Dissertations / Theses on the topic ''Art of Place'
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Akenson, David J. "Art in parallax: painting, place, judgment." University of Southern Queensland, Faculty of Arts, 2008. http://eprints.usq.edu.au/archive/00006176/.
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[Abstract]The point of this thesis is to undertake a critical engagement with the art and life debate. This debate involves, in particular, the question of the location of art. Does art belong to an autonomous field removed from ‘everyday life’, or is art located amongst the objects and daily activities of our lives? Contributors to this debate usually defend one or the other position; either defending autonomy or arguing that art is, or at least should be, part of life. The debate is located through three historical points: the avant-gardes of the early 20th Century Europe; the neo-avant-garde of North America in the 1950s – 1970s; and American formalist art and criticism of the 1930s – 1970s. The thesis then engages the debate through more recent examples of art where the binary art/life is again the principal issue. Minimalism, Installation art, Site-specific art and Wall Painting are examined in the context of the ‘end’ of modernist painting. The argument presented by the thesis will be informed by a recently emerging theoretical frame which engages the reception of Kantian and Hegelian forms of aesthetic judgment. This critical context includes the Slovenian philosopher, Slavoj Zizek; the Marxist-Hegelian theory of the German critic, Peter Burger, and the U.S. formalist critic, Clement Greenberg. The positions held by these theorists and critics will be examined through examples of art from both the modern period and more contemporary works. Through this context, the thesis positions the art and life debate within a structural analysis, arguing that art, including objects of ordinary life understood as art, occupy places within an art structure. The thesis argues that the choice between art and life is not so much a positive choice of one or the other, but rather a choice between one and the same thing seen differently; that is, the one thing seen in parallax.
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Langdon, Elizabeth Ann. "Place-Based and Intergenerational Art Education." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011804/.
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This qualitative inquiry explored how art educators might broaden their views of place through critical encounters with art, local visual culture, and working with older artists. I combined place-based (PB) education and intergenerational (IG) learning as the focus of an art education curriculum writing initiative with in-service art educators within a museum setting to produce PBIG art education. This study engaged art educators in cooperative action research using a multi-modal approach, including identifying and interviewing local artists to construct new understandings about local place and art to share with students and community. I used critical reflection in our cooperative action research by troubling paradoxes in local visual culture, which formed views of place including Indigenous cultures. Using Deleuze's Logic of Sense (LOS) theories of sense and event, enabled concept development through embracing the paradoxes of this research as sense producing. LOS theory of duration complements IG learning by clarifying the contributions of place and time to memory and experience. Duration suggests that place locates the virtual past, which is actualized through memories--one of the shared experiences of IG learning. Rethinking IG relationships as a sharing of experience and memory while positioning place as a commonality, dismantles ageist notions by offering alternatives to binary thinking about old and young. By triangulating participant data based on the extended epistemology of cooperative action research and Deleuze's pure event, I assess the credibility of participant learning. Critical reflection in cooperative action research combined with LOS theory is significant because the reflective aspect of action research aligns with Deleuze's pure event. Vital curricula and teacher praxes resulted when participants integrated localized experiences of place through older artists' memories and art.
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Gauntlett, Alice. "Out-of-Place." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/10555.
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Includes bibliographical references.This series of photographs were the initial process works for my project. I began photographing my body, predominately my legs, in personal spaces. These spaces included my family home and my studio and depicted performances of my interaction with these spaces and objects and elements from the home. This series of process works introduced to me to the idea of working within the home and photographing my performances. They differ from the main body of work, which was photographed in my mother's new home - the location that I chose for my photographs and performances, in that they were not remediated into collage works.
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Pinheiro, Gabriela V. "Art from place : the expression of cultural memory in the urban environment and in place-specific art interventions." Thesis, Open University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394755.
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Lau, Pui-chuen Lisa, and 劉佩荃. "A place for art: dissolution of boundaries." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985853.
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Lau, Pui-chuen Lisa. "A place for art : dissolution of boundaries /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950137.
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Andary, Chetana. "Curating place: Public art and city identity." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/202922/1/Chetana_Andary_Thesis.pdf.
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This Thesis investigates the impact and influence of the public art-curator to engender place-identity. It focuses on the connected relationship between curating, public art, and place identity to develop a contemporary understanding of the challenges, drivers, players and intersections that determine spatial and custodial narratives. Through the theories of placemaking and brand marketing and the review of the art and cultural policies of New York, Singapore, and Qatar, it draws upon the practice in curating public art.
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Mirocha, Claire Monica. "Place as Flux: Depictions of Place and Movement in Eastern Turkish Contemporary Art." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/297721.
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This thesis analyzes contemporary Turkish art with a fresh method that is based upon concepts of geography and locality, as outlined in Doreen Massey’s essay "A Global Sense of Place", rather than socioeconomic, cultural, or ethnic identity. By examining three artists with positions in three different spheres of geographic scope (Fikret Atay, Halil Altındere, and Ahmet Öğüt), it pinpoints depictions of movement and space in some of the artists’ major works and induces each one’s general conception of a sense of place. These conceptions are meaningful for the achievement of a well-considered, intricate view of the globe as a network of interactions between places, and the ways in which these interactions enact constant shifts and modifications in those places. Globalization and other postmodern forms of cultural interspersal are shown to be not just homogenizing forces, but also opportunities for places to become differentiated. This self-particularization of place can take as its primary point of departure an acknowledgement of its fluid, immaterial nature.
