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Hsieh, Su-Lien. "Buddhist meditation as art practice : art practice as Buddhist meditation." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.
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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them with my own prior approach. A year-by-year methodology is followed, as artistic practice develops over time. The first model is studio practice in the UK, the second is Buddhist meditation before artistic activity. The research took place over three years, each representing a distinct area. Accordingly, in area 1 (the first year), I compared studio art practice in the UK with post-meditation art practice; in area 2 (the second year), I compared studio art practice in the UK with prostration practice at Bodh-gaya, India plus meditation before act activity; in area 3 (the third year), I compared studio art practice in the UK with entering a month-long meditation retreat in Taiwan before practicing art. By Buddhist meditation I refer more specifically to insight meditation, which K. Sri Dhammananda has described as follows: Buddha offers four objects of meditation for consideration: body, feeling, thoughts, and mental states. The basis of the Satipatthana (Pāli, refers to a "foundation" for a "presence" of mindfulness) practice is to use these four objects for the development of concentration, mindfulness, and insight or understanding of our-self and the world around you. Satipatthana offers the most simple, direct, and effective method for training the mind to meet daily tasks and problems and to achieve the highest aim: liberation. (K. Sri II Dhammananda 1987:59) In my own current meditation practice before art practice, I sit in a lotus position and focus on breathing in and breathing out, so that my mind achieves a state of emptiness and calm and my body becomes relaxed yet fully energized and free. When embarking on artistic activity after meditation, the practice of art then emerges automatically from this enhanced body/mind awareness. For an artist from an Eastern culture, this post-meditation art seems to differ from the practices of Western art, even those that seek to eliminate intention (e.g. Pollock), in that the artist‘s action seem to genuinely escape cogito: that is, break free of the rational dimensions of creating art. In my training and development as a studio artist, I applied cogito all the time, but this frequently generated body/mind conflict, which became most apparent after leaving the studio at the end of the day: I always felt exhausted, and what was worse, the art that I created was somehow limited. However, my experience was that Buddhist meditation, when applied before undertaking art practice, establishes body/mind harmony and empties the mind. For this artist at least, this discovery seemed to free my art as it emerged from emptiness through the agency of my energized hand. It was this, admittedly highly personal, experience that led me to undertake the research that informs this thesis.
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Martin, Anne. "Automatism and art practice." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/2209.
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The research project is to develop an understanding of the use of automatism in the practice of art derived from an interrelationship between the material process of art and critical text. As these practices converge in their vocabularies of the psychic and the somatic, they formulate a discourse of interpretation. The critical textual inquiry has identified an expanded language of interpretation for automatism within the vocabularies of three particular areas of investigation in, 1. Psychoanalysis, 2. Phenomenology and certain currents of thought in Existentialism, and in 3. The theory and criticism of art. I have laid down an account of the field of research and my reading of it through six constituent writers: Freud, Ehrenzweig, Merleau-Ponty, Breton, Bataille and Rosenberg, determined from the artist-practitioner's perspective to be central contributors to an understanding of automatism. Four key terms have recurred in the material which I have identified in the research process as phenomena of automatist art practice; trauma, repetition, excess and gesture. As thinking continues in a contextualisation of art and critical theory they have provided further links to the theoretical language of current psychoanalysis and criticism by writers including: Agamben, Barthes, Foster, Krauss, Lacan and Lyotard. The focus of the practical inquiry rests upon an exploration of the communion between the unconscious mind and the body in automatism, derived from a studio practice with emphasis on a modelling and casting process. It is developed through the four key terms used as bridges in a critical exchange between the material practice and textual theory including original automatic writing. The theorising function of the art practice has been to initiate the four phases of the process of automatism as phenomena to be re-theorised through the four key terms as they are exemplified by a reflexive studio practice of automatist methodology in action. The body of art presented for examination selects works in series completed from 1996-2006, in the following materials: bronze, paint, plaster, laser print and wax.
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Cable, Courtney Paige Davids. "An art practice sustained." Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/227.
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Image makers are often--and rightly--held to task for what they produce. This is a necessary lesson, but the time has come for us to cast a critical eye on the processes that lead up to the creation of that image in the first place, especially as it relates to sustainability and environmental cost. When asking the question of "what does this work say and who is it saying it to?" we must concurrently ask "what is the environmental cost of making this work and is that cost balanced by what it is saying?"
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Michael, Maureen K. "Precarious practices : artists, work and knowing-in-practice." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/21879.
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This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of contemporary artists often ignore the realities of precarious work. This is reflected in the professional education of artists with its concentration on studio-based activities and emphasis on the production and products of artmaking. This study reconfigures and reconceptualises the work of artists as assemblages of sociomaterial practices that include, but are not limited to artmaking – so providing a different representation of the work of artists as a continuous collaboration of mundane materials. The study identified seven sociomaterial practices, defined as movement-driven; studio-making; looking; pedagogic; self-promotion; peer support; and pause. As these practices are subject to ever-changing materialities, they are constantly reassembled. Analysis revealed hidden interiors of underemployment and income generation to be significant factors embedded in the mundane materialities of everyday work, revealing resilience and adaptability as key forms of expertise necessary for the assembling of practices. Further, the arts-based methodology of ‘integrated imagework’ created ways of visually analysing the materially-mediated, socially situated nature of knowing in practice, and demonstrated how relational concepts relating to knowing-in-practice might be better analysed. Findings indicate how the professional education of artists – particularly the way the workplace of the studio is understood – could be re-envisioned to support the fluidity of contemporary artistic practices. The studio itself is a form of knowledge – ever changing – forming and being formed by the practices of artists. Adopting this view of studio-based education would be a radical departure from current studio-based pedagogies in contemporary art education. Further, resilience – the capacity to sustain practices that are emergent and constantly unfolding – becomes a form of expertise central to the professional education of artists.
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Parker, Vincent. "For a socialist art practice." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.256407.
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Espinosa, Amaris. "Art As A Mindfulness Practice." Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1537904782837034.
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Brierley, Donald. "Reflexivity imagined as art practice." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15006.
