary art and artists are located within the current social and cultural environment; the status accorded visual art education today; and the manner in which commentators and other members of the public regard the elements and functions of art, forms the initial framework. This is followed by an overview of biologically based art practices, worldwide, that provides a background for a discussion of sci-art collaborations. These collaborations are initiated by a wide range of individuals and organisations and, according to the participants, the intentions of the originator or funding body have the potential to influence the outcome of the collaboration. The research explores possible conflicts of interest between the parties involved in these interactions, and any perceived implications for creative freedom. This study also examines current attitudes towards the notion of creativity in science and art, the avant-garde, and the relevance of philosophy and theory in art practices. It discusses the extent to which technology influences the creative process, and highlights issues that augment, interrogate or philosophise about the role of the contemporary artist. The research found that, although the notion of Snow’s ‘two cultures’ still has supporters, there are more similarities than dissimilarities between scientists and artists. Although some instances of Hegelian dialectical processes were identified, the data residing in many of the participants’ responses called for a more post-structuralist, non-linear approach to the dialectic as described by Jervis (1998), Janesick (2000) and others. In this way, the data drew attention to many complex issues and tensions that emanate from the interaction between art, science, technology, government and commerce, and the interaction between artists and the culture and society in which they live at the beginning of the twenty-first century.
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Suescun, Pozas María del Carmen. "Modern femininity, shattered masculinity : the scandal of the female nude during political crisis in Colombia, 1930-1948." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85958.
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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular frames of sense-making and morality. This dissertation argues that the controversies and the female nudes provide a window into the Liberal regime's creation of culture as an autonomous sphere as part of its cultural program, which bridged high and popular culture, as well as on aspects of private life concerned with sexuality and gender. It shows how such changes registered in the lives of the artists and how the artists translated the changes they experienced into modes of pictorial expression. This dissertation argues that the demands of the aesthetic and the demands of politics during this period pressed on each other, resulting in the wide-spread perception of moral breach that came to a head in the "scandals of the female nudes." This dissertation thus sheds light on dimensions of both the political and the private during this period.Because art and politics were thus entangled, this dissertation shows that, in this particular Colombian modernity, society was not polarized, that the private and the private overlapped, that issues of intimacy surfaced in the public realm, and that Catholicism was the idiom shared by men and women who were grappling with change. It shows that the cultural program of the Liberal regime was the immediate referent for criticism in these events and, through it, of the Liberal regime's reforms of education of 1934 and 1936. Finally, it shows that this modernity and its attendant anxieties were played out through the body in the public and the private realms, within, not against, the Catholic tradition, in unprecedented ways. This thesis demonstrates that politics and issues of sexuality and gender were entangled in the public sphere and converged in the female nudes, turning them into a major threat to morality within both religious and secular frameworks. By unpacking the controversies, this dissertation marks a seminal break with historical accounts that describe Colombia's as a failed modernity, its society as polarized, and debates over sexuality and gender as the product of politics. This dissertation also contradicts art historical writings that account for the production of images and the reception of art in this period solely in political terms.
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Uecker, Jeffry Lloyd. "From Promised Lands to Promised Landfill: The Iconography of Oregon's Twentieth-Century Utopian Myth." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5026.
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The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. The visual arts also have responded to Oregon's utopian myth. During the nineteenth century, the landscape was a primary focus for utopian art. In the twentieth century, past human achievements, recreation, agriculture, and industry have joined the environment as themes which inspire utopian imagery. The objective of this study is to demonstrate that twentieth-century art that responds to Oregon's utopian myth has given rise to an iconography which both energizes and reflects the development of that myth and which informs an important component of the state's identity. Using as a criteria that which idealizes Oregon as a place, an inventory of utopian art was compiled. It includes over 300 works of visual art, plus a number of artists for whom utopian subjects served as a consistent element. From this information, dominant themes were identified which demonstrate the existence of iconography, or visual symbolism, that expresses Oregon's utopian myth. Through the themes of natural environment, heroic images of Oregon's human past, and interaction between humans and the environment-plus numerous sub-themes-the artistic evidence demonstrates that visual imagery and symbols play an important role in how Oregonians define themselves and their history. It also suggests what form the state's utopian myth, identity' and the decisions made by its people may take in the next century.