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Hertz, Madeleine. "Reimagining place." Thesis, Konstfack, Institutionen för Konst (K), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7740.
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In the beginning of the 2004 video essay Los Angeles plays itself, the Hollywood critical film theorist Thom Andersen states ‘The city is big. The image is small’. What Andersen refers to, as a long-time citizen of Los Angeles, is the way Hollywood tends to create a romanticised and narrowed image of its city through film. The three-hour long documentary by Andersen is built up mainly by the use of clips from different Hollywood movies through its history of filmmaking. By representing and reproducing these clips, he examines the ways the city has been depicted through decades. Utilizing and disassembling these misinterpreted images and stories, Andersen creates his own story which further reveals what he believes to be the truth. What interests me in Andersen’s case is the way he works with a city and its architecture, displaying the embedded social and political structures, by twisting the perspectives through the use and repetition of these historically recognizable clips. When he takes something that already exists and alters its presence or meaning, other questions might be evoked, making it more visible by exposing its opposites.
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Bumguardner-Myers, Emily A. "The place of art in K-12 education." [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/EBMyersPartI2006.pdf.
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Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
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Ferguson, Nicholas. "Indifference : art, liberalism and the politics of place." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/19407/.
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Against a backdrop of territorial expansion, land enclosure and laissez-faire economic policy in eighteenth-century England, a mode of perception was imagined that would disrupt conventional acts of looking which, to the critical mind, were linked to an economy of selfhood. There emerged a theory of a gaze that might resist tendencies to private authority, as well as the absolutism of public power. The gaze would, with time, come to be identified with artistic vision and is here labelled indifference. This thesis seeks to characterise indifference, to use it as an optic onto liberal orthodoxies, and to evaluate its capability as a disruptor of neoliberal ideology. Selected for analysis is liberalism’s valorisation of place, to which twenty-first century cultural production has contributed. Through case studies of contemporary art, it is shown that artworks produced in order to cultivate a sense of place in the name of social welfare and a crowded public sphere may not in practice serve such ends. Rather, they threaten to reinforce hierarchies already operative in the concept of place. If they do so, their instigators are arguably complicit in the very inequalities that they propose to eliminate. The thesis examines the disruptive potential of the artist’s indifference through an analysis of artworks by Robert Smithson and Thomas Hirschhorn. Both these artists, albeit in different ways, claim indifference to site, thereby promising to negate the authority of a body politic that is sustained by place production. However, in the case of Hirschhorn, whose public commission in Holland, 2009, serves as a case study, the promise is undermined by the fact that his indifference coincided with the interests of his corporate and state backers. Consequently, his art functioned not to sublimate selfhood in the interests of the polis, but to facilitate the liberty of corporations and the Dutch state.
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Mark-Ng, Elsa. "Public Art in Outdoor Space: How Environmental Art Can Influence Notions of Place." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1559347543553644.
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Cartiere, Cameron. "RE/placing public art : the role of place specificity in new genre public art." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/2301/.
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This research is an exploration of the development and influence of place-specificity within the field of new genre public art. Over the last several years the term place-specificity and its variance, place-specific has occurred frequently in art reviews and exhibition catalogues particularly in relation to installations, permanent public art works, and public interventions. While place-specificity is now a recognised term in the current lexicon of public art discussion, within many texts the phrase place-specific is often indiscriminately interchanged with site-specific, implying that the two terms are synonymous. While the relationships between site, space, and place are actively explored within fields such as geography,cultural studies and architecture, distinctions between site-specificity and place-specificity have rarely been critically addressed in discussions of public art. Based on both theory and curatorial practice, this thesis explores a range of perspectives on the role of place within socially engaged public art practice. The study examines the difference between site and place and how place influences our perceptions of specific locations through memory, history and experience. The thesis explores place as a subject, an artistic influence, and a social and cultural signifier. Also examined is how artists use place as a means of connecting to specific locations and audiences, as well as a way of exploring their personal histories and memories. Utilising a combination of approaches, this study incorporates naturalistic enquiry, conversation as a method, a think-tank, interviews, and video documentation to uncover how a group of public art practitioners reflect on place-specificity within their work, how they utilise place, and are influenced by place. The research reflects on the potential of place-specific public art to celebrate unique cultural differences, inspire international collaboration, and provide a forum for local distinctiveness in the face of globalization The study also serves as one model for practice-based research utilising curatorship as a practice. This study identifies further areas for potential research within various aspects of art and design as well as other disciplines. The thesis is accompanied by a suite of DVD's which document the curatorial practice and address place-specific themes that emerged from the research.
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Martini, Nerine Yvette Art College of Fine Arts UNSW. "Tributaries: public art, connecting & reflecting people and place." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44425.