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A consideration of the relationship between conscious self-aware systems and art. I introduce my art practice and demonstrate the connections language has to self-conscious reflexivity. The document of research can be considered part of a creative practice that also uses language as a material. Being able to imagine re-duplications and proceed with reiterations using available materials including existing ideas is correlated with my art practice. This adaptive and emergent methodology uses a group of simple components and a flexible recursive process that can be modified to suit changing contexts. The research describes a circular two-way methodological framework that informs my art practice, where perceptions of the environment that surround me are repeatedly folded back into the process. Ideas about the origins of conscious self-awareness from Julian Jaynes and Humberto Maturana Romesín are introduced. The use of available materials, that includes working with pre-existing ideas, considerations of process and outcome based methodologies citing the artist Kim Jones and the anthropologist Claude Lévi-Strauss. The term ‘spiritual masochism’ used by the philosopher/anthropologist, Bruno Latour is compared and contrasted with the ‘Holy Fool’ from philosopher, artist, Michael Leunig in a discussion about the indirect search for antidotes and the subversion of human endeavor. Selected viewpoints from the cybernetician Norbert Wiener and artist Santiago Sierra elaborate the influences that have contributed to the strategic use of restriction and access as part of my art practice. The specialist use and subversive manipulation of information in science and art as practiced in the service of culture are discussed to show how this informed the creation of Access Restricted-Operational Reasons as a response to my environment.
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Warner, Lachlan Phillip. "Art Practice as Buddhist Practice: A Soteriology through Suffering." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/17924.
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The thesis examines the Buddhist concept of suffering, portrayed through visual art. The central questions are how can art be used to understand Buddhist suffering and, conversely, how can Buddhist suffering be used in the creation and perception of visual art. My thesis is based on an understanding of suffering (Dhukkha) described in the Early Buddhist Texts. Suffering is addressed through the Khandhas; collective processes that recognize human subjectivity as shifting. The Khandhas show that we are just processes of cause and effect. The Khandhas also bridge divides between reason and affect, mind and body, drawing on the work of Sue Hamilton and Peter Harvey. These theorists describe a Buddhism that has been termed modernist, where there is a renewed focus on suffering. The 4 artworks use the Buddha’s principle metaphor for suffering; of being on fire. The first two suites show seated bodies burning, portraying the universality of suffering. The third suite has nuns standing in a panorama of gold, representing immanent enlightenment. The fourth suite utilizes an image of my ‘self’ as the site of suffering. The dissertation compares Dhukkha to the works of Theodor Adorno, Susan Sontag, Mieke Bal and Mark Ledbetter as theorists of suffering. Adorno saw the representation of suffering as gratuitous, reinforcing existing systems of repression. For Bal, representations of suffering are only possible through inflection; changing forms so that exploitation is removed but art remains. Buddhism however sees suffering as intrinsic to all representation. Ledbetter then posits suffering as one part of a larger process of seeing that includes voyeurism. Works by six artists are paired and compared to understand different ways of articulating suffering. Colombian artist Doris Salcedo uses materials that speak of the lives of people missing in war torn Colombia. In contrast Oscar Munoz uses video to invoke the suffering and transience of both life and images. The work of Bill Viola is examined to show immediacy in the apprehension of pain and suffering. Viola’s works are juxtaposed with Zhang Huan who uses ash to invoke existential suffering. Finally, late works by Mark Rothko and Richard Serra are analyzed to understand the transformation and ending of suffering through abstracted forms. The artworks are lastly compared to a history of Buddhist self-sacrifice, including suicide and self-immolation. Both the artworks and these acts relate to the Buddhist understanding of ‘self’. Ultimately that ‘self’ is a delusion. The understanding of the delusion provides release from suffering, which is the aim of Buddhism.
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Carter, Kevin. "Expanding community art practice : an analysis of new forms of productive site within community art practice." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8yyz5/expanding-community-art-practice-an-analysis-of-new-forms-of-productive-site-within-community-art-practice.
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This practice-based research is a reflection upon a community art practice mediated via the social use of digital technologies such as social media, Free Libre Open Source Software (FLOSS) and open data. In combining existing community art methods and methodologies, with those taken from the social use of digital technologies, an attempt has been made to expand community art to include these social sites productively within its practice. Over the past 40 years, community-focused art practice has produced a significant and mature body of critique derived from a range of issues such as community, identity, co-option by external agendas as well as the artists role and identity; all of which have sought to question the currency of its practice. Is it possible then that methods and methodologies, suggested by the social use of digital technologies, may in part ameliorate some of these critiques and in the process expand the productive sites offered to community art? As part of this practice based research a community-focused artwork, Landscape- Portrait, was created. This work featured an explicit engagement with these new sites of social interaction. As an exemplar of an expanded community art practice, Landscape-Portrait combined methods and methodologies borrowed from the social use of digital technologies alongside those of critical community art practice, incorporating a network of virtual and non-virtual sites in both its production and dissemination. In accordance with my research methodology the artworks production and its outcomes were recorded and reflected on. The material generated informed my research outcomes. As a result, this research advocates caution in the championing of the sites made use of by Landscape-Portrait. It argues instead that these sites need to be considered against a set of critical questions regarding their operational culture, terminology, privacy, accessibility, ownership, agency and autonomy; all of which problematise their easy inclusion as productive sites within an expanded community art practice. In response this research proposes an understanding of site as derived from a complex network of virtual and non-virtual constituents. From this understanding a set of speculations, qualifications and methods have been produced that attempt to map the means by which an expanded community artwork, one that employs particular methods and methodologies taken from the social use of digital technology and critical community art practice, might be used to interrogate the constitutional structure of a site, as part of its consideration as a productive site within an expanded community focused art work.
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Evans, Stephen W. "Art unto death." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5750.
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As people living in 2017, what, if anything, have we come to know about art as a whole? What can we say about the artistic impulse? What is art for, and what does it stand to show us about ourselves today? In this paper, I try to address these questions, from the standpoint of both an artist and a human being. Examining art as ancient as the prehistoric cave paintings, as well as art of the present day, I discuss certain ontological traits that art-making has both lost and maintained over the years. Through Heidegger’s philosophy of Being, Tillich’s theology of New Being, and Stephen King’s depictions of the uncanny, I explore the idea that all creative acts ultimately point us back to our own mortality and finitude.
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Dafiotis, Panagiotis. "Art practice as a form of research in art education : towards a teaching artist practice." Thesis, Institute of Education (University of London), 2011. http://eprints.ioe.ac.uk/7362/.