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Symons, Suellen, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Rememories/imagetexts." THESIS_FPFAD_SD_Symons_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/731.
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This research paper places the three Research Projects 2 DIVINE, CARNIVAL, and HER STORIES: THE WENTWORTH WOMEN against the background of memory, remaking history, play, as well as hermeneutics. It is argued that the understanding of a work of art involves participation in its meaning by the audience which is not so much a mere receiver of information as a catalyst of the work's content. This Research Paper also attempts to place the three Research Projects, which when combined are entitled REMEMORIES/IMAGETEXTS, into a feminist remaking of history (in Barbara Kruger's sense), realigning the male-oriented histories with a female presence. Questioning the 'historical document' as the authority on history, and giving alternative versions of the life of Jeanne d'Arc and the life of Sarah Cox Wentworth are some of the concerns in the Research Projects. How these three Research Projects came to be linked is that each was originally exhibited during 1995 for the Twentieth Anniversary of International Women's Year, in venues from Penrith to Paddington. Their making spans many years, and in essence comes down to a fascination with the portrayal of women throughout history.That our images of women originally derived from how women were portrayed in carnival is one of the emerging themes, and that there are a number of different memories of specific events, depending on who is remembering them, and what their (hidden) agenda entails. In moving between time zones, questioning the portrayal of 'woman as sign', and subverting the traditional sign of woman, the artist puts forward the argument that women are the producers of signs and thus not merely objects as represented by signsMaster of Arts (Hons)(Visual Arts)
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Archer, Carol. "Frames, flows, feminist aesthetics: paintingsby Judy Watson, Cai Jin and Marlene Dumas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B3690787X.
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Scheibe, Marit 1976. "Thinking being an artist : a lousa como objeto artístico na obra de Joseph Beuys /." São Paulo, 2017. http://hdl.handle.net/11449/153968.
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Orientador(a): José Paiani SpaniolBanca: Sérgio Romagnolo
Banca: Marco Garaude Giannotti
Resumo: Esta dissertação enfoca a Lousa como objeto artístico na obra de Joseph Beuys, procurando uma aproximação com o observador, captando seu interesse na direção dos caminhos sensíveis propostos pelos rabiscos. Pretende conduzir a sensibilidade do espectador para expandir a vivência de valores humanistas. Como suporte, revela-nos o empenho do artista por uma arte viva. A pesquisa se oferece como um fio condutor a quem se interessa pela ampliação do conceito de arte, e, ao mesmo tempo, se propõe a evidenciar, através do mergulho em alguns símbolos, as direções e paisagens do pensamento do artista
Abstract: The present study focuses on the Blackboard as an artistic object in the work of Joseph Beuys and aimes an aproximation with the observer. It wants to capture the interest of the spectator for the sensible paths proposed by the scribbles. It intends to drive the sensitivity of the spectator in order to expand the experience of humanistic values. As a support, the blackboard reveals the artist's commitment to a living art, to life. The research offers itself as a guiding thread to those who are interested in the expansion of the concept of art. At the same time, it aims to evidence, through an immersion in some symbols, the directions and landscapes of the artist's thought
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Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer." Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.
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Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.
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D'Alessandro, Eliana Angélica Péres. "Visualidade e história em Guernica /." São Paulo, 2006. http://hdl.handle.net/11449/100274.
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Orientador: Claudete RibeiroResumo: Este trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra.
Abstract: Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.
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Abuhab, Flávio Antonio 1957. "A arte não esquece a arte : aproximação : apropriação e citação em arte /." São Paulo, 2013. http://hdl.handle.net/11449/86973.