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Tributaries are geographic fingers of water moving across the landscape making connections with a main water source. As a title for my Master of Fine Arts research paper this metaphorically refers to the political, social and cultural streams which are expressed through my public artworks. It is also a poetic play on notions of paying tribute. This research examines the process of collaboration and cross-cultural arts practice and the relationship between a public artwork, the site and the audience. Four diverse yet interrelated public art projects are presented for my Master of Fine Arts degree. This research investigates the conceptual links between the four projects and the current discourse of cross-cultural collaborations. Although my art practice varies in location, materials, forms and approach, generally it is focussed around sculpture and installation and includes temporary and permanent public artworks. Two of the projects discussed took place in the Blue Mountains, west of Sydney, the other two took place in Vietnam. This research discusses the advantages, disadvantages and challenges in choosing to work collaboratively and questions the relationship of the author to the work and the importance of the process in creating an artwork. It also explores notions of hierarchy and power relationships that occur between artists from within the same culture and between artists from different cultures. Exploring the connections between public art and specific communities/sites has expanded my research into related notions of homes, homelessness and displacement. My approach to public sculpture is deliberately anti-monumental. This takes into account the relationship of scale within a public artwork: including the relationship of the work to the human body and to the surrounding environment I examine how contemporary public art can serve as a form of tribute to historic events and people of the past. My poetic approach to creating public art differs from more conventional monuments and statues of tribute and can be considered as a non-linear approach to presenting history. While the events these artworks refer to have taken place in the past, the issues surrounding them continue to have relevance to political situations of today.
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Labelle, Brandon. "Background noise : sound art and the resonance of place." Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422279.
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Thomas, Jo. "Presencing place : an enquiry into the knowing and shaping of place through expanded art practices." Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/540bf549-0d4a-42ce-8bad-30b056e61659/1.
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This practice based research examines ways of working in local everyday places that enable shifts from the ‘non–place’ to the rediscovery of the particular in everyday places, amplifying and enhancing ways of knowing and sensing through presencing place. A series of forty-five gestures, expanded art practices, form the enquiry. These gestures have a phenomenological and holistic outlook that highlight the potential of small actions to confirm and enhance the quality of our connections with the world we are part of and through which we can experience a sense of interconnectiveness. Most take place close to my home in Reading, UK. Gestures include: standing in a local water meadow with others to witness dawn Gesture 19 Dawn Walk 6.30am; walking through two periods of abrupt climate change 183ma (million years ago) and our current time, Gesture 28 Intersections of time; or gilding the shadow of a small weed with gold leaf at solar noon, Gesture 45 Solar Noon Shadows. The commentary introduces the territory of presencing place with reference to Otto Scharmers Theory U and a creative approach of letting come born out of Heidegger’s central concern Being or ‘Dasein’. The approaches to practices are then described through methods of tuning into place, the potential for a better place that is embodied in the field of social sculpture and the possibilities of liminal knowing to connect in place. Processes of engaging with others and getting into a position where the world conspires to help you are considered with the work of carefully selected artists. The gestures focus on three areas of enquiry: first, into the physicality of place, secondly, into the non-physicality of place and, thirdly, finding ways of shaping an experience of place with and for others. The gestures become understood as moments of compassionate connection in the poetic action of a small stitch, an act of loving the world. The research concludes by discussing the gestures as a family of strategies and methods that offer ways of presencing place that enhance possibilities of connection in place through expanded art practices. It will be of use to those interested in public facing work and place.
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White, Eve. "This Must Be the Place." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5873.
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This publication is the companion piece to “This Must Be the Place,” a 3D realization of my conceptual photography work exhibited in the Anderson Courtyard at VCU's 2019 School of the Arts MFA Show. I photograph scenes from nature and reproduce these images onto flattened plexiglass planes, arranging them in new, natural environments and photographing them again. The outcome is a scenic collage in which two unfamiliar locations become superimposed. It is my hope that as people experience the work they become a part of the texture of it.
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Taylor, Gretel. "Locating place and the moving body /." full-text, 2008. http://eprints.vu.edu.au/2050/1/Gretel_Taylor.pdf.
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This research project physically and theoretically investigates a relationship between body and place, via site-specific performance-making processes in diverse Australian sites. It encompasses the creation of two live performances and a video installation, the development of which are documented and elucidated in a written exegesis. The exegesis and associated performance processes explore the proposition that movement/ dance—as a spatial practice—can be a mode of locating, or an attempt to locate. ‘Locating’ implies an endless process that is always heading towards location, place, total presence—but may never arrive. Using practice-based, embodied research as its methodology, environmental information from the specific site is gathered via sensory perception tasks, some derived from Body Weather (a movement philosophy developed by Japanese dancer Min Tanaka), generating an improvisational exchange of perception and response. This ‘locating dance’ is the relationship between body and the place: it is simultaneously the seeking of relationship and the expression, enactment or illustration of it. In seeking location in relation to Australian sites from the perspective of a body that is white, the research also interrogates white Australian identity in relationship to this country, with the knowledge of the genocide and dispossession that its history entails. The work of theorists of place and space, as well as local historical and ecological sources, provide the framework for this series of excavations. Via traveling in Europe and to Aboriginal Land in the Northern Territory, insights develop into the cultural and corporeal residue of colonisation. Thus, the specific geographical site of each of the performance works acts also as a microcosm for, or reference point to, the broader site of contemporary Australia and the non-Aboriginal postcolonial experience of place. Representation of the body in performance is constructed in various ways to acknowledge the implications of its whiteness. The locating dances and performance works that comprise Locating: Place and the Moving Body engage in a multi-sensory listening to the country that aspires towards (white Australian) location—that elusive and longed-for ‘belonging’ or true ‘settlement’—yet they do not purport to have found, or even anticipate finding, an endpoint to this dance.
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Grosch, Anna. "Enacting place| A comparative case study." Thesis, The University of Wisconsin - Milwaukee, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1598734.