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Although the borders between art practice and domains like philosophy have been questioned, education and its relation to art seems somehow to be overlooked in these exchanges. In my arts-led research I examine the ways the teaching artist may be able to cross the borders between art and education to produce a hybrid field in which hierarchical distinctions are questioned and the voices of students legitimised. Through my own practice as a teaching artist I am attempting to recognise, theorise, ground and develop a framework for this hybrid field. In my practice-led PhD I am trying to create space for an alternative, parallel possibility within art education. To do so, I draw on the work of Kester (2004) and Bourriaud (2002) who analyse dialogic artworks and relational aesthetics (respectively). I perceive art lessons as artistic events in the relational sense and the space where these exchanges take place, as an ever-evolving installation artwork. To this effect I have created a series of multimodal installations, which question the dichotomy of visual arts and pedagogy. These installations became increasingly participatory 'culminating' in a project, (The Benevolent Trap' May, 2010) which involved pertinent presentations and discussions with fellow students. Affect through the visual becomes the fulcrum for inciting dialogue on the relation between art and meaningmaking. On a theoretical level I draw on Deleuze and Guattari, and particularly on their notions of the 'rhizome' and 'smooth space'. In my practice-based research project I therefore explore art making as a meta-process in which making about making becomes a way of thinking about thinking. The quest though is to create a space where participants can revisit their own assumptions and reflect on them.
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Lee, Won Jae. "Art form and content." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3334.
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Bradley, Jessica. "Postmodern bodies and feminist art practice." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.
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This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference as one of representation. During the eighties women artists generally eschewed figurative representations of the female body in recognition of its over-determined socio-sexual status. Within this historical framework, the tension between the "de-materialized" body of postmodernity and the insistently present body of gendered experience is explored both in the work of feminist theorists and contemporary women artists. In conclusion, three corporeal sites--the cultural, the epistemological and the psycho-sexual--are analysed in the postmodern practices of Jana Sterbak, Nell Tenhaaf and Kati Campbell.
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Morris, Simon David Chester. "Bibliomania and related fine art practice." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434240.
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Clancy, Catherine. "Poiesis and obstruction in art practice." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/7842/.
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This PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis, (a philosophical companion to poiesis), familiar to artistic practice. This thesis describes the orientation of the original idea, The Aeolian Mode, clinically developed by Dr. Murray Cox in Broadmoor Psychiatric Hospital. This PhD seeks to identify if there are similar ‘tenets of approach’ held within the methodology of ‘The Aeolian Mode’, that would be useful or are identifiable in artistic studio practice. This thesis draws on the work of the philosopher, Professor Richard Kearney, specifically Kearney’s ideas on the necessity of ‘the other’ for ‘radical possibility’ to occur. It maps a context of both Freudian and Jungian interpretations of art practice, identifying how these ideas have shaped the way art is seen today. Furthermore, it challenges the Freudian idea of ‘pathography’ and favours a Jungian approach of ‘individuation’ in the understanding of creative processes. It develops a ‘methodology of the conversation’, interviewing students, established artists, tutors about their approaches to obstruction/poiesis in art practice. Additionally, it examines my own obstruction to painting and identifies the methodology that released me from this obstruction. Conducting these interviews on art practice has enabled me to confirm my initial concerns about Freudian ‘pathography’ whilst validating the possibility of the Jungian concept of ‘individuation’ being of use to art practice. Finally, this PhD discusses the implications for further study and research, which have emerged during the ‘methodology of the conversation’ and the task of dissolving my obstruction to painting.
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Gilhooly, Jonathan. "Enchanted Objects : Agency in the Magic Act and Contemporary Art Practice." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523528.
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Matthee, Jean. "Art practice as an act of paradoxical creation sublimation ex nihilo." Thesis, Royal College of Art, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295776.
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Nijsse, Jennifer Jean. "Beauty: deepening an understanding of contemporary art, art practice and theory /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2100.
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Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.
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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.
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Babic, Morgan T. "PRACTICE." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4127.
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Past training as an athlete has driven me to reach for the unattainable goal of flawlessness. This mentality, which I apply to jewelry making, has led me to recreate the intricate angles of the athletic body and the beauty of its movements. I use gymnastics imagery within my work as a tool to communicate how we learn and understand through practice and repetition. With shifted lines, skewed shapes and geometric wirework, the jewelry tumbles over the architecture of the wearer’s body. The repetitive metal forms come together to simulate movement and enhance the physical language that a body in motion can suggests.
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Roberts, Teresa L. "Collaboration in Contemporary Artmaking: Practice and Pedagogy." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248880538.
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Williamson, Beth. "Anton ehrenzweig : Between psychoanalysis and art practice." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499813.
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Tait, Stuart. "Becoming multiple : Collaboration in Contemporary Art Practice." Thesis, Birmingham City University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527468.
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Ganani-Tomares, Dafna. "Mimesis : Judith Butler, visual practice, tragic art." Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/178/.
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The project grounds the use of mimesis in my video art practice. In the written element I query equivalence between mimesis and performativity in Judith Butler's conception; I consider the tragic and hyperbolic faculties of these, as ways of promoting expansion of context in received convention. My video clips have performance in them and mime destructive regimes in mainstream conventions of visual culture, of sexual identity and of political position, to challange these. They mobilize convention and deviation from it, through ineptitude of performance or my ambiguous relation to the convention that I use. Butler conceives the generative possibility in regulation (prohibition and/or "law). This is my source for prioritizing failure, and conceiving mimesis a practice of power in modification. Philippe Lacoue-Labarthe is an additional source in my writing, and Luce Irigaray a hovering presence. They are deployed to support my conviction that speculative theory mimes tragic art; Hegelian dialectical philosophy and Freudian psychoanalytic discourse founded in tragic art endow a mutual system of logic and belief that mobilizes rejection of 'difference'. In these tragic discourses mimesis links death and desire. As a force in hyperbole and the constitutive site of all discursive and artistic conventions or tropes, mimesis may suspend as much as confirm the very truths it promotes. Mimesis may turn or exceed anything that can be mimed - I propose. Throughout the project (art practice and written element) I ask - 'how is it possible to re-conceive the terms of the representational conventions to which I object without sharing in the mechanisms that demote those terms?'
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Lodder, Matthew C. "Body Art : Body Modification as Artistic Practice." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525734.
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This thesis is an investigation into the legitimacy and limits of the term "body art" in its vernacular sense, wherein it refers to methods of decorating or ornamenting the body, such as tattooing or piercing. Though the term is widely used and widely understood, it has rarely appeared in any writing which takes an explicitly arthistorical or art-critical approach, and has never been subjected to any sustained analysis which uses the methodologies deployed by specialists when engaging with other forms of art. If tattooing and its coincident technologies are "body art", they have not as yet been understood as such by art historians. The arguments made over the course of this work thus amount to a case for the applicability of art-historical and art-theoretical methodologies to body modification practice. The thesis first establishes the existence of a rhetorical yet broadly undefended case for the artistic status of practices which alter the form of the body. This claim is to be found amongst both the contemporary subcultural body modification community and amongst plastic surgeons. With particular reference to theories of art and aesthetics by John Dewey, Richard Shusterman, and Gilles Deleuze and Felix Guattari, the work investigates whether such claims are tenable. In light of these investigations, the thesis then presents a number of problems which immediately arise from such a claim - problems of authorship, ownership, objectivity and value - and attempts to resolve them through detailed analysis of a number of case-studies.
