Dissertations / Theses on the topic 'Art, Modern – 20th century – Political aspects'

Bibliography: pages 232-240.<br>This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.

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.

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.

This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.

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.<br>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.

Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfield, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff???) to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life.

This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.

The French government under Philippe Petain, based at Vichy, simultaneously collaborated with the Germans and promoted French patriotism. French artists and designers produced an abundance of posters, paintings, sculptures and other objets d'art, examples of which are included here, to promote the values of the "new order." Although Christian symbols were common, fascist symbols among the mass-produced images support the idea that the Vichy regime was not merely authoritarian, but parafascist.<br>The fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called &quotmeditations,&quot which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

Thesis (PhD)--Stellenbosch University, 2011.<br>ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies.<br>AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie. Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het. Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd om hegemonie te skep en teen te werk. Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering, aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente kunsjoernaliste aangelê. Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde “kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en- Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns. Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika. In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die veld van joernalistiek-studies kan verryk.

This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.

Este trabalho apresenta uma discussão acerca de relações estabelecidas entre a fotografia e a arte contemporânea, a partir de um viés em que a produção artística dialoga com a produção fotográfica de âmbito familiar. A fotografia é assumida como um processo mediador culturalmente construído, levando em conta aspectos de sua conformação tecnológica, bem como de seus usos sociais, ambas dimensões consideradas preponderantes para a produção de significado para estas imagens. Para estabelecer estas relações através de uma perspectiva interdisciplinar, o texto busca integrar pontos de vista de áreas do conhecimento que contribuíram para um entendimento mais complexo da fotografia em seu diálogo com a sociedade, com a tecnologia, com a história e com as artes visuais. Finalmente, elencamos algumas obras dos artistas contemporâneos Nan Goldin, Rosângela Rennó e Sascha Pohflepp que evidenciam estas relações entre as artes visuais e os instantâneos do cotidiano familiar, seja através da imagem fotográfica, da materialidade da fotografia ou dos novos circuitos de circulação e novas práticas oriundas das tecnologias digitais.<br>This work presents a discussion of relations between photography and contemporary art, where the artistic production dialogue with the photography in the family field. the photograph is assumed as a mediating process culturally constructed, taking into account its technological aspects, as well as their social uses, both dimensions considered preponderant for the production of meaning to these images. to establish these relationships through an interdisciplinary perspective, the text seeks to integrate views of areas of knowledge that contributed towards a more complex comprehension of photography in his dialogue with society, with the technology, with the history and the visual arts. finally, we list some works of contemporary artists nan goldin, rosangela rennó and sascha pohflepp that demonstrate these relationships between the visual arts and snapshots of daily family life, either through the photographic image, the materiality of the photograph or the new circuits and new practices coming of digital technologies.

The thesis seeks to develop a more sophisticated view of the black power movement in twentieth century America by analysing the movement’s cultural legacy. The rise, maturation and decline of black power as a political force had a significant impact on American culture, black and white, yet to be substantively analysed. The thesis argues that while the black power movement was not exclusively cultural it was essentially cultural. It was a revolt in and of culture that was manifested in a variety of forms, with black and white culture providing an index to the black and white world view. This independent black culture base provided cohesion to a movement otherwise severely lacking focus and structural support for the movement’s political and economic endeavours. Each chapter in the PhD acts as a step toward understanding black power as an adaptive cultural term which served to connect and illuminate the differing ideological orientations of movement supporters and explores the implications of this. In this manner, it becomes possible to conceptualise the black power movement as something beyond a cacophony of voices which achieved few tangible gains for African-Americans and to move the discussion beyond traditional historiographical perspectives which focus upon the politics and violence of the movement. Viewing the movement from a cultural perspective places language, folk culture, film, sport, religion and the literary and performing arts in a central historical context which served to spread black power philosophy further than political invective. By demonstrating how culture served to broaden the appeal and facilitate the acceptance of black power tenets it is possible to argue that the use of cultural forms of advocation to advance black power ideologies contributed significantly to making the movement a lasting influence in American culture – one whose impact could be discerned long after its exclusively political agenda had disintegrated.