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As a community-based art educator, I advocate for an arts-based educational environment that embraces postmodern tenets and encourages individuals to reflect on self and society in relation to the places in which they dwell and learn. This thesis is a dialogue on emplaced community-based art education. Issues of urban education, social justice, and critical pedagogy are considered in relation to participants’ enactments of place within two distinct community-based educational settings. In order to investigate the connections between a culture of place, place-based education, and the community-based programs of each site, the role of art and artifacts was carefully considered in building a sense of place and placemaking within the comparison of each case study. Data was collected over the course of a year and later analyzed through the lens of narrative analysis-a focus on how people spoke to personal values and social beliefs associated with their enactment of place-based education.
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Goldman, Benjamin. "In a Strange Place." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/61.
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My work is about stress and strain in our modern times. I am using self portraiture as a way to discuss the world around me and hope that the viewer will relate to my experiences. Drawing, painting and video are used to convey different aspects of my observations, and old techniques are mixed with new technologies. Personal observations, artistic and scientific influences, and the art-making process have shaped this body of work.
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Bennett, Julie. "Where the sun has fallen to earth : A studio investigation of the nature of place, and the place of nature in visual art practice." Thesis, University of Ballarat, 2008. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/44694.
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My work involves the insertion of a structure into a landscape - a particular landscape, one I have contemplated for many years. In my landscape, 'my place', time is seen through the change of farming and weather seasons. We think we know and understand the landscape that immediately surrounds us, the place in which we live, but in the event of even a small change within that familiar place, our understanding and perceptions are called into question and our sense of time and space are rearranged.Master of Arts (Visual Arts)
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Jim, Alice Ming Wai 1970. "Urban metaphors in Hong Kong media art : reimagining place identity." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84516.
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This dissertation examines representations of the city and media art in Hong Kong from the late 1980s to the present to establish a link between the ways in which the city's place identity is re-imag(in)ed. Charting the course of media art in Hong Kong in relation to the parallel development of contemporary art in the region, it provides critical analyses of dominant urban metaphors that play a significant role, both locally and internationally, in the current representation of Hong Kong and its artistic practices. Specifically, the study explores how media artists have been dealing with four central urban metaphors that frequently arise in discussions of Hong Kong in relation to its place identity: City in Transition, Panoramic City, Compact City, and Mobile City. The hypothesis of this essay concerns the ways in which both the selected media artists and their works negotiate central urban metaphors in their search for Hong Kong's place identity. I designate each of these negotiations as a 'spatial portrait': a space of representation in which social experiences and relations are reconstructed and investigated. Through the critical analysis of these spatial portraits, I consider the development, shifts and imbrications of urban metaphors for Hong Kong and their contributions to, as well as their limitations for, understandings of artistic representations of urban space. Recognizing the local-global nexus from which these works emerge through considerations of the imaging of Hong Kong in the media and tourism industries, I propose an interpretation of the metaphor of the Mobile City as an updated version of the City of Transition. Ultimately, this dissertation offers an understanding of urban metaphors in Hong Kong media art in relation to the re-imag(in)ing of place identity situated between globalization discourse and the cultural politics of urban space, location and representation. It concludes that contemporary art's contribution to t
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Paley, Marianne Elizabeth. "Art in the public realm : integrating audience, place, and process." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/79022.
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Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art." Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.
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This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to the virtual. I combine original research on public poetries such as the poetry slam, the poetry-music ensemble, and video-poetry and synthesize a variety of critical approaches, including cultural studies, postcolonial theory, and ethnomusicology. I analyze specific elements of the performance--the voice, music, the body on stage, and the dialogic relationship betwee performer and audience--and discuss how these poets use the poetry event to articulate a poetry-community-in-the-making. Throughout this study, I argue that these poetry events demand our active engagement with the performance and use emergent technologies to document and analyze this poetry community. As such, "Performance" ultimately demands that we not only rethink the relationship between these poets and their communities, but that we rethink the place of poetry in contemporary American culture.
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Pente, Patti Vera. "Being at the edge of landscape : sense of place and pedagogy." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2579.
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This study is an experiment in landscape art where artists put large pieces of fabric in personally significant places to be marked by the land. Landscape art is a site of power that can challenge embedded assumptions regarding national identity within tensions among local, national, and global scales. This research ruptures the Canadian myth of wilderness nation through the creation of an alternative landscape art that is informed by a theoretical discourse on the threshold as a site of difference and of learning. Inspired by the creative processes of the participating artists, Peter von Tiesenhausen, Pat Beaton, and Robert Dmytruk, I consider pedagogical implications for art education when pedagogy is structured on the powerful premise that learning is an uncertain, relational, and continual process.
Using my understanding of the methodology of a/r/tography, I create and poetically analyze art that offers opportunities for personal reflection into the nature of transformative educational practices. This form of arts-based research is influenced by the notion of assemblage, as presented by Deleuze and Guattari (1984), as well as practices of narrative, action research, and autoethnography, all of which echo the research method of currere (Pinar & Grumet, 1976). Within a/r/tography, image and text are creatively juxtaposed to inspire new understandings about the pedagogical thresholds among my roles of artist, researcher, and teacher. Arguing that social change must begin from a personal awareness of one's tacit values, I posit that a/r/tography can be an educational opening into reflection of such values due to the embodied, personal nature of art-making.