Full textAbstract:
Orientador: José Paiani SpaniolBanca: Agnus Valente
Banca: Marcos Rizolli
Resumo: Este texto é um relato sobre duas experiências realizadas durante minha permanência no Programa de Pós Graduacão do Instituto de Artes da Universida de Estadual Paulista, onde pude desenvolver dois trabalhos práticos e relacionados com disciplina ministrada por meu orientador: Práticas Contemporâneas da Instalação e Site Specific. No primeiro, um projeto de Site Specific tendo como referência as paisagens litorâneas do pintor Benedicto Calixto. Já no outro trabalho, uma Instalação apresentada na Galeria do Instituto de Artes e que homenageia o artista plástico Nelson Leirner. Ambos são resultado de minha pesquisa sobre apropriação, citação e autoria na arte, e estabelecendo conexões poéticas com a História da Arte.
Abstract: This paper is a report on two experiments performed during my stay in the graduate program of the Art Institute of São Paulo State University, where I developed two projects and related subject taught by my mentor: Contemporary Practices Installation and Site Specific. In the first, a draft site specific with reference to the landscapes coastal painter Benedicto Calixto. In the other work, an installation presented at the Institute of Arts Gallery and honors the artist Leirner. Both are the result of my research on ownership, citation and authorship in art, poetry and establishing connection with History of Art.
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Horton, Mary Therese. "The cultural status of objects." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35867/1/35867_Horton_1996.pdf.
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This paper addresses the cultural status of objects. The
discussion focuses on domestic objects. It is proposed that functional domestic objects are cultural artefacts which have significance beyond that of useful commodity. Their cultural status is explored by considering the nature and influence of the Marxist critique; examining
the 'aesthetic dimension' of useful objects; and by experimenting with a range of written forms which draw upon three sources: i) concepts investigated through the first two chapters; ii) ideas being cultivated through my studio practice; and iii) issues raised through the exploration of a particular site - the Rocklea Flea Markets.
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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
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Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College, and Centre for Cultural Research. "Transexperience and Chinese experimental art, 1990-2000." THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.
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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.Doctor of Philosophy (PhD)
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Honeywill, Greer 1945. "Colours of the kitchen cabinet : a studio exploration of memory, place, and ritual arising from the domestic kitchen." Monash University, Dept. of Fine Arts, 2003. http://arrow.monash.edu.au/hdl/1959.1/5621.
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Stephen, Ann. "Looking through conceptual art : a dialogue between Ian Burn and his collaborators." Thesis, Queensland University of Technology, 2003.
Find full textAbstract:
A monograph on Ian Burn poses major problems and opportunities for art historical inquiry. A central dilemma concerns the challenge that his Conceptual art raises for biography. How is it possible to turn a conversational practice into a monograph?
In Looking Through Conceptual Art Bum's dialogical art is engaged in a series of imaginary and actual encounters with the work of other artists. The ten chapters mark out the passage of a life through a series of exchanges. Each chapter begins at a specific historical moment however its internal dynamic pursues a conversational rather than a temporal logic. Their breadth-from regional landscape with Albert Namatjira, self-portraiture with Bum's Australian masters, appropriation with Sidney Nolan, abstraction with Piet Mondrian,
collaboration with Mel Ramsden, Conceptual art with Art & Language, provincialism with Jackson Pollock, the political legacy of Conceptual art with Fernand Leger and the readymade with 'Em Malley'-represents the challenge that Bum poses for Conceptual art. The structure loosens the diachronic inevitability of biography and traces instead a non-linear surface that articulates and frames the spacing between different cultures, practices and collaborations.
Three fundamental questions inform all the conversations and are at the heart of Bum's practice: How is it possible to make art from a different (marginal) place? What role can
painting and perception play in Conceptual art ? And what are the political implications of Conceptual art?
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Ayers, David Lee. "An architectural expression in the age of video culture." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23435.
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Andrade, Eliana Lobo de [UNESP]. "VT Preparado: AC/JC : a videoarte de Walter Silveira." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127986.
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Made available in DSpace on 2015-10-06T13:02:40Z (GMT). No. of bitstreams: 0
Previous issue date: 2015-07-14. Added 1 bitstream(s) on 2015-10-06T13:19:36Z : No. of bitstreams: 1
000849668.pdf: 1903609 bytes, checksum: 8231313fb4e85e981f996294e5732c1e (MD5)A proposta deste trabalho se centra na pesquisa das influências da poesia concreta na videoarte, especialmente no video VT Preparado:AC/JC, de autoria de Walter Silveira e Pedro Vieira. Não se trata, aqui, do vídeo como emissão televisiva ou em suas características técnicas, mas como possibilidade de expressão utilizada pelo artista. Como dois movimentos de vanguarda, a poesia concreta e a videoarte, estão presentes como fundamentos na obra citada, foco desta dissertação.