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Throp, Mo. "Trauma, performativity, and subjectivity in art practice." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/2039/.
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Abstract: This is a practice based PhD of predominantly video works/installations which seek to examine, alongside the accompanying reflective writing on these works, a particular dynamic set up between the artwork and the spectator which allows a rethinking of the model of the subject's relation to the 'other'. This investigation which is lead by my ongoing practice (presented as six artworks) is informed and underpinned by feminist theoretical concerns seeking a way out of the deadlock of Lacanian thinking which characterises the feminine as problematic (the other of the other). Though I make reference to psychoanalytic theories (as well as the writings of Deleuze), I will not give accounts of this background (though I will footnote key terms); I am therefore presuming a certain knowledge of these theories by my reader. The thesis (as practice and dissertation) explores more enabling accounts for the construction of identity which move beyond the fixed, traumatic model to propose that the encounter with the artwork enables more positive accounts of the self as fluid and open to change. This shift which now proposes a more productive relation to desire and otherness has been opened up, particularly by Elizabeth Grosz and Rosi Braidotti, through a consideration of Gilles Deleuze's notion of 'becoming' as a creative flow, an active force of connections and relations. This challenge to dominant accounts (both psychoanalytic and philosophical) that characterize desire negatively as a longing for something lost (tragically and impossibly), allows me to propose (theoretically and practically) the artwork as allowing us to 'become' by creating affect, where, immersed in a creative ongoing flow of connections and relations we 'become-hybrid' through an encounter with the other. As my contribution to knowledge and understanding, my thesis explores this affirmation of a new subjectivity through a sense of self as interactive (mobile) in the process of viewing; an inter-subjectivity which allows a freeing of the subject from the impulse to complete the self, allowing an engagement that does not set the subject against itself but produces new possibilities especially in a consideration of sexual difference. My practice argues for an engagement and creative response which allows for a dialogue of difference as non-oppositional; sensuous and expansive, the artwork proposes a new relation to gender, as beyond hierarchical (traumatic and fixed) oppositional accounts of the self. This shifts from an account of sexuality as problematic (or not) to one where the viewer is open to a renegotiation with questions of otherness and difference that underpin any notions of identity) to become productive of fluid accounts of the self.
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Shepley, W. A. "Installation art practice and the 'fluctuating frame'." Thesis, Manchester Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325422.
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Wilks, Suzanne Madhi. "FEDA : between pedagogy & politicised art practice." Thesis, University of Leeds, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421914.
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Gilson-Ellis, Jools. "The feminine/oral in contemporary art practice." Thesis, University of Surrey, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326477.
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Stupart, Linda. "Becoming object : positioning a feminist art practice." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20117/.
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This thesis considers new possibilities for the object as a site of emancipation from and resistance to neoliberal models of subjectivity. In particular, I propose new queer and feminist object positions and practices as potentially rupturing the matrices of taste, labour, identity, and subjectivity as they are reproduced in both the material form (the institutional display and trade of art objects) and thematic content of contemporary art, particularly in ‘the West’. The first chapter critiques the objectification qua subject production of neoliberal capitalism, exemplified in the mechanisms of Human Resources Management (HRM) particularly within the university. The chapter also begins to posit queer, trans and non-binary (1) bodies as outside of this proper subject production, as (abject) objects that break the flow of capitalism. The second chapter critiques ‘participatory practice’, exemplified here by Tino Sehgal, Renzo Martens and Santiago Sierra, as a practice which objectifies people-as-artistic-material under the guise of the production of empathy, experience, emotion and intersubjectivity. I argue that participatory practice is melancholic in that it is a terminal mourning for the lost art object of 1968,(2) which fails to recognise this loss, thus destroying itself as art dissolves into capitalist life. I suggest that resistance to this process might happen at the site of the body-as-material, in the voice and actions of the worker-participant who constitutes the artwork. The third chapter queers the melancholia of the participatory artwork through the figure of the zombie, who dies (even commits suicide) and then returns to life and to rebellion. The chapter proposes ‘undead sex acts’ as sex acts sited in abjection and/or objecthood which challenge the reproductive logics of straight sex, as well as the insistence on sex as an act situated in the realm of the proper sexual subject, which excludes and incarcerates those who fall outside of this delineation. (1) Non-binary’ refers to people whose gender lies outside of male and female binaries. (2) See Lucy Lippard and John Chandler, ‘The Dematerialization of Art’, Art International, 12:2, 1968, 31-36.
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Haidet, Roza. "Socially Engaged Art: Managing Nontraditional Curatorial Practice." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1374491330.
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Pulie, Elizabeth Maree. "The End of Art and Contemporary Practice." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14910.
Full textAbstract:
The idea of the end of art, originating in Western modernism, forms a link between modern art and thought. The tendency for this idea to recur throughout the modern, together with the proliferation of art in the post-modern period, has rendered ‘the end of art’ somewhat redundant in most contemporary art analysis. By contrast, this thesis considers the value of applying the idea of the end of art to contemporary art discourse and practice, in particular for its potential to strengthen the link between discourse and practice and return a sense of sovereignty to contemporary artists. Contemporary art’s open, post-historical nature is frequently valued over the perceived metanarratives and ideology of the modern; however these characteristics also result in concerns that contemporary art lacks criticality. Attempts to return theoretical or philosophical criteria to evaluating contemporary art are frequently thwarted by accompanying attempts to retain its openness and plurality, while the common tendency to define ‘the contemporary’ as a new or improved moment tends instead to replicate modern or utopian thought. This thesis contends that for many art practitioners, the openness and all-encompassing nature of the term ‘contemporary art’ paradoxically works to ‘entrap’ their practice, and preclude its potential for criticality and significance. This thesis contributes to addressing this dilemma by proposing a definition of contemporary art as the end of art, and explores the potential for executing a contemporary practice within this view. It contrasts existing definitions of contemporary art with the idea of the end of art by examining the idea’s history and recent contextualisation within contemporary art by philosopher Arthur C. Danto. The thesis proposes strategies for practicing art at the end of art, and argues for the value of practicing art relative to the idea that art has ended.