Through a philosophical discussion of subjectivity and community following the work of Jean-Luc Nancy and Jacque Derrida, I take the participants' and my local, significant places as sites from which to reverse the binary of landscape and artist, following an artistic version of deconstruction. From this a/r/tographical inquiry into elements of the land that serve as structural and heuristic supports, I critique the neoliberal subject position within nationalism, education, and landscape art. I draw on understandings of identity as theorized and performed from the premise that it, like learning, is an unpredictable, relational activity of emergence that is alway slocated on the threshold of difference between one person and another. Thus, I examine the educational, ontological, and social importance of what it means to exist within community in the land. In doing so, I raise questions regarding the normative structures of our educational institutions and suggest that social transformation could begin through art practices as a creative form of pedagogy.
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Faulring, Lynn Marie. "The Remains of a Place." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/35617.
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What makes a city exist? Is it movement, rhythm, symbols, texture, volume and time? Architecture should heighten the drama of living, walking gives a true scale of the city, creating an experience. Urban spaces must accommodate the individual. Movement systems determine the shape of the fields of influence; this varies in intensity with the degree of movement.
This thesis is an exploration into architecture of meaning, space and elements. These common elements change context and increase scale while recognizing the difference between inside and outside. This contrast supports meaning. The play of scale, hierarchy and patterns use space in different ways accommodating the individual. An existing condition is transformed and renovated. What entities are removed and what entities will remain?
This art museum is permanent and changing over time, architecture that transforms. A strong symbolic form, the cube, establishes an entity within the urban fabric. A sequence of sensations in size, scale, color, texture and light motivate the space. Tension is created between two bodies, the exterior brick shell and interior steel framework. Natural light penetrates a double height space of new elegantly structured steel with reinforced concrete stepping platforms. The existing wood columns overlap into this steel structure creating a place for movement.
Juxtaposition is created between new construction and the existing. Light steel opposes heavy wood while transparency opposes opacity. Steel frames with concrete slabs independent of the existing shell and cantilevering precast concrete boxes oppose wood timbers and brick bearing walls. Concrete floors and gaps created where they meet walls oppose wood floors touching the walls. This completes this thesis.Master of Architecture
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JOUVAL, JEAN-CHRISTOPHE. "Place et interet des ateliers d'expression en psychiatrie." Nice, 1991. http://www.theses.fr/1991NICE6516.
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Gray, Sarah Willard. "Abstracting from the landscape a sense of place /." Access electronically, 2008. http://ro.uow.edu.au/theses/147.
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Ouzounova, Neli Ilieva. "A sense of place." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-1110103-132434/unrestricted/OuzounovaN120903f.pdf.
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Thesis (M.F.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-1110103-132434. Includes bibliographical references. Also available via Internet at the UMI web site.
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Barnet, S. E. "Story of elsewhere : not these people, not this place." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/22531/.
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'Story of elsewhere' is made up of a number of interlinking parts, namely: a text component, a series of video interviews, an exhibition (also described as the thesis statement) 'Story of elsewhere' at the Stanley Picker Gallery in February of 2011, the book, 'Large Landscape', included in the Picker Gallery exhibition, and additional exhibition based materials a poster and a catalogue. All of these components of the work are linked and, together, act as remediations of the narrative of the work, its genesis, realization and its forms of expression. The central aspect of the exhibition is a series of video interviews that relate a number of stories - of elsewhere. 'Large Landscape' consists of a series of interlocking pieces that transforms hand written diary accounts into fiction, thoughts written at the time of realizing the work, notes about the making of the work, the intertwining of literary reference with imaginative interpretation, and anecdotal accounts - some of which are developed into detailed reportage. In addressing this multiplicity of narrative form, comparisons are made between the act of reading and that of writing, between seeing and hearing, between thinbking and feeling, between fact and fiction, between dreams and reality, between stranger and native, and between place and individual. In the exhibition there is an interpretative authorlal voice re-presenting what is heard with what is read, a shift between what is spoken of and what is portrayed. In 'Large Landscape', the process of reading takes the form of a written description of events. This array of formats is employed throughout to suggest the pervasive quality of narrative across experience. Plans of the future, recorded occurrences of the past, and compositions of the present are evoked through prose, scripting, description, memoir, folklore, commentary, and imagery. The methodology of collecting all this information ranges from interview to fabrication, from observation to intervention, and from complex engagement to simple expression. Within the framework of contemporary art practice and theory, 'Story of elsewhere' proposes distancing as a means of drawing nearer. Presenting the paradox of the idea that remoteness can produce proximity, a process is revealed that exposes previously hidden connections and associations - to oneself, to a place, and to another. This process, employing the language of memory, allows for a defamiliarization where new understandings emerge. My aim is to explore ever-shifting understandings of place, to offer an examination of the experience of witnessing place, to unpack the complications of subjective experience through the re-telling of remembered occurrences, memories that manifest through stories and that engage the interplay and paradox of language and naming, and to consider the inherent connections within memory of associations between the conscious and the unconscious. The connections between the different forms of the work: prose, scripting, description, memoir, folklore, commentary, and moving imagery, all interact to produce a subconscious cross-referencing. This mirrors the world we now inhabit with a place and complexity where this kind of multiple mediation of internet, TV, text, video, film etc., is pervasive and in a sense inescapable. Referencing becomes chaotic - we each find a way of navigating these elements in tandem or we select particular forms of mediation that align with how we connect and identify ourselves with others and with place. 'Story of elsewhere' seeks to address questions surrounding the place of individual experience in our complexly interrelated world, where place and images of places carry an overabundance of meanings. If the contemporary world is one where the fluid nature of individual memories easily overlaps with cultural memories, how do we come to know each other and ourselves in this landscape? In engaging with 'Story of elsewhere' it is my ambition that the viewer might answer such questions - to explore new ideas concerning self-knowledge, learned knowledge and knowledge that is sponsored by experiencing seemingly unconnected narratives, presented in multiples forms, in an investigation of place and association.