The proposal of this work is centered in research on the influences of concrete poetry upon video art, particularly in the VT Preparado: AC/JC video, by Walter Silveira and Pedro Vieira. The point here is neither the video as television emission, nor its technical features, but its possibilities of expression chosen by the artist. Concrete poetry and video art, both cutting edge movements are present as fundamentals of the above mentioned work, in which this dissertation is focused.
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Andrade, Eliana Lobo de 1950. "VT Preparado : AC/JC : a videoarte de Walter Silveira /." São Paulo, 2015. http://hdl.handle.net/11449/127986.
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Acompanha DVD com o video VT Preparado:AC/JC, de autoria de Walter Silveira e Pedro VieiraOrientador: Omar Khouri
Banca: José Leonardo do Nascimento
Banca: Neiva Pitta Kadota
Resumo: A proposta deste trabalho se centra na pesquisa das influências da poesia concreta na videoarte, especialmente no video "VT Preparado:AC/JC", de autoria de Walter Silveira e Pedro Vieira. Não se trata, aqui, do vídeo como emissão televisiva ou em suas características técnicas, mas como possibilidade de expressão utilizada pelo artista. Como dois movimentos de vanguarda, a poesia concreta e a videoarte, estão presentes como fundamentos na obra citada, foco desta dissertação.
Abstract: The proposal of this work is centered in research on the influences of concrete poetry upon video art, particularly in the "VT Preparado: AC/JC" video, by Walter Silveira and Pedro Vieira. The point here is neither the video as television emission, nor its technical features, but its possibilities of expression chosen by the artist. Concrete poetry and video art, both cutting edge movements are present as fundamentals of the above mentioned work, in which this dissertation is focused.
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Conceição, Carlos Augusto Ribeiro da. "Koonsland-comércio de duplos." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29838.
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Dias, Fernando Paulo Leitão Simões Rosa. "Ecos expressionistas na pintura portuguesa (1910-1940)." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1996. http://dited.bn.pt:80/29877.
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Pereira, Teresa Matos. "A primitividade do ver ou a renúncia da razão na arte do primeiro modernismo em Portugal." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2001. http://dited.bn.pt:80/30084.
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Wang, Xuning. "Realist painting and its relationship to my creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.
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This thesis examines the realist art movement from its origins in France in the 1840s to its development in China in the 20th century and its impact on the author as an artist. The thesis reviews the development of realism in France, and traces its impact on Chinese conceptions of realism in the 20th century. The contemporary debates surrounding realism in China are examined and contextualised within the recent history of realism in China. Finally the thesis looks at the impact of realism on the author’s creative practice and a case is argued for the development of realist ideas in a globalised culture and its value as a cross- cultural visual language.
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Gunn, Anthea Caroline. "Imitation realism and Australian art." Phd thesis, 2010. http://hdl.handle.net/1885/109407.
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The work of the Imitation Realists has rightly been seen as marking the start of the
widespread use of assemblage and popular culture by Australian artists during the
1960s. Viewed within the context of their training and the debates of the Australian
art world in the 1950s, it can be seen that the impetus for their work was to find an
alternative form of 'Australian' art. The stated objective of this thesis is to
demonstrate how the work of the Imitation Realists adapted and contributed to
changes to art in Australia. This is achieved by considering the work of Mike
Brown, Ross Crothall and Colin Lanceley in the context of the debates that shaped
the reception and production of art in Australia, including changing ideas concerning
materials, exhibition display and the national identity. Their art, exhibitions and
statements are closely analysed to show how the group formed, worked together and
why they later disbanded.
It is argued in this thesis that Imitation Realism arose as a response to what the
artists saw as the inadequacy of local art practice. This was a result of a
disconnection that they saw between contemporary art and daily life in Australia.