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Vickery, Veronica. "Fractured earth : unsettled landscape through art practice." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/25237.
Full textAbstract:
This thesis brings feminist ontologies into a renewed dialogue with post-phenomenological landscape studies through the development of a critical arts-research practice. Contemporary landscape scholarship in cultural geography foregrounds landscaping practices as performative; visual culture studies, similarly influenced by phenomenology, critiques the powerful fixings of representation; whilst current commentaries on art-geographies focus on questions of interdisciplinarity, rather than the potential for art practice-as-research to be generative of politically complex cultural geographies. Landscape, replete with complex power geometries and tension, both resists fixing and framing, and also becomes defined or imaged by these same operations. My goal in this thesis is to find a way of working, as an artist, with an understanding of landscape as being continually in eventful—and sometimes violently eventful—process, beyond conventional framings of image and landscape. Initially, this art practice (undertaken as research within cultural geography) worked with a violent flash flood and resultant loss of life, and was set against the backdrop of picture-postcard West Cornwall. Whilst focused through practice on this usually trickling mile-long moorland stream, something happened. This research became infected by concurrent geo-political events. Through practice in the studio, the violent lifeworld of the stream collided with an activist project associated with the 2014 Gaza conflict. Land and image became both occupied and ghosted. This corporeal and material collision of practice(s) afforded a productive entanglement of practice and theoretical engagement. My search for a way of working with landscape as an artist that accounts for the unpalatable dimensions of material formations, for the dying within living, for the exclusions, subjugation, violence, or even extinctions of landscape—led me to realise that I cannot stand back innocently and safely behind the camera, outside of the frame. I propose that landscape is inherently violent, and that as such, landscaping practices are always politically differentiated and situated. It is a violence in which there can be no innocent place of on-looking; we are all mutually implicated in landscape and landscaping-practices, and indeed, the ghosts of our own vulnerabilities are never far away. The thesis demonstrates that the unpredictability and riskiness of researching through a critical arts practice, can produce the conditions for disruptive interventions generative of new ways of (body)knowing in the world. These ways of knowing serve to confront the violence and contradictions of a fast changing enviro/geopolitical landscape. Working from within an art practice—as geographical research—contributes a perspective of political complexity and generative encounter, in which unexpected collisions, between things, practices, and bodies function to produce spatial connections beyond contemporary analysis.
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Attwood, David. "Towards a Situated Non-Objective Art Practice." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/641.
Full textAbstract:
This project is a practice-led investigation into the potential for a situated Non-Objective art practice. Taking the divergent impulses that currently inform my own creative practice as a starting point, the project aims to reconcile the differing aesthetic and ideological principles that define both Non-Objective, and situated practice, to achieve new syntheses.
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Richardson, Joanne Haywood. "Resolutely Inclusive: Merz Art Practice and Einfühlung." Thesis, Curtin University, 2017. http://hdl.handle.net/20.500.11937/54082.
Full textAbstract:
Through creative practice and exegetical writing this research investigates a possibility for continual engagement in aesthetic appreciation and a particular way of noticing that artists and viewers of artwork may share. Merz, invented by artist Kurt Schwitters, is a type of accumulative art practice that could include any material or method. Viewing and producing this type of artwork is examined via a theory of aesthetic appreciation called Einfühlung: a study of spectator’s embodied experiences with aesthetic works.
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Taylor, Kristin Vanderlip. "Visual Art Communities of Practice| Cultivating Support for Beginning Visual Art Teachers." Thesis, Pepperdine University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816921.
Full textAbstract:
Visual art teachers, from beginning to veteran, often report experiencing feelings of professional isolation and a desire for content-specific support and collaborative professional learning experiences. Mentoring and Induction Programs (IPs) offered by schools and districts continue to fall short of meeting the needs of beginning visual art teachers in particular. There are a large number of visual art teachers in the state of California, especially in Los Angeles County, yet there are no visual art specific support networks for beginning visual art teachers to help them navigate their first years teaching. Collaborative learning groups, such as communities of practice (CoP), may offer visual art teachers opportunities to learn together and support one another in shared learning, yet none have been formally documented in Los Angeles County as a means of supporting novice art educators. The Exploratorium in San Francisco, CA has established a community of practice called the Teacher Induction Program (TIP) to support beginning science teachers with content-specific pedagogy during their first two years of teaching. Using the TIP as a framework, a visual art professional growth support community was outlined for this study based on the needs and concerns of visual art teachers reported throughout the literature. Beginning visual art teachers in Los Angeles County were interviewed to help the researcher better understand their existing and desired supports, as well as their individual needs and concerns as new teachers. The visual art CoP was proposed to them to elicit feedback about its anticipated values (immediate, potential, applied) based on their lived experiences as first or second year PK-12 public school visual art teachers in Los Angeles County.
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DOHERTY, WILLIAM. "ART + DEMOCRACY: Expanding the meaning and practice of Democracy through Public Art." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22783.
Full textAbstract:
This thesis contributes to an EU Policy Lab project entitled The Future of Government 2030+. The aim of which is to generate knowledge in the context of the rapidly changing relationship between citizens and government.Using a co-design and speculative design process this thesis specifically looks at informing a citizen centric perspective on envisioning and formulating the design of new interactive tools and forms of engagement. Looking at the potential of art’s role in rethinking the way democracy and governments operate and exploring how citizens could interact, participate and engage in democracy. Investigating how new forms of debate and decision making could unfold in both domestic and public spaces in a future model of participatory democracy.A framework for a future model of government is presented in this thesis through prototype scenarios. This framework emerged from citizens visions of communication and interaction with a future government. The framework focuses on two key areas where artistic expression is used: 1: The formulation and communication of issues of concerns. 2: Community organising for creative participation in addressing these issues.The discussions on art and democracy by philosophers John Dewey and Bruno Latour were influential in the formulation and selection of the methodological approach. Culminating in a sequential design research process conducted through public probes, cultural probes and co-design workshops.
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Murray, Tracey Donna. "The contribution of art practice to art therapists' understanding of their professional identities and practices : an arts-based inquiry." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557392.
