Dissertations / Theses: 'Artmaking'

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Ravisankar, Ramya N. "Artmaking as Entanglement: Expanded notions of artmaking through new materialism." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1557001719441416.

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Carton, Sarah Beth, and Sarah Beth Carton. "Intergenerational Child-Directed Artmaking." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621918.

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Throughout this study, I investigate the interaction that occurs between a parent and her child when creating a collaborative drawing. The purpose of this study is to find ways in which to change common images of children and their capabilities in forming and making decisions, problem solving and communication skills, and imaginative story telling abilities. This research seeks to answer some of the following questions: In what ways are children and adults influenced by the child taking ownership of the artmaking experience and how does giving the child ownership and control over the experience change the experience for the adult? I observe two mothers as they collaborate with their young sons (ages 3 and 4) to create a drawing, discuss their experience with them and analyze their final images. Utilizing these methods, I uncover common themes and ideas about the view that adults have of children and ways of shifting these ideas of power and control over to children. I provide my recommendations and implications for the field of early childhood art education and offer a guide for parents when working with their young children.

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Carrock, Solla. "An intuitive approach to artmaking." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299792513.

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Collins, Kate Ann. "Cultivating Citizen Artists: Interdisciplinary Dialogic Artmaking." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408661362.

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Mulligan, Ryan. "Defending Defense: Circular Arguments About Artmaking." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1370.

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This paper is a critical look at video and performance arts intrinsic relationship to culture. Investigations of storytelling, personal mythology, fear, and image saturation. Think-pieces on the nature of art in an entertainment society. Juggling a brief overview of various works and their relation to over arching themes of game theory, dark humor, and fascination with media. An in depth look at the process of the thesis show, "Defense is the Best Defense." Multiple takes on the thesis exhibit counterbalance the need for contemporary art to include description. This paper is a detailed look at the process of Ryan Mulligan's artwork and methods of materials. Ryan Mulligan's work takes the form of performance lectures, video, and installations. Here the intuitive is dismissed and a demystifying approach to describing production and theory bridges a gap in contemporary literature on art making. Anecdotal stories on process, desires, thrusts, and methods illuminate an any-means-necessary artistic approach.

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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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Fischer, Lauren D. "Development of interpersonal skills through collaboartive artmaking curriculum." Thesis, Mills College, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1538511.

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The purpose of this study was to examine how collaborative artmaking activates and supports the development of interpersonal skills in young children. By means of a qualitative case study, this study explored how collaborative art projects engage children in using problem-solving, cooperation, and negotiation skills. Data were collected through observation of small groups of preschool children as they participated in collaborative art projects. Field notes, videotaping, small group interviews, and conversations with colleagues were the primary methods for data collection. The data were analyzed using the literature from the Reggio Emilia philosophy and research on collaborative artmaking and interpersonal skills development. Thematic groupings from both deductive and inductive coding techniques were used to analyze the data and draw inferences about the findings. Results show that children co-construct knowledge through the visual language of art during collaborative artmaking. Over time, this construction supports children in their interpersonal skill development. The art medium used in the projects and the role of teacher were examined, revealing how the children were supported in developing problem-solving, cooperation, and negotiation skills. This study makes an important contribution to the literature because it draws connections between collaborative artmaking and interpersonal skill development.

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Donald, Bridgett Faith. "Reflective Artmaking Coupled with Service-Learning| Making Community Visible." Thesis, University of Pittsburgh, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10645780.

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Practitioners have agreed that service-learning programs or curricula guide students into developing a more robust connection to the community in which they live as well as amongst other members of that community (Eyler, Giles, Stenson, & Gray, 2001). However, what isn’t known extensively is how these outcomes have been generated (Kiely, 2005a). Based upon Milne’s (2000) reflective artmaking, this arts-based ethnographic study introduces the terminology reflective artmaking service-learning, demonstrating how the coupled learning processes of reflective artmaking and service-learning respond to the call for research. The Capacities for Imaginative Learning (Holzer, 2009) facilitated my ethnographic analysis, providing specificity towards deconstructing the underlying mechanisms of processing and filtering. Conducted in Texas among Christian homeschool students, this study inquires, how does reflective artmaking coupled with service-learning help to make the underlying concept of “community” visible? This ethnographic study focuses on the educative (Dewey, 1938) value of an arts-infused program with Christian homeschooled youth (ages 11-17) in Texas. Significant findings include the ways in which experiential learning based on a constructivist epistemology and a focus on the self was a suitable, but yet limiting, theoretical framework. Suggestions include ways to use reflective artmaking coupled with service-learning to enhance the authenticity and applicability of projects and thus to enhance student interest and ownership. This study provides a broad set practitioners in educational programs and public, private, and home schools with practical, innovative, substantive, and customizable methods of incorporating arts-based reflection on civic engagement within their teaching practices.