Este estudo busca trazer elementos para explicar a crise que dissolveu a Unilabor, uma experiência autogestionária operária única a seu tempo, em São Paulo, através da análise da documentação interna da empresa, das informações prestadas por alguns dos participantes, entrevistados, e pelo recurso à hipótese de prevalência de uma racionalidade instrumental, a certa altura dos acontecimentos, em lugar da racionalidade substantiva pressuposta nos fundamentos da comunidade. Os elementos para a formulação e exame dessa hipótese provêm das teorias marxistas do trabalho, conforme reformuladas e atualizadas por autores como Robert Kurz, Roberto Schwarz, Moishe Postone, Jürgen Habermas, André Gorz e Ricardo Antunes, os quais, mesmo não uniformemente, apontam os elementos atuais de uma crise da categoria \'trabalho\' como elemento central da formação da riqueza. Também os conceitos de comunidade, solidariedade, esperança e amizade, conforme expostos e analisados por Giorgio Agamben e Terry Eagleton, servirão para problematizar as conclusões do trabalho. O aspecto estético, consubstanciado no desenho industrial utilizado nos móveis produzidos pela Unilabor, aparece como fundamento secundário da hipótese de insuficiência substantiva apresentada, pois pretendeu ser fator pedagógico, portanto de aprendizado de ofício, para os operários envolvidos na autogestão. Tal programa estético, tanto quanto a solidariedade, a amizade e a racionalidade substantiva, também mostrou-se insuficiente para a manutenção dos laços comunitários.<br>This study aims to gather elements to explain the crisis that dissolved Unilabor, a workers\' self-management experience in São Paulo that was unique in its time, through the analysis of the company\'s internal documentation, through information provided by some of the participants who were interviewed, as well as by resorting to the hypothesis of prevalence of an instrumental rationality, at one point, in place of the substantive rationality assumed in the fundamentals of the community. The elements for the formulation and analysis of this hypothesis come from Marxist theories of labor, as reformulated and updated by authors such as Robert Kurz, Roberto Schwarz, Moishe Postone, Jürgen Habermas, André Gorz, and Ricardo Antunes, who, albeit not uniformly, have pointed out the current elements of a crisis of the category \'work\' as a central element in the creation of wealth. Additionally, the concepts of community, solidarity, hope, and friendship, as defined and analyzed by Giorgio Agamben, and Terry Eagleton will be used to open the conclusions of this paper up to discussion. The aesthetic aspect, embodied in the industrial design of the furniture produced by Unilabor is present as a background for the substantive insufficiency hypothesis that is presented, since it intends to function as a factor that is pedagogical, thus concerning the learning of one\'s craft by workers involved in the self-management. This aesthetic program, as much as the solidarity, friendship, and substantive rationality, also proved to be insufficient for the maintenance of community ties.