Full textAbstract:
This arts-based inquiry explores visual art practice as a way of knowing, doing and sharing. The conceptual frame traverses the borderlands of postmodern creative practices and socially constructs a narrative of a Northern Ireland studio-based group of art therapists' visual, reflective and social conversations. These studio conversations explore how art therapists engage with art practice to understand and make meaning of their professional identities and practices, professional standards, and continuing professional development (CPD). The narrative findings show that the studio art practice enabled the art therapists to engage with, maintain, and develop understanding of Standards of Proficiency (SoP) relating to art making, and contribute to a range of CPD activity, both of which are in place to renew registration. The multiple dimensions of the art therapists' professional and personal identities were explored through conscious and unconscious processes, using different art media, which highlighted a particular need for art making as a form of professional and personal self-care. The art therapists' identities and practices were also constructed and understood in relation to personal biography, professional working contexts and roles, and current and past relationships. Interwoven throughout this thesis are self-reflexive fragments of my art practice, which highlight my understandings of myself as a developing researcher, and how I have negotiated my position as a participant, facilitator, and researcher during this journey. The fragments show the challenges faced regarding the conceptual and organic development of this research process, and the decisions made in the rhizomatic representation of this thesis. My understandings of myself have developed with the moveable folds between the personal and professional aspects of my identities and practices.
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Haley, Andrew Allerton. "An obedient participant in late capitalism explains art." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5490.
Full textAbstract:
Art making is silly. This is why it should not be taken so seriously. When topics are addressed with too much seriousness they become stagnant and rigid. This thesis addresses topics I find crucial to the process of making Art. I use popular culture references because of their communicable potential. Nothing is argued in the duration of this work. On the contrary, thoughts are shared in hopes to inspire the reader to question what type of journey and practice they involve themselves.
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Holm-Mercer, Pernille. "Maternal perspectives in art : reflected on and performed through text and art practice." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428092.
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Hjelde, Katrine. "Constructing a reflective site : practice between art and pedagogy in the art school." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5890/.
Full textAbstract:
Constructing a Reflective Site is a fine art practice-based research project, which considers the relationship between art practice and teaching. It does this through a critical examination of reflection in art, in pedagogy and in philosophy. Contemporary art forms, like relational practice, discursive practice and artists appropriating education as their medium, raise new questions regarding the mechanisms by which practice informs or can inform teaching within Higher Education. Reflection can be one way to elucidate and question this interrelationship towards an understanding of how notions of knowledge can be seen to operate across practice and teaching. This research is undertaken from within a dual position on practice: art practice and teaching as practice. The concept of practice-based research has been adopted from emerging positions in relation to artistic practice and artistic research, and this position has also been employed in the study of teaching as practice. This is thus a dual study, which has employed an indisciplinary approach towards an examination of subject specificity in fine art teaching. Notions of site have been used both as an artistic position in relation to the research, and as a theoretical framework, drawing on Miwon Kwon’s genealogy of site-specific practice. The research sought to explore the relationship between reflection in teaching and learning and reflection within an artistic practice and has found that, in epistemological, cognitive, social and historical terms, reflection does not necessarily constitute the same experience across pedagogy and art practice. This has consequences both for art students when asked to critically reflect on their work and also for developing the field of artistic research and concepts of artistic knowledge. Furthermore, these differences highlight the need to continually examine contemporary arts practices for models contributing to subject specific pedagogies in fine art, in order to keep the relationship between the subject and the academy critical and productive.
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McClure, Marissa Ann. "Complexity, context, and connectedness in elementary art education: An elementary art teacher's practice." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/278805.
Full textAbstract:
Few studies explore and document the day to day practice of elementary art teachers and the factors that influence this practice. Through a qualitative narrative case study and portrait, this study hopes to create an authentic representation of one teacher navigating the space surrounding her practice in context at an elementary school. Three conceptual clusters have been defined encompassing qualities affecting her practice: context, complexity, and connectedness. This study is intended to serve as a starting point for new teachers and as a precursor to future research that looks into the practice of elementary art teachers.
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Hammersley, John. "Dialogue as practice and understanding in contemporary art." Thesis, Cardiff Metropolitan University, 2015. http://hdl.handle.net/10369/8076.
Full textAbstract:
This study investigates how social constructionist dialogue as art demonstrates a layered mode of practical inquiry, which weaves together interactive and explorative, re-presentational and reflective modes of dialogue in the performance of knowledge. Recent art debates present dialogue as a relational, collaborative and situated mode of meaning-making, and an alternative to traditional constraining frameworks of art. However, artists have been criticised for idealised interpretations of dialogue, which present it as something essentially good and democratic, for insufficiently scrutinising dialogical relationships, and for not providing adequate process accounts for secondary audiences. This study’s multi-layered performance of knowledge draws on thematic insights developed through fourteen interviews and five field conversation artworks from 2008 onwards. Research material from conversational encounters was combined and presented as three constructed written dialogues, which reflect the tensions and questions that emerge out of enacting such a layered mode of dialogue as art. These tensions are re-presented, and discussed in three central thematic chapters, which frame these themes as issues of context, competing characteristics of meaningmaking and relating. The constructed written dialogues provide a platform for further discussion and reflective analysis, which in turn are proposed as an invitation to continued dialogue and socially grounded interaction. The central implication of this study’s contribution to knowledge is that such an approach to practice-led inquiry articulates how dialogue may contribute to the increasing shift in critical art practices towards to more imbricated, uncertain, and performative approaches to knowledge, and provide an alternative to essentialised and foundationalist interpretations of dialogue.
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Darbyshire, Ralph. "Activism, art practice and the vulnerability of message." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/558.
Full textAbstract:
This research project uses practical work and a supporting text to explore activism in contemporary art. Its chief concern is to consider what constitutes an activist art practice by clarifying the terms of engagement of such work. In the textual part of this submission the production of recent and contemporary artists who are widely presumed to make activist art has been examined. Their different approaches have been identified and critical evaluations of them have been offered. The artists under review include Christian Boltanski, Agnes Denes, Hans Haacke, Thomas Hirschhorn, Edward Kienholz, Doris Salcedo, and others. The analysis differentiates between them on the basis of their success as activist artists. Broadly speaking, two major strands of effective activism are identified. The first provides the audience/spectator with an understanding of their complicity in situations which are not clear-cut, where ethical standards are in conflict and where the perception of issues and solutions remains occluded. This kind of activism refuses any kind of programmatic clarity and encourages its viewer/recipient to acknowledge their moral and epistemological confusions. Although it may make use of local and particular circumstances and events its overall message transcends them and it is theoretically transportable to other sites without loss of impact. The second strand of activism is designed to work with maximum impact in highly localised situations, drawing on very particular shared experiences in tightly circumscribed locations. This kind of activist art, unlike the first, cannot be removed from its exact social and political context without loss of meaning. It is the contention of the thesis that successful activist art, in either strand, is very difficult to achieve and that much of what passes as activist art is flawed, either because it is crudely propagandic or because it is too opaque for the public to respond to it. The critical framework outlined in the textual submission is the matrix within which the practical element of this submission should be considered. The work submitted for examination extends the idea of activism as a means of making tangible the political and ethical confusions of everyday life. It is designed to be eye-catching , alluring and domineering, using scale, materials and iconography to encourage close inspection. The practical work offers the spectator a sculptural environment in which news reports, memories, moral beliefs, cultural stereotypes and historical markers are put in play. It is intended to provoke reflection, to linger in the memory, precisely because it cannot be categorised or assimilated easily as a simple message.