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Beyer, Anjelie, and mikewood@deakin edu au. "Our ground : A study of artmaking and landscape in Mildura." Deakin University. School of Social Inquiry, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060831.115529.

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Kaplan, Heather Grace. "Young Children’s Playful Artmaking: An Ontological Direction for Art Education." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468977542.

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Broduer, Christine M., and Christine M. Broduer. "Community and Youth Empowerment Through Artmaking: Teaching Teens Social Justice through Visual Journaling." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625310.

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In this case study I document a group of youth, ages thirteen to fifteen, as they investigate and explore social justice issues and personal beliefs in order to create a community service learning project. Ideas are presented through the introduction of activist art and also by the viewing of recordings of a variety of perspectives on social justice issues and community involvement from a diverse population. The vehicle of inquiry in the study is the production of a visual journal in which thoughts, feelings, perceptions, and ideas will be examined and considered through art making. A review of literature related to the benefits of artmaking and individual storytelling, teaching social justice issues, and the influence of visual culture provide insight and foundation for the study. Qualitative research methods are incorporated to determine the effectiveness of connecting the making of art to the instigation of community involvement. The data collected and interpreted to inform the conclusions are interviews, discussions, and visual and written responses by the participants in the study. The conclusions may be used in either a classroom or community art forum and contribute to the foundational body of knowledge that asserts that art making and critical thinking are necessary components of contributing to today's society.

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Smuts, Lyn. "The visualization of sound : an investigation into the interplay of the senses in artmaking." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/905.

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Breitfeller, Kristen M. "Making Objects to Make Meaning: A Theoretical Framework for Understanding The Embodied Nature of the Artmaking Experience." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269534117.

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Griner, Downi, and Downi Griner. "Art Student Teaching Seminar: Negotiating Meaning Through Inquiry." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/620880.

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This study aims to explore how the art student teaching seminar can serve as a space for inquiry and reflection, and how student teachers process their experiences, negotiate personal meanings, and understand teaching complexities through inquiry based methods. The overarching question in this research study asked: How might participation in an inquiry based seminar impact the meaning student teachers make from their practicum experiences? In order to address this main question, I employed three sub-questions: How do art student teachers perceive and describe their teaching field experiences in a seminar space? What kinds of inquiry activities can facilitate reflection with art student teachers? How do art teachers relate to and value inquiry based methods of reflection?I approached these questions through a constructivist framework that supports the idea that individuals actively construct and reconstruct their own understandings, meanings, and ultimately knowledge of the world through experience and reflection upon these experiences. Utilizing a case study methodology I designed a multi-case qualitative study that aimed to interpret the student teacher seminar through the experiences of four art student teacher participants. I was the facilitator of the student teaching seminar course at a large, public university in the Southwestern United States and the art student teachers and I met roughly every two weeks, over the course of a 16 week semester, on the university campus. I implemented a scaffolded, inquiry based curriculum which offered a variety of methods aimed to encourage inquiry and promote reflection amongst student teachers. Research data consisted of seminar audio recordings, participants' written journal entries, participants' artworks, and my reflective researcher notes. Employing narrative data analysis I constructed a case for each participant using the assignments as both chronological organization and categorical scaffolding for the arrangement and presentation of the data. I then compared the individual cases to identify similarities and differences within the whole. My analysis of research findings indicated the following: First, student teachers identified personal concerns related to affective awareness, vulnerability from uncertainty, desire for efficacy, and identity confusion during their student teaching experiences. Second, written forms of inquiry produced evidence of open-mindedness and responsibility amongst student teacher participants, while artistic forms of inquiry yielded evidence of wholeheartedness and self-knowledge amongst student teacher participants. Third, the data indicated that although benefits could be located in written inquiry, participants attached little value or meaning to this method; whereas, artistic inquiry was perceived as an especially impactful and meaningful method of inquiry by student teacher participants. Overall, the student teaching seminar served as a space where student teacher participants shared stories, described contexts, identified issues, navigated tensions, and exhibited personal and insightful developments that demonstrated reflective learning connected to self-understanding and personal growth. Implications for the research suggest that facilitators of such a course should have a concentrated awareness of the constraints of the seminar structure; approach problem exploring rather than problem solving techniques with teacher candidates; and that there is an acute need for supportive and safe spaces for student teachers to process their experiences through multiple methods. This study generated detailed insight into art student teachers' unequivocally unique, yet fundamentally shared journeys, in processing, negotiating, and ultimately understanding their practicum experiences. Keywords: student teacher, seminar, inquiry, reflection, artmaking, art education