In 1964 Clement Greenberg suffered his greatest setback as the critical arbiter of modern painting. The "Post Painterly Abstraction" exhibition he had helped to organize at the Los Angeles Museum of Art was critically demolished, definitively shattering the myth of invincibility surrounding Greenberg's modernism, an aesthetic which had been a powerful influence in the United States and Canada in the post-war period. For many contemporary critics, the early to mid-1960's is the period in which a stultified and institutionalized modernism was finally usurped by an approach to culture that was less elitist and more socially engaged. The new cultural model that was taking shape within the Kennedy Administration's vision of the New Frontier sought to remotivate a sense of "national purpose" within the United States to counter the nation's preoccupation with consumerism and affluence. The pragmatic liberal concept of culture sought to rework the relationship between work and play in order to promote a new relationship between individualism and civic virtue. The impetus to re-shape the boundaries between art and society under the New Frontier was a direct response to the political and military challenge posed by the Soviet Union in the late-1950s, especially after the launch of Sputnik in 1957, and the inability of the Eisenhower Administration to respond to the anxieties generated by the intense superpower rivalry. This international environment also exacerbated the ongoing tensions between Canada and the United States, culminating in the 1962 Cuban Missile Crisis . Canadian Prime Minister Diefenbaker delayed in responding to the U.S. alarm over the presence of Soviet medium range nuclear weapons in Cuba, and the political firestorm that followed this delay highlighted the frictions that had developed in the unequal bilateral relationship between the United States and Canada after World War Two. While the Cold War was approaching its ultimate showdown, Greenberg was proceeding to a geographical margin of North America — Saskatchewan — to participate in the Emma Lake Artists' Workshops. Ironically, while Greenberg was extolling the virtues of Canadian abstract painters such as Art McKay and Kenneth Lochhead, going so far as to argue that the Saskatchewan abstract painters were New York's only competition, Los Angeles was asserting itself as New York's cultural rival . As a consequence of the phenomenal post-war growth of the military - industrial complex in the American Southwest, a fierce rivalry was developing with the traditional bases of power in the Northeast. The Southwest, and Los Angeles in particular, was the major beneficiary of the accelerated defense spending resulting from the heightened tensions of the Cold War in the 1950s. Partially in response to a regional dispute over military appropriations, the economic and cultural elites of Southern California sought to counter the pragmatic liberal agenda of the Kennedy Administration by promoting Los Angeles as the Second City of American Art. Greenberg's "Post Painterly Abstraction" exhibition was intended to draw attention to the Los Angeles cultural renaissance and the maturing of the city's independent cultural identity. Thus, Greenberg's sojourn to Saskatchewan at the height of the Cold War and during a crucial period of his formulation of his theory of modernist painting after abstract expressionism provides the focus for an examination of the status of modernism in the early 1960s, especially in the context of U.S.-Canadian relations and interregional rivalry between the Northeast and the Southwest. This thesis seeks to explain the complex cultural and political dynamic of modernist painting in the United States in the Cold War years of 1957 to 1965 and the effect of this dynamic on the development of Canadian modernist painting.

A Research report submitted in partial fulfilment of the Degree Masters in History of Arts at the University of Witwatersrand, 2017<br>This research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how these exhibitions have used display strategies to construct values reflected in the resistance poster. The three selected exhibitions are as follows: firstly, Thami Mnyele and Medu Art Ensemble Retrospective (2008), Second is the exhibition Images of Defiance: South African poster of the 1980’s (2004). And the third exhibition Interruptions: Posters from the Community Arts Project Archive (2014).<br>XL2018

This dissertation analyzes the production of the Concrete and Madí artists, who were active in Argentina in the 1940s and 50s. Concrete and Madí artists proposed, for the first time in this country, the need for an art that was completely different from representational and expressionist art, and they believed that their "inventions," both visual and linguistic, could foster social change. Many aspects of the journal Arturo, published in 1944, and of Concrete and Madí art continue to be a puzzle, such as their relation with past and contemporary artistic and intellectual productions, their relation with the volatile Argentine political climate of the 1940s and 50s, and their ultimate artistic significance. This study interprets the propositions of these artists as responsive to phenomena they experienced in an immediate manner in the time and place in which they lived. The dissertation thus contextualizes Concrete and Madí art in five scenarios: publications by Spanish emigres and Argentine writers which explored the concepts of "automatism" and "invention;" discourses about "Nazism" and "democracy," and about "civilization" and "barbarism" that emerged through literary periodicals of the mid-1940s; political propaganda displayed under the rule of Juan Domingo Perón (1946-1955); the development of modern-looking and functional architecture fostered by Peronist architectural policies; and the artists' dialogues with the ideas of musicians then living in Argentina and Brazil. Ultimately, the dissertation constructs dialogues between specific instances of Argentine cultural and political history of the 1940s and 50s, and a selection of Concrete and Madí works and writings.