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Zimna, Katarzyna. "Play in the theory and practice of art." Thesis, Loughborough University, 2010. https://dspace.lboro.ac.uk/2134/6277.
Full textAbstract:
This thesis focuses on the notion of play in the theory and practice of art in the 20th and 21st centuries. I approach play both as an internal element of the concept of art (following the philosophical tradition) and as the external model for the creative process (as applied by modern and postmodern artists). The main purpose is to produce an interpretation of play that would span various, often contradictory, features of this concept and would serve to reinterpret the notion of artistic representation, traditionally linked with the vocabulary and approaches coming from the domain of work (production, mastery, preconceived outcomes, fixity, and the nature/culture dichotomy). My thesis defends representation, however, supplemented with the notion of play. In my project of highlighting the role of play in the discourse of art and aesthetics, I draw on Jacques Derrida's reading of Kant and Plato. Derrida s analysis of the logic of supplementarity in Western thought and terms such as parergon, pharmakon and undecidable, help me to argue that the ambivalence of play and the movement in between the opposites allow us to understand play as a condition of artistic representation. I also use Mihaly Spariosu's distinction between the interpretations of play as rational or prerational to inscribe play into the argument between representation and non-representation in the theory and practice of art. In terms of practice, I link the emergence of the strategy of play with the rhetorics of primitivism in modern avant-gardes from Dada to Fluxus. I analyse play as a tool of transgression and an attractive supplement of the creative process a way to activate the public and change the traditional proper function (ergon) of art. I trace the assimilation of play in recent participatory (relational, dialogic) art intended to go beyond representation. I argue that play has become a commonly used tactic and an undercurrent of today's artistic and social network. In the final discussion I reinterpret the notions of work (ergon, essence) and play (parergon, supplement) in the light of the 20th century artistic revolution. Using vocabulary and approaches coming from the domain of play (and specifically Role-Playing Game) I attempt to overcome the prejudice against the notion of representation.
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Hoyle, Brian. "British art cinema, 1975-2000 : context and practice." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:5698.
Full textAbstract:
This thesis shall largely concern itself with examining two general aspects of British art cinema between 1975 and 2000; namely, how the British art cinema operates as an art cinema in the context of its 1960s and 1970s European counterparts54 and how the individual filmmaking practices of these British directors both conform to and deviate from classic definitions of art cinema. In this way, this thesis shall demonstrate the ways in which British art cinema can be characterised not only as a belated continuation of classic European art cinema but also a significant development from it. Therefore, it shall examine the work of key British art filmmakers in the context of art cinema history, linking it with earlier movements in European art cinema such as Italian neo-realism and the French Nouvelle Vague, individual forebears such as Resnais, Godard, Pasolini and Wenders, and previous examples of art films in Britain. Furthermore in examining the filmmaking practices of these leading British art cinema directors this thesis will demonstrate British art cinema's stylistic and thematic eclecticism. Taken as a whole, it engages not only with its European counterpart, but with a wide range of influences including classical Hollywood, pop art, structural cinema and music videos as well as more typically British cinematic traditions such as the documentary and social realism. British art film directors have also experimented with new and existing filmmaking technologies and techniques, and made advances in cinematic style and the treatment of subject matter from their European colleagues of the 1960s and 1970s. To investigate these claims, the chapters in this thesis shall not address individual films or filmmakers, but rather, to allow a greater breadth of analysis, will examine their individual attitudes towards factors such as realism and film narrative, and their ties with the cinematic avant-garde and Hollywood as well as European art cinema, that can help to contextualise their films in the traditions of both European art cinema and British cinema itself. Chapter One will provide a brief critical overview of art cinema in Britain before 1975, thereby contextualising contemporary British art cinema's place in British film history, and highlighting the changes in the British film industry that made the growth of British art cinema possible. Several key aspects of British art cinema shall then be examined individually to illustrate the way in which these factors have helped to shape and characterise British art cinema. Chapter Two will analyse the attitudes of British art filmmakers towards the modes of cinematic realism that have perhaps come to dominate British film history. Chapter Three addresses the attitudes of British art filmmakers towards narrative, and will examine the degree to which they have rejected the classical Hollywood narrative in favour of modernist, structuralist, and other less traditional methods of cinematic storytelling. Chapter Four will examine the avant-garde roots of several contemporary British art filmmakers and illustrate the ways in which some of the ideas and techniques of avant-garde filmmaking have carried over into their subsequent work in art-house feature films. Finally, Chapter Five will address the influence of both Hollywood and European art-house styles of filmmaking on British art cinema. It shall also demonstrate how these often contradictory influences have helped to mould the latter's distinctive shape, and highlight the disparity amongst British filmmakers between those who look towards Hollywood for inspiration and financial backing and those who choose to operate in the culturally richer but financially poorer European cinema.
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Lucas, Geoff. "Towards a concrete art : a practice-led investigation." Thesis, University of Dundee, 2015. https://discovery.dundee.ac.uk/en/studentTheses/39bcfa2e-be67-4e00-a1ae-eef5898a4fc1.
Full textAbstract:
This study aims to identify a consistent position for Concrete Art, relevant to an understanding of, and highlighting its vital importance in, contemporary practice. As a practice-led study, its primary research methods have drawn upon the curating of series’ of exhibitions, hosting of discussions and production of publications at the Highland Institute for Contemporary Art (HICA: www.h-i-c-a.org). HICA is an artist-run space that I co-founded in 2008. Its exhibitions are particular examples of relevant practice and vehicles for the further exploration of ideas. They have included artists such as Boyle Family, the Noigandres poets, Daniel Spoerri, and Liam Gillick. The diversity of understandings, artistically and philosophically, of the ‘concrete’ reveal the contradictory states a concrete art may be desired to occupy. Theo van Doesburg’s Manifesto for Concrete Art, of 1930, for example, appears to call for both opposite Realist/universal and Nominalist/particular understandings of artworks. Van Doesburg’s seems a monist position overall though, uniting contradictory elements as counterparts or ‘contrasts’; a position which, by extension, may better define the intentions of a general ‘concrete’ tendency apparent throughout modern art. Exploring relevant developments from the beginnings of modernism as the background to contemporary artists’ considerations of the concrete, the study reflects on how such phenomena as the universal and particular, form and content, or mind and matter, may currently be understood as unified, and as material. These considerations readily connect thinking in relation to Concrete Art to a shift in understanding from classical to modern physics. The study, developing a resulting focus on our general aesthetic experience, as our part in pervasive formative processes, concludes with a proposal of a new term; the ‘quancrete’, which aims to provide a contemporary sense of the concrete, consistent with these new understandings, and indicative of an on-going development, basic to ideas of modernism; connecting both its earliest experiments and its current diversity.