The Imitation Realists found that both abstract and figurative painters were at a
remove from modern urban life as they experienced it. They tried to form an
authentic mode of art that connected with the materiality of the everyday.
Assemblage enabled the artists to break through the impasse they perceived in
contemporary art. Their work was one instance of a widespread interest in the
'primitive' and assemblage shared by artists in Europe and the United States. As
virtually no precedent existed for their art in Australia, it is contextualised
internationally in this thesis. This identifies that the Imitation Realists shared the
practice of using deliberately naive techniques and styles to create work that sought
to capture creativity at its most basic level. The Imitation Realists used assemblage
to respond to modern life as a whole, not just to modernism within the visual arts.
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Lahy, Waratah. "Painted objects : investigating the imagery of Australian iconic culture." Phd thesis, 2007. http://hdl.handle.net/1885/149626.
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Adsett, Peter. "Beyond picturing." Phd thesis, 2012. http://hdl.handle.net/1885/155939.
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Beyond Picturing is practice led research aimed at determining whether horizontality can be deemed a medium in its own right, and further, whether it can establish a new set of conventions, enabling a cross-cultural dialogue between peoples of our region, particularly Aboriginal people and Maori and those of European heritage. I chart the course of horizontality across the art of the 20th century, identifying it as a medium for practice. My thesis examines examples in which horizontality as a methodology was a vehicle for meaning, based on the theories of structural linguistics and phenomenology. Furthermore, by acknowledging the axial shift, from the horizontal plane of process to the vertical plane of image, I discover a shared ground for cultural dialogue with painters of the central desert and the Kimberley.
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Cohen, Joshua Irwin. "Masks and the Modern: African/European Encounters in 20th-Century Art." Thesis, 2014. https://doi.org/10.7916/D8BG2M4Z.
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Taking Paris as its geographical nexus, this dissertation tracks European and African modernist appropriations of African sculpture across a three-tiered historical trajectory spanning from 1905 to 1980. Part I charts engagements with West and Central African masks and statues by the Fauves and Pablo Picasso; Part II assesses the work of pioneering black South African artists Ernest Mancoba and Gerard Sekoto; and Part III chronicles the nationalization of modern art in Senegal under President Léopold Sédar Senghor. Through examinations of the cross-cultural, formal, and politicized dynamics of African sculpture--or so-called art nègre--in modern art discourse and practice on two continents, the dissertation argues that European and African artists shared certain form-based approaches to African objects, coupled with tactical understandings of those objects' cultural origins. The artists diverged--both individually and by movement--insofar as they appropriated African art to different ends reflective of historical period, social context, and personal approach. More broadly, the dissertation argues that the early-20th-century European avant-garde "discovery" of African sculpture became globally significant through its eventual catalytic role for modern art movements in Africa. It argues that some of the most important modernist appropriators of African sculptural forms were African painters who both studied and subverted their European precursors in that practice.
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Hillebrand, Melanie. "Art and architecture in Natal, 1910-1940." Thesis, 1986. http://hdl.handle.net/10413/3823.
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This thesis is a study of important trends in Natal art of the period 1910-1940, with a section on related architectural developments. In Chapter One Natal's colonial background and continued dependence on Britain for cultural guidance is discussed. The foundation of art galleries and the Natal Society of Artists is followed by an examination of artworks produced until 1917. These were found to be mainly Victorian in character. Reliance on British art and an admiration for and emulation of the Royal Academy of Arts strongly influenced the organisation and development of the Natal Society of Artists. Chapter Two examines the desire, during the 1920s and 1930s, to break away from foreign influence and the conscious attempts to establish a "national" style. This phenomenon is traced through the development of landscape painting in Natal. Chapter Three, Survival versus progress, explores the relationship between the artist and the Natal public, in particular those artists who experimented with what were then held to be avant-garde styles. An uninformed public and, consequently, a pronounced hostility towards modernism bad a profound effect on the careers of many artists. Chapter Four concerns the status of the practising artist in Natal. Amateurs outnumbered professionals at all major exhibitions, and the majority of these amateurs were women. Professionalism and amateurism are defined in the text.) The history of the Durban School of Art and its role in the promotion of professionalism ends this survey on art trends. Architectural development during this period is
summarised in Chapter Five with reference to the correspondences between art and architecture. Examples are architectural decoration (especially sculpture and faience), stylistic trends, the response to modernism, and the professional status of the architect. Artists and architects active in Natal during the period are identified and listed. This section includes lists of representative works and detailed references.Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1986.