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King, Victoria School of Art History & Theory UNSW. "Art of place and displacement: embodied perception and the haptic ground." Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/22495.
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This thesis examines the relationship between art and place, and challenges conventional readings of the paintings of the late Aboriginal Anmatyerr elder Emily Kame Kngwarray of Australia and Canadian/American modernist artist Agnes Martin. In the case of Kngwarray, connections between body, ground and canvas are extensively explored through stories told to the author by Emily???s countrywomen at Utopia in the Northern Territory. In the case of Agnes Martin, these relationships are explored through personal interview with the artist in Taos, New Mexico, and by phenomenological readings of her paintings. The methodology is based on analysis of narrative, interview material, existing critical literature and the artists??? paintings. The haptic and embodiment emerge as strong themes, but the artists??? use of repetition provides fertile ground to question wholly aesthetic or cultural readings of their paintings. The thesis demonstrates the significance of historical and psychological denial and erasure, as well as transgenerational legacies in the artists??? work. A close examination is made of the artists??? use of surface shimmer in their paintings and the effects of it on the beholder. The implications of being mesmerized by shimmer, especially in the case of Aboriginal paintings, bring up ethical questions about cultural difference and the shadow side of art in its capacity for complicity, denial, appropriation and commodification. This thesis challenges the ocularcentric tradition of seeing the land and art, and examines what occurs when a painting is viewed on the walls of a gallery. It addresses Eurocentric readings of Aboriginal art and looks at the power of the aesthetic gaze that eliminates cultural difference. Differences between space and place are explored through an investigation of the phenomenology of perception, the haptic, embodiment and ???presentness???. Place affiliation and the effects of displacement are examined to discover what is often taken for granted: the ground beneath our feet. Art can express belonging and relationship with far-reaching cultural, political, psychological and environmental implications, but only if denial and loss of place are acknowledged.
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Jin, YoungSun. "An examination of the place of fresco in contemporary art practice." Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/2313/.
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This dissertation is the outcome of a practice-based research inquiry into innovations in processes and materials leading to a contemporary fresco. The research is in three parts: 1) the textual establishment of a historical framework for fresco; 2) an exhibition, Channelling Time, at the Lethaby Gallery, from 22 April to 3 May 2003; and 3) a critical analysis and conclusion that defines the research. The thesis is intended to explore issues in experimental fresco works and to provide a critical account of techniques, uses, and positions of fresco in twentieth-century art. It also aims to propose new aesthetic values in contemporary art. Chapters I-IV reappraise modern fresco by weighing historical precedent and influence from other artistic mediums. Throughout these chapters it is argued that fresco can establish itself as a current in contemporary art by understanding how its contexts and media differ from traditional painterly approaches to contemporary fresco and an organic relationship to architectural space. The research also discusses how contemporary fresco extends its boundaries with three different types of works: 1) site-specific projects; 2) portable frescoes and fresco installations; and 3) fresco sculptures and frescoes in mixed media. Interviews with major fresco artists examine how their work contributes to the creation of contemporary fresco and its new aesthetics. This research was used as a basis for discussing fresco in practice. It is developed in Chapter V, 'An Ongoing Inquiry through Creative Practice' and was presented at the exhibition in the Lethaby Gallery, the catalogue of which is included. The crux of the exhibition and the culmination of my research is an analysis of fresco's autonomy, diversity, and development from a traditional to a contemporary medium. The exhibition Channelling Time set out to establish fresco as a protean genre that expresses a variety of discourses of fresco.
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Gyeltshen, Yang. "The role and place of children's art in Bhutanese primary schools." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0002/MQ46253.pdf.
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Watts, Chelsea Anne. "Painting Parisian Identity: Place and Subjectivity in Fin-de-siecle art." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3403.
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In this thesis I provide analysis of several nineteenth-century artworks in order to elucidate the connections between place and identity as expressed in visual representations of Paris. I utilize Bakhtin's idea of the dialogical as a means of identifying multiple subject positions that might be accessed by particular individuals who live in socially constructed spaces specific to fin-de-siècle Paris. I discuss the construction of three performed identities unique to nineteenth-century Paris: the Flâneur, the bohemian, and the primitivist. In each chapter I will parse out the social construction of the spaces where these identities existed and were performed, and link those identities to their discursive functions as particular models of Parisian life. I will discuss the relationship of each representation of identity to Henri Lefebvre's concept of socially-produced space through analysis of the stylistic and compositional choices made by the artist. The visual artworks I discuss include Edouard Manet's A Bar at the Folies-Bergère, Vincent van Gogh's The Outskirts of Paris, Night Café, and Café Terrace at Night, and Henri de Toulouse-Lautrec's Jane Avril and Divan Japonais.
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Okashimo, Colin. "Art as contemplative place, with reference to Isamu Noguchi's sited works." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/2307/.