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Needham, Michael. "Incarnate: Presence and vestige in contemporary art practice." Thesis, Australian Catholic University, 2010. https://acuresearchbank.acu.edu.au/download/cdbb1df1a9a42567fa800c58d69cac488f12086d9a0e13aba35ab30f6d982641/187933626/Needham__Michael__2010___Incarnate__Presence_and_Vestige_in_Contemporary_Art_Practice__Ph.D_Dissertation.pdf.
Full textAbstract:
Incarnate: presence and vestige in contemporary art practice is a body of sculptural work presented as a series of human-scale physical vessels intended for installation in the gallery and other settings. In conjunction with a supporting visual and textual document I utilize these vessels to posit and explore a primary parallel between the Christian concept of The Incarnation and an art process traditionally conceived as creative experience made manifest. My central argument is that the soteriological idea of ‘God made flesh’ corresponds to fundamental artistic aspirations whereby abstract concepts and propositions are rendered as tangible material form. In this way the sculptural work seeks to reflect divine aspirations while also prefiguring mortality, death and the potential for transfiguration. Core concepts of presence, absence, body-space, and trace together with their implicit Christian resonances hold the vessels together as a coherent series of research outcomes. Throughout, the ambiguous entity of the tomb or crypt reappears to trouble the viewer with their own precarious relation to corporeality. It is in this context that Incarnation remains a pivotal paradoxical theme of the thesis: how are we to consider embodiment as a ‘containment of form’ yet also as the miraculous marker of a seemingly always-impossible ‘transcendence’? As a PhD by visual research my written text is designed to exegetically extend and articulate important concerns circulating within the visual work produced as the thesis.
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Henry, Deborah. "Rediscovering the Art of Nursing for Nursing Practice." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3470.
Full textAbstract:
The art of nursing is discussed throughout nursing literature but research on the topic is lacking. The purpose of this research was to reveal experiences of the art of nursing. Nurses were asked to describe experiences about the art of nursing from their own nursing practice. This study was qualitative in nature and used a phenomenological approach to answer the research question, “What is the experience of the art of nursing in nursing practice?” The study was guided by the philosophical stance of Merleau-Ponty and the research strategies of Thomas and Pollio. Participants included nurses who had experience using the art of nursing to provide patient care and a willingness to articulate these experiences. With IRB approval, eleven nurses participated in the interview process. Participants had between twenty-one and over thirty years of nursing experience and a range of clinical experiences that included hospice, acute care, nurse management, pediatrics, labor and delivery, medical/surgical, mother/baby, intensive care, progressive care, outpatient day surgery, free standing clinic, cardiac surgical step down, outpatient hemodialysis, nursing instructor, neonatal intensive care, prison nurse, telemetry, school nursing, emergency room, hospital nursing education, orthopedics, post-op, chemotherapy, behavioral health, long term care, code team, and one had been a family nurse practitioner in a rural setting. Results demonstrate the art of nursing in nursing practice includes showing up, staying, and helping patients, connecting to patients, intuitive caring, and making a difference in the lives of both patients and nurses. Findings from this study confirm the art of nursing as an essence of nursing with implications for nursing practice, nursing education, and future research.
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Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.
Full textAbstract:
This PhD addresses approaches to art practice that are
simultaneously individual and participatory. It comprises a
research-based dissertation that sets out to understand why
combined practices are so prevalent among contemporary Indonesian
artists (66.66 ̇%), and a practice-led body of work that
investigates the nexus between individual and participatory modes
in my own art practice, accompanied by an exegesis (33.33 ̇%) .
The arguments set out in the dissertation are the result of
research into primary and secondary written resources,
translations, field observations, interviews with artists and
with other experts in Indonesia. This is the first body of
research to address combined individual and participatory art in
Indonesia. Sanento Yuliman described the “artistic ideology”
of Indonesian modernism as simultaneously autonomous and
independent, and heteronomously tied to tradition and society’s
needs. This formed the foundations from which modern art
discourse in Indonesia involved artists in the lives of the
people (rakyat) while also defending artists’ individual
expression: a binding knot of the kind that Jacques Rancière
describes as the “aesthetic regime”. I draw attention to the
way participation consistently features alongside individuality
in discourses from those early artists; during art’s
instrumentalisation in development discourses; and when
contemporary artists begin involving the rakyat in participatory
art. Case studies addressing the work of five contemporary
artists (Arahmaiani Feisal, Made “Bayak” Muliana, I Wayan
“Suklu” Sujana, Tisna Sanjaya, and Elia Nurvista) show how
contemporary artists have extended this continuum to involve
people in the making of art, while still maintaining significant
individual practices. I demonstrate how particular contexts and
networks of production have continued to engage with the early
modernist concepts of autonomy and heteronomy, as well as
exogenous and originary endogenous discourses, to create
conditions which mandate the practice of both participatory and
individual art for many artists. In responding to these
conditions, the work by contemporary artists presented in this
research consciously engages with and reconstructs discourses
from Indonesian and global art histories.
The body of work experiments with variations on participatory and
individual art within community, institutional, educational and
public spaces. I became interested in these spaces in between the
one and the many while observing art and cultural practices in
Indonesia, and working in museum education in Australia.
Consequently, both fields – contemporary art in Indonesia and
my own art practice – are inextricably linked. The mediums used
are responsive to the contexts of those sites and diverse
conversations I seek to generate through the works. They include
fabric remnants, diverse printmaking techniques, wax resist on
paper and a two-channel video installation. The exegesis
addresses the conceptual background, intentions, research
methodologies and results of this practice-led research into the
nexus between individual and participatory modes of practice. In
responding to the different sites (referred to above) and
artistic modes, I examine both links and points of difference,
and demonstrate the continuing role of art as a liminal space of
expression and criticality.