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"The quest for modernity in art in late twentieth century China: an examination of the discussion on modern art in Meishu zazhi (art magazine) from 1979 to 1989." 2013. http://library.cuhk.edu.hk/record=b5549849.
Full textAbstract:
一提到「中國現代藝術」，就讓人立刻連想到一群極受注目的中國藝術家、藝評人、策展人和理論家，當中包括王廣義、徐冰、高名潞、栗憲庭、呂澎等人。他們現時在中國藝術圈的地位已不容置疑，而要研究文革後中國的藝術發展概況，他們的理論及研究已被確立並普遍為學者應用。由1990年開始，他們的出版、展覽、研討會，都圍繞著一班八十年代借用歐美現代藝術風格及主張來創作的青年藝術家，並稱他們的作品為「中國現代藝術」及「中國當代藝術」。但讓人不理解的是，這些藝評人等始終未能就「現代」和「當代」這兩個概念作出恰當的解釋，有時甚至混淆不清；而且自九十年代初開始，大部份有關他們所詮譯的「中國現代藝術」的研究、著作及展覽已見既定模式、參與藝術家及籌劃人，當中某些論點亦見牽強。基於這些問題，現在我們所理解的「中國現代藝術」能否代表中國真正的現代藝術？在現時「中國現代藝術」似乎是某一撮人的「現代藝術」的情形下，而他們又是如此具權威地發表觀點時，我們需要重新了解八十年代的政治社會及文化氣候，以及當時藝術圈的各種關係，從而對現在所認識的「中國現代藝術」作一個客觀的理解及評論。中國美術家協會所出版的《美術》雜誌，就能讓我們探究八十年代的各類政治、社會、藝術狀況。透過對其文章及投稿人的分析後發現，當時有三個不同的藝術圈，各自因應政治氣候及藝術圈的屬性，去詮譯自己的「現代藝術」，它們在這論文分別被稱為「官方藝術的現代性」、「中國傳統藝術現代化」及「新藝術潮流」，而「新藝術潮流」亦演化成今天的「中國現代藝術」。八十年代的「中國現代藝術」的面貌與今天截然不同，究其原因，可利用法國社會學理論家皮埃爾．布迪厄的「場」、「習性」及「文化資本」理論作出分析。總括而言，透過《美術》的文本闡析，再配合社會學理論的支持，這個研究運用了嶄新角度去剖析「中國現代藝術的意義與內涵」，並讓我們進一步反思「文化製造」、「文化權力」及「藝術史撰寫」等一系列問題。
The first names that come to mind when one talks about "Chinese modern art" are the group of high-profile Chinese artists, art critics, curators and theorists, including well-known names such as Wang Guangyi, Xu Bing, Gao Minglu, Li Xianting, Lu Peng etc. Their current standing within the Chinese art circle is almost indisputable. In terms of the study of the development of Chinese art in the post-Cultural-Revolution era, their theories and research have been well-established, and widely adopted by other scholars. Ever since 1990, their publications, exhibitions and symposiums have centered on a group of young artists, who borrowed from Euro-American modernist artistic styles and views to create in the post-Mao period. Furthermore, such art critics-curators have coined these artworks as "Chinese modern art" and "Chinese contemporary art". However, these art critics-curators have yet to come up with appropriate definitions for the notions of "modern" and "contemporary", allowing them to be used in confusing and ambiguous ways at times. Since the 1990s, the majority of their research, publications and exhibitions on "Chinese modern art" have developed into fixed models, with set participating artists and contributors. At the same time, certain arguments within such discourses are deemed unconvincing and far-fetched. In view of such issues, this paper begs to ask - whether the "Chinese modern art" that we have come to know nowadays, is a truthful representation of modern art in China? Under such circumstance where "Chinese modern art" seems to be a "modern art" history of a selected few; and, as these art critics-curators carry on professing their view however authoritatively, if we want to formulate a more objective understanding and commentary on the “Chinese modern art that we now know of, we will need to start afresh in our understanding of the political and cultural climate in the 1980s, and the various relations within the art field at the time.