When the artist Mel Bochner described the reductive geometric forms on view in the "Primary Structures" exhibition in 1966, a show that announced the arrival of minimalism on the New York art scene, he claimed: "there is nothing behind these surfaces, no inside, no secret, no hidden motive."1 Yet after a careful examination of minimal art, and the ways in which it challenged a modernist trajectory set into place in the postwar period, I am arguing Bochner couldn't have been more wrong. With minimalism as its primary focus, my thesis considers how the political turmoil of the late 1960s- manifest in widespread social upheaval, the polemics of a contested war, and questions regarding the nature of the modern subject- disrupted the perceived self-referentiality of abstract art, particularly that adhering to a tradition of Greenbergian modernism. That is, when complicated by contemporaneous social relations and artistic debates, the formal language of minimalism, with its simple forms, precise lines, and industrial manufacture, becomes full of potential meaning, leaving the minimal box less hollow than Bochner would have us believe. To get at some of the complexities of the minimal project, both mainstream artists, such as Donald Judd and Robert Morris, and those more marginally related to the movement, like Barnett Newman, Jo Baer, and Eva Hesse, are considered. Setting the work of these artists into tension with one another and with the critical writings of Clement Greenberg and Michael Fried, the unique strategies used to mediate between individual artistic interests and larger social tensions are brought into focus. One primary area in which this was accomplished was in relation to the issue of viewership. Whether rethinking Morris' notion of "experience," Newman's conceptualization of "participation," or Baer's prioritization of "perception," these distinct modes of engagement signal what was at the time a shifting understanding of how politics is formulated in relation to the body of the viewer and how the art object is implicated in this process. Considering how this broke with previous formalist models, what these chapters show in different ways and from varying perspectives is that the authority of modernism was fracturing in the late 1960s, and that minimal art was central to this process.