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Nelson, Meaghan Brady. "How Social Consciousness and the Development of Social Responsibility Can Grow Through the Meaning-Making Processes of Collaboration and Artmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343620040.

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Chu, Rita CM. "An apprenticeship in mask making: situated cognition, situated learning, and tool acquisition in the context of Chinese Dixi mask making." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1158693508.

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Attias, Michelle D. "Journaling in Search of the Neurodivergent Self: An Arts-based Research Project Dialoguing with Kurt Cobains Journals." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619018292032792.

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Barrett, Trudy-Ann. "Re-Marking places: an a/r/tography project exploring students' and teachers' senses of self, place and community." Thesis, University of Canterbury. School of Teacher Education, 2014. http://hdl.handle.net/10092/10040.

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The nurturance of creative capacity and cultural awareness have been identified as important 21st century concerns, given the ways that globalisation has challenged cultural diversity. This thesis explores the share that the art classroom, as a formative place, has in supporting such concerns. It specifically examines artmaking strategies that visual arts teachers may use to help adolescent students to develop and negotiate their senses of self, place and community. Held within this goal is the assumption that both student and teacher perspectives are important to this endeavor. This thesis, accordingly, draws upon empirical work undertaken with lower secondary school level visual art students in Christchurch, New Zealand and teacher-trainees in Kingston, Jamaica to explore this potential in multi-dimensional ways. The research employs a qualitative, arts-based methodology, centred on the transformative capacity of ‘visual knowing’ to render this potential visible. A/r/tography as a particular strand of arts-based methodology, served to also implicate my artist-researcher-teacher roles in the study to facilitate both reflection and reflexivity and to capture the complexity and dynamics of the study. Multiple case studies provided the contexts to furnish these possibilities, and to theorize the intrinsic qualities of each case, as well as the complementary aspects of the inquiry in depth. The conceptual framework that underpins this study draws widely on scholarship relating to contemporary artmaking practices, visual culture, culturally responsive and place-conscious pedagogical practices. The research findings reveal that when the artmaking experience is framed around the personal and cultural experiences of the participants, both students and teachers participate in the enterprise meaningfully as co-constructors of knowledge. In this process, students develop the confidence to bring their unique feelings, experiences and understandings to the artmaking process, and develop a sense of ‘insideness’ that leads to strong senses of self, place and community. This also creates a space where the authentic interpretation of artmaking activities goes beyond the creation of borders around cultural differences, and instead generates multiple entry points for students to engage with information. The findings also indicate that while the nature of artmaking is improvisatory and emergent, structure is an integral element in the facilitation of habits toward perception and meaning making. Accordingly, emphases on structured, open-ended artmaking experiences, framed aesthetically, as well as exposure to both the products and processes of contemporary art serve this endeavor. Artmaking boundaries and enabling structures also help to supplement this process. Though this research is limited in scope (in terms of the community engagement), there exists evidence that collaboration with community resource persons enlarges students’ conceptions of artmaking. It presents the potential to address broad issues of local and global import, which also have relevance for the ways students understand their relationships with the world. For researchers outside of the school and community culture however, this process requires close working relations with school personnel to ensure its effectiveness and to facilitate those school-community bridges. The undertaking is also best realized when participants have their own senses of its value, and, as such, are more inclined to participate. A/r/tography, as an arts-based methodology presents much potential for examining the complexities of the artmaking experience. As a form of active inquiry it helps those who employ its features to be more attuned toward enquiry, their ways of being in the world, the ways the personal may be negotiated in a community of belonging, and the development of practices that address difference. This contributes to evolving and alternative research possibilities that value visual forms of ‘knowing’. Finally, this thesis addresses the paucity of research on visual arts education at the secondary level, especially in the Jamaican context. A significant feature of this research is the evidence of its effectiveness with both lower secondary school students and teachers across geographical contexts. It therefore presents the potential for similar studies to be undertaken internationally. Given that the results are site specific however, it is recommended that the adaptation of the framework of this study for future purposes also respond to the specific realities of those contexts.