Meishu, published by the China Artists' Association, provides us an entry point in which the political and artistic situations in the 1980s can be examined. An analysis on the articles and the contributors reveals that there were three different art circles, each formulating their own interpretation of "modern art", in accordance to the political climate and the nature of their own artistic field. They have been discussed in this paper as "Officialdom", "Modernization of Chinese traditional painting" and "New Trends in Art" ; among which, "New Trends in Art" became the "Chinese modern art" in today's term. Hence, the landscape of "Chinese modern art" in the 1980s was different from today's situation. To understand why there was such a difference, then, concepts of "fields", "habitus" and "cultural capital" proposed by the French social theorist, Pierre Bourdieu, can be adopted as analytical tools. All in all, through literary review of Meishu, with the support of sociological theories, this research offers a different angle to dissect the meanings and inner values of "Chinese modern Art", and allow us to further reflect on the various issues in relation to "cultural production", "cultural power", and "the practice of writing art history".
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Li, Ting Lin.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in also in Chinese; includes Chinese.
Abstract --- p.i
Acknowledgement --- p.iv
Table of Contents --- p.vi
Chapter CHAPTER ONE: --- INTRODUCTION AND BACKGROUND
Chapter A) --- WHY 1979 TO 1989? THE HISTORICAL CONTEXT --- p.1
Chapter B) --- WHY MEISHU MAGAZINE?
Chapter 1. --- Magazines as a form of documentation of social and cultural developments --- p.4
Chapter 2. --- The unique background and character of Meishu --- p.17
Chapter C) --- THE DISCUSSION ABOUT MODERN ART: TWO PERIODS --- p.26
Chapter D) --- THE VALUE AND STRENGTH OF THIS RESEARCH --- p.30
Chapter E) --- SCOPE OF RESEARCH AND RESEARCH METHODOLOGY --- p.34
Chapter CHAPTER TWO: --- MEISHUMAGAZINE--ITS BACKGROUND, ROLE AND SIGNIFICANCE
Chapter A) --- INTRODUCTION --- p.38
Chapter B) --- THE BEGINNINGS OF MEISHU AND ITS LATER DEVELOPMENT --- p.41
Chapter C) --- STRUCTURE OF THE CHINA ARTISTS' ASSOCIATION AND MEISHU --- p.42
Chapter D) --- EDITORIAL LINE --- p.46
Chapter E) --- CONTENT ANALYSIS
Chapter 1. --- Areas Covered and System of Classification --- p.57
Chapter 2. --- Content Composition --- p.65
Chapter 3. --- Trends and Later Developments --- p.75
Chapter 4. --- Modern Art: Three Discourses --- p.80
Chapter F) --- COMPOSITION OF MEISHU'S EDITORIAL GROUP --- p.86
Chapter G) --- MEISHU AND THE TREND OF ART THOUGHT, JIANGSU PICTORIAL, AND FINE ARTS IN CHINA, AND THEIR FASCINATION WITH "NEW TRENDS IN ART" --- p.97
Chapter H) --- CONCLUSION --- p.115
Chapter CHAPTER THREE: --- DISCUSSION OF "CHINESE MODERN ART":A REVIEW FROM MEISHU ZAZHI 1979-1989
Chapter A) --- INITIATION
"Chinese Modern Art": Celebrated yet illusory --- p.121
Chapter B) --- "CHINESE MODERN ART IN THE POST-MAO PERIOD: CURRENT DISCUSSION1990-2010
Chapter 1. --- The 1990s as a demarcation period --- p.125
Chapter 2. --- A review of art publications from 1990 to 2010 --- p.129
Chapter 3) --- Problems encountered with current discussion --- p.148
Chapter C) --- DISCUSSION OF "CHINESE MODERN ART" IN WIDER CONTEXT: A PERSPECTIVE FROM MEISHU ZAZHI 1979-1989 --- p.169
Chapter 1. --- Ideological liberty and Two Hundreds policy in the art field --- p.173
「牡丹好，丁香也好」 --- p.179
Chapter 2. --- Officialdom --- p.188
Contributors to "Officialdom" --- p.190
Changes in viewpoints between 1979 and 1989 --- p.197