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The term contemplative place, a new concept that forms the core of this research is defined as "space where a meaningful sense of calm can be experienced." Contemplative place situates itself as a category of place. M. Auge defines place as that which is "relational, historical and/or concerned with identity" (1995). For the artwork to be meaningful, it needs to be expressive and significant through its response to its physical, cultural, historical and/or social identity. With reference to Isamu Noguchi's sited works, three projects are seen as representatively defining his career. They are The UNESCO Garden in France - Noguchi's early attempt at using the landscape as an art form; the California Scenario in the USA -a corporate park where Noguchi successfully creates a meaningful sense of place; and the Domon Ken Museum of Photography in Japan -a simple reductive approach that addresses its context on several levels. Through the analysis and contextual isation of Noguchi's works, I begin to explore the strategic processes and principles that he used to make his works contemplative places. In my practice, I review and test evolving processes that incorporate the notions of place as well as my practice of meditation. Three case studies of past and current works are presented, each with a summary of analysis and a completed (or anticipated) experience. Then, through post-reflective thoughts, I begin to consolidate my own strategic processes and principles, and study how they have evolved and in some instances been influenced by Noguchi. As a final chapter, an evaluation addresses the similarities and differences between Noguchi's works and mine in achieving contemplative place. The intention of this research is that the term contemplative place can be understood and evolve over time with future research. The strategic processes and principles used by Noguchi and those newly developed through my own practice could prove as useful examples to inspire new frontiers for creating contemplative places as art forms.
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AZEVEDO, HELENA SCHOENAU DE. "ART, POLITICS AND ENTERTAINMENT: THE INBETWEEN PLACE IN FRANÇOIS OZON S." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=36139@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
Tendo como marco a crise dos paradigmas estéticos da modernidade e a queda das utopias e dos ideais emancipatórios, este trabalho analisa a atual imprecisão das fronteiras entre a alta cultura e a cultura midiática de mercado em meio à globalização da economia e à interseção dos campos artísticos na atualidade. Nesse contexto, discute-se, a partir da obra de François Ozon, e mais especificamente do filme Dentro da Casa (2012), o caráter fronteiriço de obras que, sem deixar de entreter, apresentam uma dimensão intertextual metalinguística, configurando-se, portanto, como filmes que apontam para a possibilidade de novas concepções para relações entre estética e política.
Having as framework the modernity crisis of the aesthetics paradigms and the downfall of the utopia and the emancipatory ideals, this study analyzes the current imprecision on the borders between the high culture and the market s media culture in face of the economics globalization and the intersection of the artistic fields nowadays. In this regard this work discusses, looking at François Ozon s work and in particular to his film In the House (2012), the frontier nature of artworks that, not renouncing its entertainment aspect, bring a metalinguistic and intertextual dimension, therefore being movies that reveal possibilities of new conceptions towards the relation between aesthetics and politics.
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Schreyer, Nadine B. "Space, Place, and Self: The Art of How Environment Shapes Us." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1228821690.
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Thesis (M.F.A.)--Kent State University, 2008.Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Isabel Farnsworth. Keywords: Cognitive mapping; self and place; sculpture and geography; sculpture; geography. Includes bibliographical references (p. 20-21).
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Adams, Sandra. "A 21st century pilgrim’s progress: art practice, place and the sacred." Thesis, Curtin University, 2013. http://hdl.handle.net/20.500.11937/2560.
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The artworks and exegesis that comprise this body of work explore what it means to belong - in place, in a lineage and in relation to the sacred - and seek to understand how art practice serves to interrogate and address the alienating effects of dislocation, transience and otherness. In positioning art practice as a collaborative engagement, this work challenges traditional notions of personhood and expands the parameters of the numinous.
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Dreise, Mayrah Yarraga. "Constructing Place: Australian Aboriginal Art Practice at the Cultural Aesthetic Interface." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366227.
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This exegesis frames my creative research. It details the cultural theories, histories, artists, arts practices and creative processes that have influenced the project. The exegesis provides an insight into the creative journey, conceptual thinking and arts products that have assisted me in answering the research question - Can artworks become a form of cultural agency whereby Aboriginal Place is realised not reconceptualised? Drawing from place-based methodologies, post-colonial theories, subaltern studies and Aboriginal ways of working, this research aspired to engage the viewer within a dialectic that realised the tensions and challenges Aboriginal artists have in presenting a sense of Place within artworks. It considered how Aboriginal art can both educe and challenge viewers’ cultural constructions of Aboriginal peoples, which impact on the reception, promotion and categorisation of Aboriginal art. The project asked, if whiteness is the imposed spatial aesthetic, how can Aboriginal Place, a culturally and communally held understanding of the world ever be realised? The creative research considered to what extent an Aboriginal artwork is both ‘a white thing’ and ‘a black thing’. The research interrogated knowledge intersections, Western and Indigenous, located within the cultural aesthetic interface. Through creative praxis artificial binaries existing within the Australian arts industry - traditional and contemporary, remote and urban, authentic and inauthentic, individual and collective - were challenged.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Thompson, Allison (Heather Allison) Carleton University Dissertation Canadian Studies. "A worthy place in the art of our country: the Women's Art Association of Canada 1887-1987." Ottawa, 1989.
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Fowler, Smith Juliet. "Inhabiting space and place : from installation to the clinical setting /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030506.102256/index.html.
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Ni, Bhriain Ailbhe. "The aesthetics of exile : an exploration of place and image space." Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20231/.