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Kim, InSul. "Art as a Catalyst for Social Capital: A Community Action Research Study for Survivors of Domestic Violence and its Implications for Cultural Policy." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1293723512.

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Lindsey, Ilyse, Schelsey Mahammadie-Sabet, and Nicole Rademacher. "Art-making and Wellbeing with Professional Artists During a Pandemic." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/956.

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This research project aims to explore the relationship between art-making and wellbeing in professional artists during the COVID-19 pandemic. The study involves 14 respondents who were invited to complete a Qualtrics survey as well as a process of arts-based inquiry. Researchers analyzed participants’ survey and art responses using an iterative collaborative process to identify emergent themes. These themes included a non-optional and internally-located drive to create; positive emotional, social, and physiological impacts associated with art-making and art-sharing; and, positive impacts on art practice associated with the pandemic. These findings emphasized the unique strengths and challenges associated with the professional artist identity.

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Wang, Yi-Yi, and 王裔毅. "The Ambiguity Between My Artmaking And Myself." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/xm24uq.

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碩士
國立交通大學
應用藝術研究所
106
This thesis features the art making by the author in the past four years, which was a retrospective process to find out the ambiguity between her art making and herself. It proceeds in five parts. The first chapter describes the experiences and background of the author. The second chapter is a sketch of her art making during her four years study in the graduate school. The third chapter presents four reference artists and their works. The fourth chapter explicates the author’s final year project “The Ambiguity” .The final chapter concludes with the author’s critical reflection on the project “The Ambiguity” and claims a new statement of her future work.

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Stephenson, D. Wendy Louise. "Artmaking in two Vancouver high schools 1920 to 1950." Thesis, 2005. http://hdl.handle.net/2429/17281.

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This dissertation examines the art learning that students were exposed to within the diverse school cultures at Kitsilano Junior/Senior High School (Kits) and Vancouver Technical School (Van Tech) from 1920 to 1950 in Vancouver, Canada. These cultures shaped the opportunities for various forms of art learning. From 1920 to 1950 Kits was a coed, middle-class junior/senior high school aiming to produce well-rounded citizens prepared to take their place in society or to take further education before starting their career. From 1921 to 1940 Van Tech was an all-boys, primarily working-class high school with a vocational orientation that prepared students to enter a trade; girls taking practical training were included in the school i n September of 1940.1 suggest that issues of gender, class and, to a lesser extent, race shaped the diverse cultures in these two schools and the art learning opportunities the schools provided. Kits offered art courses with the expectation that art would give students a productive avocation, enrich their cultural life, and add to the general refinement of society. At Van Tech, aspects of art learning were embedded in most of their technical courses. Art-related skills were to be utilized in students' future employment in the trades. The different intentions of these two schools affected students' art learning as well as the kinds of art they produced. This study is based primarily on interviews with former students in the schools at the time. It also incorporates an analysis of the text and images in the yearbooks and extant artwork of former Kits and Van Tech students. It describes their art learning experiences alongside those prescribed in British Columbia's art-related textbooks and curriculum documents and in consideration of the pre-service training available to their art teachers through the city's art school. Art media and skills and subject matter in the students' artwork are considered in light of those set out in the official BC art textbooks. Subjects there were largely limited to simple objects from nature and around the home, historical subjects and idealized landscapes, as well as conventionalized, space-filling decorations. The study shows the extent to which concepts of class, gender, and race were embodied in the subject matter of Kits and Van Tech student artwork, especially that appearing i n the school yearbooks. Images show that Kits students looked to their environment primarily to document their adolescent life while Van Tech students depicted people and events from the larger world as well as revealing the increasing industrial concerns of Vancouver as an emerging city. In this way the study shows the extent to which subject matter as well as skills and media were at least in part determined by the diverse nature of the two schools.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Cheng, Sheng-Hua, and 鄭勝華. "Artmaking: A Study on Nelson Goodman's Philosophy of Art." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/32922915912938435587.