本論文選取畫家符羅飛（1897-1971）進行研究，旨在通過文字及圖像史料復原這一被視作“歷史失蹤者的藝術家個案，並將其放在20 世紀中國藝術與革命互動關係的語境中進行考察。文章依據時序及符羅飛活動地點與内容的變化，分爲五個章節，結合文獻考據、視覺分析及藝術社會學等研究方法，分別探討他於20 世紀20 至60 年代在上海、意大利、香港及華南等地的藝術創作與社會活動，並著重觀察這位以藝術積極投入社會革命、且擁有明確政治信仰的畫家及其代表的群體，是如何通過主動轉變藝術面貌，從而與20 世紀中國社會的大變動連成一體。本文認爲：符羅飛於抗戰期間攜傾向古典寫實的那不勒斯畫派畫風及自創的水墨寫生歸國，但其藝術救國活動最初並未達至理想效果；直到40 年代中期才在通過不斷地寫生、辦展，逐漸吸收國統區漫畫與木刻中流行的德國表現主義元素，脫胎出具有強烈視覺刺激和道德感召力、又符合中共革命訴求的代表性藝術面貌，在特定的政治人群中得到廣泛承認，在此過程中輿論因素的影響不可忽視；同時，他的彩墨實驗等游離於政治目標之外的藝術活動打破了“革命畫家"的刻板印象；而他在政權鼎革後因未能適應高度一元化的藝壇新秩序而湮沒於混亂時世的最終命運，又折射出五四以來自由知識分子傳統與中共黨文化之間不可調和的矛盾。<br>This thesis is a monographic study on the artist Fu Luofei (1897-1971), aiming to reconstruct his life and art with textual and visual historical materials, with focus on the interaction between art and revolution in the twentieth-century China. The five chapters of this thesis examine Fu’s artistic and social activities in Shanghai, Italy, Hong Kong and South China from the 1920s to 1960s chronologically, and mainly investigate how this artist, who had definite political belief and was willing to devote his art to social revolution, involved in and acted on the transformation of Chinese society in the twentieth century through continuously transforming his artistic styles.<br>As this study demonstrates, Fu brought back from Italy the representational painting style of the Neapolitan School and the achievement of his ink experiment in the late 1930s. However, his attempt on “saving the nation by art" did not succeed until mid-1940s. At that time, Fu established his signature style by absorbing the visual elements of German Expressionist paintings, one of the prevailing styles for cartoons and woodcut prints in the Kuomintang ruled areas. His signature style, which was strong in visual stimulation as well as in moral and emotional appeal, was developed through unceasing exchanges with the leftist critics and echoed with the political demand of the Chinese Communist Party. Meanwhile, as is rarely known, Fu also painted in the form of traditional guohua (Chinese national painting), which reveals a not-so-revolutionary side of the “revolutionary artist". His tragedy after the establishment of the People’s Republic vividly illustrates the irreconcilable conflicts between the May Fourth tradition of intellectual independence and the political culture of the CCP.<br>Detailed summary in vernacular field only.<br>陳鶯.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.<br>Includes bibliographical references (leaves 294-307) and index.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Chen Ying.<br>導言 --- p.1<br>Chapter 第一章 --- 留學意大利（1930-1938） --- p.12<br>Chapter 第一節 --- 文獻回顧：留意傳奇與疑問 --- p.12<br>Chapter 第二節 --- 歐遊前傳：上海美專及其它 --- p.17<br>Chapter 第三節 --- 那不勒斯：特殊的選擇 --- p.22<br>Chapter 第四節 --- 美術學院内外 --- p.29<br>Chapter 第五節 --- “求真"與“人情"：學院傳統及留意畫作 --- p.49<br>Chapter 第六節 --- 東方學院：在中意之間 --- p.67<br>Chapter 第七節 --- 歸國始末 --- p.84<br>Chapter 第二章 --- 一九三八年在香港（1938-1939） --- p.103<br>Chapter 第一節 --- 登場 --- p.103<br>Chapter 第二節 --- 抗戰救國理想的首次實踐 --- p.107<br>Chapter 第三節 --- 中國筆作西洋畫 --- p.117<br>Chapter 第四節 --- 社會網絡：文化人、政經界及同鄉會組織 --- p.127<br>Chapter 第五節 --- 結果與現實 --- p.135<br>Chapter 第三章 --- 從歐洲學院到中國現實（1939-1948） --- p.140<br>Chapter 第一節 --- 北上行蹤 --- p.140<br>Chapter 第二節 --- 風格改造：形式與内容 --- p.144<br>Chapter （一） --- 1941年桂林展 --- p.145<br>Chapter （二） --- 1943年“現實主義浪漫派"巡展 --- p.152<br>Chapter （三） --- 1946至1948年穗港展 --- p.158<br>Chapter 第三節 --- 代表性風格的面貌 --- p.164<br>Chapter （一） --- 代表性風格的兩種類型 --- p.165<br>Chapter （二） --- 保留的與捨棄的 --- p.171<br>Chapter （三） --- 新風格形成期間所受之影響 --- p.173<br>Chapter 第四節 --- 風格選擇的成因：表現主義與中國“現實" --- p.180<br>Chapter 第四章 --- 重訪香江（1947-1949） --- p.189<br>Chapter 第一節 --- 再度居港與文化人南下潮 --- p.188<br>Chapter 第二節 --- 人間畫會：組織結構及主要活動 --- p.193<br>Chapter 第三節 --- 左翼文藝標準的強化 --- p.202<br>Chapter 第四節 --- “國畫"：代表性風格以外的藝術嘗試 --- p.210<br>Chapter 第五節 --- 短暫的美國夢 --- p.218<br>Chapter 第六節 --- 迎接新中國 --- p.226<br>Chapter 第五章 --- 政治氣候的轉變（1949-1971） --- p.235<br>Chapter 第一節 --- 從體制外到體制内 --- p.235<br>Chapter 第二節 --- 過渡時期：以舊風格唱新語句 --- p.241<br>Chapter 第三節 --- 代表性畫風的瓶頸 --- p.249<br>Chapter 第四節 --- 描繪新生活 --- p.257<br>Chapter 第五節 --- 傳奇落幕 --- p.265<br>Chapter 結語 --- 自畫像：個人命運與時代洪流 --- p.271<br>中文參考文獻 --- p.294<br>外文參考文獻 --- p.304<br>Chapter 附錄一 --- 符羅飛藝術活動年表 --- p.308<br>Chapter 附錄二 --- 人名索引 --- p.321<br>圖版目錄 --- p.329<br>圖版 --- p.351