"Modern" qualities in the art of "Officialdom" --- p.201
China's interpretation of modern art of foreign countries --- p.214
Attacks on "New Trends in Art" --- p.225
Chapter 3. --- Modernization of Chinese traditional painting --- p.229
Contributors to the discussion about "Modernization of Chinese traditional painting --- p.235
Changes in viewpoints between 1979 and 1989 --- p.236
The path to modernization: different ways of reforming Chinese traditional painting --- p.242
Chapter 4. --- New Trends in Art --- p.262
Contributors to "New Trends in Art" --- p.264
Changes in viewpoint between 1979 and 1989 --- p.267
Chinese modern art: a sphere of ideological liberty --- p.276
Chapter CHAPTER FOUR: --- EVALUATING THE DISCUSSION ON MODERN ART IN CHINA FROM 1979 TO 2010 IN LIGHT OF PIERRE BOURDIEU'S SOCIOLOGICAL ANALYTICAL PERSPECTIVES --- p.303
Chapter A) --- "FIELD OF ART" AND "HABITUS": DISCUSSION OF MODERN ART FROM 1979 TO 1989 --- p.306
Chapter B) --- "FIELD OF COMMERCE" AND "FIELD OF PUBLICATION": DISCUSSION OF MODERN ART FROM 1990 TO 2010 --- p.318
Chapter CHAPTER FIVE: --- CONCLUSION --- p.323
ILLUSTRATIONS --- p.336
TABLES AND CHARTS --- p.398
INTERVIEWS WITH LI SONGTAO, TANG QINGNIAN, WANG XIAOJIAN, AND FEI DAWEI --- p.408
APPENDIX I --- p.436
APPENDIX II --- p.447
APPENDIX III --- p.727
APPENDIX IV --- p.753
BIBLIOGRAPHY --- p.787
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Klein, Sara Bearor Karen A. "Putting Katherine Dreier into perspective modern art collecting in early 20th-century America /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-08242005-192408.
Full textAbstract:
Thesis (M. A.)--Florida State University, 2005.Advisor: Karen Bearor, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Jan. 25, 2006). Document formatted into pages; contains vii, 62 pages. Includes bibliographical references.
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"A contemporary assessment of the genesis of the modern aesthetic : the impact of modern art on modern architecture." Thesis, 1999. http://hdl.handle.net/10413/2426.
Full textAbstract:
This dissertation assesses the impact of modem art on the so-called heroic period of modem architecture, dated for the purposes ofthis thesis from 1917 to 1933. The study is premised on two principal arguments: firstly, modem art - Cubism, in particular - was the seminal influence on the codification of a modem architectural vocabulary. Secondly, the increasing preoccupation with utilitarian tenets obscured and ultimately undermined the semantic significance ofmodem architecture that was derived from the visual arts. A general introduction to the tumultuous history of 20th century architecture substantiates these presuppositions and contextualizes the current interest in the aesthetic intent of the pioneering Modernists. For the sake of reviewing the genesis of the modem aesthetic, the classical ideal of beauty is briefly reflected upon. This is followed by a review of the alternating depiction of pictorial depth and its extraordinary symbiotic relationship with the expression ofplastic space. The cubist-induced perception and experience of space is preceded by the catalytic role of the mechanization ofvision on the rejection ofthe classical canons of beauty. An in-depth analysis of Cubism, coupled with its derivatives that spawned architectural equivalents, reinforces the volumetric incarnation of modem art, exemplified by Purism, Constructivism and Neo-Plasticism. This study is concluded with an assessment of the adopted prerruses and a reflection on the longer-term objectives of this study.Thesis (Ph.D.)-University of Natal, Durban, 1999.