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博士
國立臺灣師範大學
美術學系
100
This study aims at exploring Nelson Goodman’s aesthetics and philosophy of art, addressing the following main questions: how does Goodman construct his languages of art or the theory of symbols by analyzing languages logical propositions and inferential relations? How does such method shape Goodman’s philosophy of art? How does he elaborate his philosophy of art? And how does his philosophy of art connect with other dimensions of his theory such as metaphysics, ontology and epistemology? What kind of aesthetic shift is presented in Goodman’s philosophy of art which stresses cognition and understanding? What are the differences between Goodman’s theory of art and that of contemporary art criticisms, especially those other than analytic aesthetics? Are there any coherent trend shared by them? Do these contemporary philosophies of art as a whole indicate any theoretical turn? With these questions in mind, I would firstly demonstrate that my approach to Nelson’s thought is primarily theme-based, which is far from an attempt to make a complete presentation of it. The methodology employed in his thought would function as the key to any further discussions of Goodman’s philosophy of art, as it is applied throughout his works and other aspects of his thought. Next, the discussions would revolve around some of the key concepts in Goodman’s philosophy of art, including symptoms of the aesthetic, representation, exemplification, and so on. Then we may come to discover that Goodman’s theory of art foregrounds the abilities of discriminating, understanding, and applying symbols, and they separately develop into three different directions, i.e., art education, art creation, and the reconception of philosophy of art. As Goodman deems art as one symbol system, we may trace this view to his concept of “worldmaking.” That further indicates a significant relationship shared by art and worldmaking due to the fact that art, for Goodman, signifies ways of worldmaking. This also brings our exploration of his philosophy of art further to the discussion of his ontology. What is worth noting is that worldmaking contains another layer of active meaning: the making itself is the operational process of epistemology. Works of art and theories of art are hence not only connected with symbols, but also developed into an operation of epistemic mode. It is on this level of epistemology and the theory of knowledge that Goodman’s philosophy of art stands in dialogue with other contemporary theories of art. Taking this as a basis, we may observe the differences and similarities shared among different approaches of contemporary philosophy of art. Finally, it may also serve as the basis for an attempt of Artmaking in this study.

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Forsh, Whitney. "4sh: Coping via Crayons, Canvas, and Mixed-Media Artmaking." 2017. http://scholarworks.gsu.edu/art_design_theses/230.

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This arts-based thesis is a personal account of making sense of loss, embracing emotion, and the cathartic qualities of mixed-media art relying greatly on family photographs. The findings from this will inform my teaching approach and assist budding artists (my pupils) in creating connections by breaking down walls to promote growth of their artistic voice.

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Rennie, Christy. "Privileging corporeal identity : an embodied approach to artmaking practice." Thesis, 2012. http://hdl.handle.net/10210/4515.