羅欣欣.<br>論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998.<br>附參考文獻.<br>中英文摘要.<br>Luo Xinxin.<br>序言 --- p.1<br>論文摘要 --- p.2<br>插圖目錄 --- p.5<br>緒論 --- p.14<br>Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949)<br>Chapter I. --- 毛澤東政治地位的確立 --- p.28<br>Chapter II. --- 土地革命戰爭時期(1927-1937)：毛澤東繪畫圖像的起源 --- p.30<br>Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31<br>Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32<br>Chapter 2. --- 晉西北木刻工廠1941 --- p.33<br>Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34<br>Chapter 4. --- 赤色郵政 1944 --- p.40<br>Chapter 5. --- 中共黨報 1945 --- p.41<br>Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展 --- p.43<br>小結 --- p.47<br>Chapter 第二章 --- 中共建國後的毛澤東繪畫圖像(1949-1966)<br>Chapter I. --- 中華人民共和國成立初年的毛澤東繒畫圖像發展 --- p.53<br>Chapter 1. --- 中華人民共和國的成立194 9 --- p.53<br>Chapter a. --- 延安藝術傳統的毛澤東漫畫圖像 --- p.54<br>Chapter b. --- 王朝聞的繪畫領袖像指示 --- p.56<br>Chapter 2. --- 土地改革 1950-1952 --- p.59<br>Chapter a. --- 新年畫創作運動 --- p.59<br>Chapter 3. --- 建國初年的整黨整風1950-52 --- p.66<br>Chapter a. --- 革命歷史畫創作計劃 --- p.67<br>Chapter II. --- 中蘇親密外交下的毛澤東繪畫圖像發展 --- p.70<br>Chapter 1. --- 全盤蘇化1950-55 --- p.70<br>Chapter a. --- 蘇聯宣傳畫的影響 --- p.70<br>Chapter b. --- 蘇聯油畫的影響 --- p.72<br>Chapter c. --- 蘇聯領袖像選材的影響 --- p.74<br>Chapter III. --- 中共社會經濟改革下的毛澤東繪畫圖像發展 --- p.76<br>Chapter 1. --- 第一個五年計劃1953-1957 --- p.76<br>Chapter a. --- 中國畫的改造 --- p.78<br>Chapter b. --- 油畫民族化 --- p.81<br>Chapter 2. --- 大躍進及人民公社運動1958-60 --- p.84<br>Chapter 3. --- 社會主義教育運動1962-65 --- p.88<br>Chapter a. --- 革命歷史繪畫運動 --- p.59<br>小結 --- p.91<br>Chapter 第三章 --- 文革時期的毛澤東繪畫圖像(1966-1976)<br>Chapter I. --- 文化大革命發動的原因 --- p.105<br>Chapter 1. --- 文化大革命序幕：海瑞罷官1965 --- p.105<br>Chapter 2. --- 毛澤東個人崇拜 --- p.107<br>Chapter II. --- 文革時期毛澤東繪畫圖像的發展 --- p.107<br>Chapter 1. --- 紅衛兵運動1966 --- p.107<br>Chapter a. --- 紅衛兵藝術 --- p.108<br>Chapter b. --- 《毛澤東思想照亮安源工人革命運動展覽》 --- p.113<br>Chapter c. --- 「紅、光、亮」的藝術手法 --- p.115<br>Chapter 2. --- 工農兵領導下的文化大革命1969 --- p.117<br>Chapter a. --- 工農兵繪畫運動 --- p.118<br>Chapter 3. --- 毛澤東的親密戰友一林彪的叛變1971 --- p.124<br>Chapter 4. --- 毛澤東的接班人一華國鋒1976 --- p.125<br>小結 --- p.126<br>Chapter 第四章 --- 文革後及改革開放時期的毛澤東繪畫圖像(1976-1997)<br>Chapter I. --- 文革後的毛澤東繪畫圖像發展 --- p.132<br>Chapter 1. --- 後文革時期的藝術1976-1978 --- p.132<br>Chapter a. --- 《熱烈慶祝華國鋒同志任中央主席、中央軍委主席 、熱烈慶祝粉碎四人幫篡黨奪權陰謀的偉大勝 利全國美術作品展覽》 --- p.133<br>Chapter b. --- 《慶祝中國人民解放軍建軍50周年美術作品展覽》 --- p.134<br>Chapter c. --- 毛主席紀念堂的落成 --- p.136<br>Chapter d. --- 《毛主席永遠活在我們心中´ؤ毛主席逝世一周 年美術作品展覽》 --- p.137<br>Chapter 2. --- 傷痕藝術1978-1979 --- p.139<br>Chapter 3. --- 星星美展1979-1980 --- p.140<br>Chapter II. --- 改革開放時期的毛澤東繪畫圖像發展 --- p.141<br>Chapter 1. --- 美術新思潮下的毛澤東圖像 --- p.141<br>Chapter a. --- 後八九的中國新藝術一政治波普中的毛澤東圖像 --- p.143<br>Chapter b. --- 毛澤東藝術圖像的拍賣熱潮 --- p.151<br>Chapter 2. --- 宮方持續創作的毛澤東繪畫圖像 --- p.152<br>小結 --- p.156<br>結語 --- p.161<br>附錄一 ：1.中國藝術史中毛澤東書法圖像的社會文化意義 --- p.1-1<br>2.美術展覽中的毛澤東繪畫圖像畫目 --- p.1-6<br>附錄二：參考書目 --- p.2-1<br>附錄三：現代中國藝術史中毛澤東繪畫圖像畫目 --- p.3-1<br>附錄四：圖版 --- p.4-1

