Dissertations / Theses on the topic '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.
Full textCarton, Sarah Beth, and Sarah Beth Carton. "Intergenerational Child-Directed Artmaking." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621918.
Full textCarrock, Solla. "An intuitive approach to artmaking." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299792513.
Full textCollins, Kate Ann. "Cultivating Citizen Artists: Interdisciplinary Dialogic Artmaking." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408661362.
Full textMulligan, Ryan. "Defending Defense: Circular Arguments About Artmaking." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1370.
Full textRoberts, 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.
Full textFischer, Lauren D. "Development of interpersonal skills through collaboartive artmaking curriculum." Thesis, Mills College, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1538511.
Full textThe 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.
Donald, Bridgett Faith. "Reflective Artmaking Coupled with Service-Learning| Making Community Visible." Thesis, University of Pittsburgh, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10645780.
Full textPractitioners 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.
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.
Full textKaplan, 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.
Full textBroduer, 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.
Full textSmuts, 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.
Full textBreitfeller, 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.
Full textGriner, Downi, and Downi Griner. "Art Student Teaching Seminar: Negotiating Meaning Through Inquiry." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/620880.
Full textNelson, 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.
Full textChu, 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.
Full textAttias, 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.
Full textBarrett, 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.
Full textKim, 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.
Full textLindsey, 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.
Full textWang, Yi-Yi, and 王裔毅. "The Ambiguity Between My Artmaking And Myself." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/xm24uq.
Full text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.
Stephenson, D. Wendy Louise. "Artmaking in two Vancouver high schools 1920 to 1950." Thesis, 2005. http://hdl.handle.net/2429/17281.
Full textEducation, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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.
Full text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.
Forsh, Whitney. "4sh: Coping via Crayons, Canvas, and Mixed-Media Artmaking." 2017. http://scholarworks.gsu.edu/art_design_theses/230.
Full textRennie, Christy. "Privileging corporeal identity : an embodied approach to artmaking practice." Thesis, 2012. http://hdl.handle.net/10210/4515.
Full textIn 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.
Burger, Maria Anna Consiglio. "Transformation within personal and public realms through contemporary artmaking processes." Thesis, 2012. http://hdl.handle.net/10210/5247.
Full textMy 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.
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.
Full textDreyer, Elfriede 1953. "A hermeneutic investigation of the parergon in artmaking, with special reference to Anselm Kiefer." Diss., 1992. http://hdl.handle.net/10500/16683.
Full textKoo, 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.
Full textHuntly, Alyson C. "In Parables: The Narrative Selves of Adolescent Girls." Thesis, 2009. http://hdl.handle.net/1974/5374.
Full textThesis (Ph.D, Education) -- Queen's University, 2009-12-18 17:19:42.63
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.
Full textEckersley, Libby. "A study in cognitive ecology for a print-mediated artistic practice." Thesis, 2021. http://hdl.handle.net/1959.13/1430260.
Full textMy 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.
Northfield, Sally. "Canvassing the emotions : women, creativity and mental health in context." Thesis, 2014. https://vuir.vu.edu.au/29985/.
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