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M.Tech.
In this research I offer a reading of selected work by South African artists, Joni Brenner, Berni Searle and Minnette Vári in relation to Julia Kristeva‟s conception of the abject. In examining these artists‟ use of the formal elements of tactility in representation of their corporeality, I draw analogies between their work and two Kristevian theories of heterogeneity, namely the abject and the semiotic (see Pollock 1998: 9). The primary aim of this research is to examine how the use of tactility in visual art may disrupt notions of sameness with specific reference to the assertion of a non-gendered form of embodied representation. While I am indebted to feminist investigations of corporeality and identity, and use these as a theoretical framework, I attempt to reach beyond their politically gendered paradigm. In support of this, my research draws on certain arguments put forward by Kristeva as these are situated in, and advocate, a non-gendered form of embodiment. The element of homogeneity or pervasive naturalisation is aligned with the element of „sameness‟, characteristic of the symbolic element within signification (Lechte & Margaroni 2004: 108). Consequently, following Kristevian theory, I examine ways within visual art in which the semiotic element works in a constant, antagonistic dialectic with the symbolic element. Within this context, I argue these artists suggest the borders of selfhood to be fluid in nature. Within Kristeva‟s model of selfhood, the subject in process, the abject threat of dissolution of self may be contextualised. Therefore, the threat towards one‟s identity is not so much nullified, but is rather no longer separated from the understanding of self. Following Kristeva‟s (1991: 1) thought, one may argue that the foreign „other‟ and the self are intimately related. For the purposes of this research, the pertinent facet of the abject evident in these artists‟ work is an ambiguous, dynamic, open-endedness. I align the arguably consequential abject, partial dissolution of the binary logic of self and other suggested in these artists‟ work, through the use of the formal elements of tactility, with Kristeva‟s conceptualisation of intimate revolt. This intimate revolt advocates ii a continual, questioning revision which may lead to the renewal of the interlinked notions of language and identity. Using a Post-Structuralist approach to research I engaged in textual analysis in order to explore critical positions regarding embodiment, tactility and the abject in representation. In addition, in order to generate empirical research pertaining to her artmaking practice, primary research in the form of semi-structured interviews was conducted with Brenner. In this research, having drawn on Kristeva‟s heterogeneous tools of the semiotic-driven abject, the signifiance and poetic language of the speaking subject and practice of intimate revolt I offer a non-gendered reading of tactility as a transgressive means in the disruption of sameness. Through offering non-gendered readings of the chosen artists‟ work, I have attempted to emphasise the necessity of the abject within the continual formation and renewal of the non-gendered speaking subject within processes of signification and thus of identification.

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Burger, Maria Anna Consiglio. "Transformation within personal and public realms through contemporary artmaking processes." Thesis, 2012. http://hdl.handle.net/10210/5247.

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M.Tech.
My research explores how process, i.e. the physical means of material production, can embody and conceptually signify transformation within personal and public realms. My practical work draws on multiple material sources which I subject to various physical processes in order to produce alteration. These material processes function as metaphors for processes of self-exploration. In my theoretical argument, I propose speculative connections between my sense of liberation (experienced in the processes of artmaking and through my adoption of instability, dissolution, hybridity and open-endedness as working strategies) and certain socio-political transformations that have occurred in the past decade. Cultural effects of postcolonialism such as hybridity and otherness are used as reference points in my theoretical text, in which I foreground personal narrative as integral to my research design. Ways in which the contemporary South African artist, Penny Siopis similarly engages autobiography as subject matter and working strategy, are explored and interwoven into my discussion.

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Millette, Lynn. "The experience of artmaking : body, self and word as ontological environment." Thesis, 2006. http://spectrum.library.concordia.ca/9284/1/millette_lynn_2006.pdf.

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All of my senses are implicated in my art-making process. My paintings come from deep inside and materialise before me on the surface of a canvas as it develops. A dialogue on the creative process must be based on an art practice because art making represents thinking in the language of creation. I am very close to a phenomenological consideration of temporality as I paint. Experience and time are visible in the brush marks of a painting. My creative process is phenomenological when I consider and associate the things that I perceive while focusing on my senses. I know that I can decide whether or not I am open to awareness of my organism and as I record my physical state, metaphors emerge in the form of mental images. Opening my perception to the world around me constructs my sense of self. Learning about the interrelationship between the outside world and my body allows me to understand my perception and how I change an internal idea into an image. Language can bring implicit experience into the world but I cannot address someone on the outside in the same manner that I think when I am creating. For this reason I believe that there is an inner language that allows for the associations that become metaphors. When I am creating I have an awareness that cannot be translated into words or images. Inside my mind, images are fleeting and intertwined with emotions and my organism, but they can cross over to the outside directly through my relationship with a material to become a part of reality that can be rationally interpreted and transformed. The bridge that I cross from inside to the outside when I make art is not the same as the bridge I cross when I speak and write. Paintings encompass all that is being considered by perception. Ontology is within an artwork which reflects life experience

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Dreyer, Elfriede 1953. "A hermeneutic investigation of the parergon in artmaking, with special reference to Anselm Kiefer." Diss., 1992. http://hdl.handle.net/10500/16683.