Critical Theory, as posited by members of The Frankfurt School, was evaluated with the objective of attaching an implied ethical dimension. This was discovered in their privileging of a particular type of aesthetic, as evinced in their analysis of certain works of autonomous High Modernism. This implied ethic, which is one based around the concept of enlightenment as potential for emancipation, was then applied as a norm for the evaluation of art. This ethic, however, does not seek to impose a particular reading on (specifically) literary production: Rather, it seeks to impart the importance of a commitment by the literary critic in the use of an ethically based norm, an ethic, what is more, that is based and supported by a discussion of the concepts 'freedom' and Enlightenment. Finally, with this ethic firmly established, the discussion then attempted to distinguish between modernism and post-modernism, using this implied ethic as a guide to separation.<br>Afrikaans & Theory of Literature<br>M.A. (Theory of Literature)

An overview of global statistics on violence, country to country and worldwide, indicates that men are the main perpetrators of violence in our societies. Furthermore, the behavioural traits of risk-taking and self-harm are also associated with men. It is my contention that the formative processes involved in gender identity are at the root of these dysfunctions. In an attempt to present a positive alternative, I focus on a group I name the X- Men: white South African Generation X males. Drawing on Judith Butler‟s theory of performativity and its allowance for agency and resistance, I argue that they are not necessarily trapped by how their gender identities were formed through Apartheid‟s gendered institutions. These included schools, sport and the military. I posit that within the institution of art, self-aware artists may present visual representations of resistance and transformation. Acknowledging art as signifying text, the X-Men situate signs differently in an effort to accomplish a social and intersubjective raising-of-awareness. Additionally, this new identity and its associated positive performance have the potential to undermine certain stereotypical perceptions harboured by the broader society as a result of problematic behaviour associated with men.<br>Art History, Visual Arts and Musicology<br>M.V.A.