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'The Aesthetics of Exile' seeks to understand and represent a condition of exile through visual practice. The following text comprises two parts. Part one is divided into three sections, and serves to outline the form of the project, as well as the thinking behind it. Section 1 introduces the visual exploration and reasoning within the practice, Section 2 summarises its contextual and conceptual grounding, and Section 3 describes the visual material to be viewed, focussing on the processes behind each individual series of work. In Part two an essay on the artwork written by Jonathan Miles is reproduced in full to provide a further reading of the practice. The text is by way of introduction and reference but, ultimately, the evidence and outcome of the research lies in the artwork itself, which is presented here in a series of ten folios. These folios document chronologically the visual exploration and progression of the project. Each series of work selected for reproduction is represented by an edition of unbound c-prints and/or DVD, individually housed and titled. The final folio documents the concluding exhibition of the research project, as it was installed and assessed in the gallery setting.
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Maciuba, Amanda May. "Here or there." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1686.
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My work is defined by where I reside at the time of its creation. I am interested in exploring my own sense of place based on my curiosity with the unique character and history of my surroundings. The work discussed here is specifically concerned with the landscapes, communities and development practices prevalent throughout the Midwest. In my work I use my own personal experiences with disorientation and dislocation in the various suburban, urban and rural landscapes I encounter in my everyday life and share them with a wider audience. In that way they can place themselves within the ambiguous landscape I choose to depict and recall that it happens everywhere throughout the United States. My work uses combinations of printmaking, drawing, installation, book arts, and video art to express these themes.
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Taylor, Gretel. "Locating: Place and the Moving Body." Thesis, full-text, 2008. https://vuir.vu.edu.au/2050/.
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This research project physically and theoretically investigates a relationship between body and place, via site-specific performance-making processes in diverse Australian sites. It encompasses the creation of two live performances and a video installation, the development of which are documented and elucidated in a written exegesis.
The exegesis and associated performance processes explore the proposition that movement/ dance—as a spatial practice—can be a mode of locating, or an attempt to locate. ‘Locating’ implies an endless process that is always heading towards location, place, total presence—but may never arrive. Using practice-based, embodied research as its methodology, environmental information from the specific site is gathered via sensory perception tasks, some derived from Body Weather (a movement philosophy developed by Japanese dancer Min Tanaka), generating an improvisational exchange of perception and response. This ‘locating dance’ is the relationship between body and the place: it is simultaneously the seeking of relationship and the expression, enactment or illustration of it.
In seeking location in relation to Australian sites from the perspective of a body that is white, the research also interrogates white Australian identity in relationship to this country, with the knowledge of the genocide and dispossession that its history entails. The work of theorists of place and space, as well as local historical and ecological sources, provide the framework for this series of excavations. Via traveling in Europe and to Aboriginal Land in the Northern Territory, insights develop into the cultural and corporeal residue of colonisation. Thus, the specific geographical site of each of the performance works acts also as a microcosm for, or reference point to, the broader site of contemporary Australia and the non-Aboriginal postcolonial experience of place. Representation of the body in performance is constructed in various ways to acknowledge the implications of its whiteness. The locating dances and performance works that comprise Locating: Place and the Moving Body engage in a multi-sensory listening to the country that aspires towards (white Australian) location—that elusive and longed-for ‘belonging’ or true ‘settlement’—yet they do not purport to have found, or even anticipate finding, an endpoint to this dance.
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McKnight, Calvin (Calvin Bruce) Carleton University Dissertation Geography. "Public art and urban spaces; the place of art in the public interest in the National Capital Region." Ottawa, 1996.
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Francis-Bongue, Isabel E. "Natural Histories: An Exploration of the Wild, Stories, Fantasy and Sense of Place." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1369735768.
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Stead, Sarah. "PLACE, SPACE, AND FORM CAPTURED THROUGH PHOTOGRAPHIC MEDITATION." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4193.
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Inspired by Buddhist philosophy, the photographic series Architectural Zen attempts to beautify banal and pragmatic architecture through limiting and preexisting artificial light conditions. The selective illumination of artificial light eliminates the non-essential details and enhances the pure forms and saturated color presented by the camera lens. This encourages the photographer and the viewer to enter a state of meditation. The resulting process is similar to a Zen approach to image making. The ancient Zen artist s compositions are strengthened by a meditation on form and subsequent elimination of the non-essential elements of the subject. Through embracing this Zen mentality and mindfulness,aspects of Eastern aesthetic and balance also appear through the work. The warm glow of artificial lights, long recessed shadows, and surreal colors contribute to the feeling of rest, contemplation, isolation, and solitude. Although the work in Architectural Zen is not directly about Buddhist doctrines, the process of creating the art parallels the ideas and practices of Zen Buddhism and meditation, finding the Buddha nature of typically unappealing architectural forms during a different time of day.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Thompson, Annie. "2314 West Main Street: a place for engagement." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3078.
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The design intent of this thesis is to deconstruct the elements of the beer brewing process to allow the public to engage, enjoy, and appreciate the process while dining. It is to create a site for a craft brewery that is local to the neighborhood of The Fan. Allowing the public to engage, cultivate and create enthusiasm for the brewing process. To deconstruct the industrial process of brewing beer to allow accessibility for the public to enjoy the process while eating, drinking, and learning.
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Galindo, Angela. "Finding our place in the garden : a holistic approach to art education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64093.pdf.
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