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Koo, Sohee. "Transformative Learning in Sculpture Class: Exploring New Identities as Artists, Approaches to Artmaking, and Understanding of Art." Thesis, 2019. https://doi.org/10.7916/d8-m9v7-0r17.

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Transformative Learning seeks to encourage learners to critically reflect on their assumptions and preconceptions, thereby transforming their existing frameworks and perspectives. This qualitative study investigates what Transformative Learning looks like in a diverse group of adult learners at a graduate school of education who attended sculpture classes intentionally designed to enable such change. When Transformative Learning is part of the teacher’s intention, how, if at all, does learning through artmaking in mixed media sculpture classes transform these adults with regard to their understanding of their identities as artists and learners (“Who am I?”), their approaches to artmaking (“How do I make art?”), and their understanding of art (“What is art?”)? Furthermore, the study seeks to understand what aspects of their class experiences contributed to these transformations. The study examines the studio creations and artmaking processes of five adults from diverse backgrounds and experiences and analyzes what they reported about their artmaking experiences. Data gathered from semi-structured interviews, retrospective surveys, and class artifacts are organized and analyzed based on three stages of the Transformative Learning cycle—Stability, Reflection, and Transformation. The five participants’ three stages are then discussed according to the participants’ perceptions of their identities as artists, their understanding of art, and their approaches to artmaking, based on the research questions. The findings of the study suggest that the participants experienced heightened levels of Transformative Learning in individualized ways. Data indicate that specific class activities—a gallery trip, in-class artmaking sessions with material and time constraints, and an artist statement exercise—contributed to participants’ transformations over the course of the semester. Once the semester ended, some participants took further actions based on their changed perspectives of artist identities, understanding of art, and approaches to artmaking, which indicates that dramatic shifts and multiple perspectives can be achieved in an art class designed to teach for Transformative Learning.

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Huntly, Alyson C. "In Parables: The Narrative Selves of Adolescent Girls." Thesis, 2009. http://hdl.handle.net/1974/5374.

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I began with an interest in what makes a difference for girls who face challenging circumstances: What helps them to develop sturdy, resilient, and resistant selves? What role does narrative play in this process? I set in motion a process of storytelling and reflecting by inviting girls and women to share stories together—their own stories, fictional narratives, and myths. The participants had faced particular challenges in adolescence, including economic hardship; disrupted social or family circumstances; mental health; abuse; or trauma. The girls and women had differing racialized, class, cultural, social, religious, and ethnic backgrounds. Drawing on the work of biblical scholars who understand Jesus’ parables as poetic metaphor, I identified 11 aspects of parables that helped me to hear and interpret girls’ stories: participation, difficulty, metaphor, fractals, truth, emergence, performance, possibility, power, wisdom, and beauty. Listening with a parabolic ear, I came to experience girls’ storytelling selves as participatory, metaphorical, fractal, truthful, and emergent; I observed girls’ selves as artistic practices that are embodied performances of their wisdom, power, and beauty. And I discovered how such performances of the self create enlarged spaces of possibility for girls in the face of life’s difficulty. I discovered that storytelling selves are girls’ power—power realized as storytelling, participation, mutual relation, meaning-making, enlarging spaces of possibility, disidentification, and embodiment. I identified six elements that seemed to be important in nurturing girls’ parabolic imagination. These are community participation, experienced observation, complexity, care, interpretation, and artmaking. These elements provide a framework for considering how educators might support girls’ selves but they do not provide a methodology. Taken together, they are more like a parable—an opening onto a particular worldview that invites participation in the world of a girl. These six elements may be signs that point to places where parables of the self are already being told. They become questions that make sense only to those who already understand: Is this community? Is anyone listening? Is it complex? Is this a place of compassion and care? Is meaning being shaped and questioned and reimagined here? Is there art? Is there play?
Thesis (Ph.D, Education) -- Queen's University, 2009-12-18 17:19:42.63

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Stephenson, D. Wendy Bullen. "Artmaking materials in the classroom during the depression era and World War II years as revealed in some art education texts for teachers." Thesis, 1998. http://hdl.handle.net/2429/7866.

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Using text analysis of art education texts for teachers, this study examines information on and attitudes to artmaking materials in the classroom during the Depression era and World War II years. This research was motivated by an interest in the extent to which recyclable materials or found or discarded materials were used in art programs during this 15 year period (1930 to 1945) when reduced budgets or material shortages threatened school art supplies or even art programs themselves. Fifteen art education texts are analyzed in the context of prevailing art curriculum models that existed as a result of changing social conditions. In this study these curriculum models are defined as Art for Industry, Creative Self Expression, Art for Daily Living, Art for Subject Integration, Art for School Art's Sake, Art for Art's Sake, and Art for Social Uses. This study documents the kinds of materials used and the types of art projects undertaken in classrooms during this time period. Questions addressed in the study relate to the basis of selection of materials and reasons why certain materials were chosen over others, economic assumptions of authors, information on scarcity of artmaking materials and reasons for or goals in using any recyclable materials, and sources of traditional and nontraditional materials. Other aspects of artmaking materials considered include attitudes to safety regarding the use of certain materials, the effect of subject integration on artmaking materials, and gender associations with materials. The study finds that some alternate artmaking materials were used in the art programs described in most of the texts but that the authors did not necessarily acknowledge use of such materials as a coping strategy. The attitudes in the texts range from no concern about adequate art materials to positing resourcefulness as one of the goals of the art program— resourcefulness in finding alternate artmaking materials in nature, the home, or the community.

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Eckersley, Libby. "A study in cognitive ecology for a print-mediated artistic practice." Thesis, 2021. http://hdl.handle.net/1959.13/1430260.

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Research Doctorate - Doctor of Philosophy (PhD)
My practice-led research shows how the rubric of cognitive ecology can be used to develop an experimental ‘print-mediated’ artistic practice. Referred to as “the study of cognitive phenomena in context” by Edwin Hutchins, cognitive ecology extends how cognition has typically been studied within the cognitive sciences, beyond the controlled confines of laboratory walls. As John Sutton and Evelyn Tribble write, cognitive ecologies are: the multidimensional contexts in which we remember, feel, think, sense, communicate, imagine, and act, often collaboratively, on the fly, and in rich ongoing interaction with our environment. Following Hutchins’s statement, that when it comes to the study of cognition, the correct unit of analysis is the ‘cognitive eco-system’, my practice-led research explores how the idea of making a cognitive eco-system, might be used to develop an experimental artistic practice over an extended period of time. This was a response to a need I had to transform my artmaking processes into a robust mode of life-long learning, after a prolonged period of retreat from a ‘culture of critique’. I tested the robustness of this idea by using an artmaking context in which my individual artistic cognition had largely not occurred in, to date, namely, a printmaking studio on university grounds. Through a combination of written and practical components, I was able to show that conceptualising my artistic practice as an extended unit of analysis, that went beyond the studio walls, helped to activate and then integrate my artmaking processes with a corresponding web of conceptual elements. By answering the research question, ‘what would my cognitive eco-system look like, in artistic practice?’ my inquiry allowed me to imagine and then create a conceptual framework that operates as a pathway into the practice of art.

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Northfield, Sally. "Canvassing the emotions : women, creativity and mental health in context." Thesis, 2014. https://vuir.vu.edu.au/29985/.

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Canvassing the emotions examines the role and meaning of artmaking in the lives of women who have experienced mental ill-health and/or psychological trauma in Australia between the 1950s and the present. Hovering at the nexus of a number of contested domains, the thesis bypasses the perennial question of what is art to explore the neglected and perhaps more interesting query – what does art do for the artmaker? – and associated questions of why does art matter; what is the function of artmaking in relation to wellbeing; and what are the implications of a thwarted life of making? The thesis presents the findings of three studies: The Exhibition – a touring exhibition of art produced by women with an experience of mental ill-health; The Interviews – with thirty-two women who make art and who have experienced mental ill-health; and The Collage – a collation of women’s accounts of – what does art do?

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Dissertations / Theses on the topic 'Artmaking'

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