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1
Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.
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Joumaa, Jamal. "Australian artists of Arabic origin : identity and hope." Thesis, View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/41020.
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Despite the migration of some artists of Arabic origin to Australia since 1947, experimental Australian artists of Arabic origin only began to gain attention for their work from 1975 onwards. The works of those artists who have a migrant background, distinguished, on one hand, by the continuous link between themselves and their cultural heritage and the political and human conditions of their homelands, and on the other hand, being inspired by the social, cultural and political issues of Australian life, which reflect the type and nature of relationships between the artists and their host society. It is important to note the commonalities in efforts of artists to realize their arts with individual imprints, in an attempt to create an aesthetic contribution that confirms their own particularity. In their cultural trends, originating from the values and concerns of their social existence; exploring new artistic values and symbols, and working through different artistic trends and techniques, in ways that reflect their visions about art as a duty, and represent a cultural, aesthetic and moral responsibility, toward the societies of their homelands and their adopted country. At present, this art activity is recognized as having made a vital contribution to Australian cultural life, incorporating serious artistic and cultural concerns, represented by a group of exhibitions. Thus, this study is in the frame of these cultural and artistic efforts, dating to the beginning of this activity in Australia, studying the educational, political, social conditions, which help in the development of this art. It focuses on exposing the artistic elements and their aesthetic and cultural values, the symbols and their relegations, which appear in the works of the participant artists in the frame of the study.
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Joumaa, Jamal. "Australian artists of Arabic origin identity and hope /." View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/41020.
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Thesis (D.C.A.)--University of Western Sydney, 2009.A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Creative Arts. Includes bibliographies.
4
Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
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Adsit, Melanie Hope. "Caught between worlds: urban aboriginal artists." Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.
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Robertson, Kate. "The siren song: Identity, belonging and Australian artists abroad, 1890-1914." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10447.
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This thesis is concerned with the siren-call that lured Australian artists abroad between 1890 and 1914, and the considerations of both identity and belonging that this travel allowed, instigated and perhaps demanded. This moment in British-Australian historiography is especially significant in covering the years that were immediately pre- and post-federation, with this timespan inevitably informing the movement of artists between Australia and Europe and their understandings of their place in the world. Those artists who ventured abroad followed a general pattern, going first to Paris to complete their studies before moving to London seeking to establish a career. They formed communities based on a common connection to Australia whilst also interacting with the broader creative community, notably through participating in clubs and societies. Such intersections proved significant in my examination of the negotiation and fashioning of identity, with Australian artists assuming various guises, for instance: professional and bohemian, spouse and painter, local and traveller. The contribution of this thesis to current literature lies in my efforts to rethink and redefine the fixedness of the identity of Australians, revealing how through living in Paris – the centre of art – and London – the heart of the Empire – artists contemplated, manipulated and invented their very selves. It was not my intention to simply compile biographical data, though I have researched the lives of the artists who will be addressed, but rather to explore the connections between them as part of a broader juncture in British-Australian history. The thesis traverses the broad thematic concerns of bohemia, communities, Empire, imagination, place, and travel, focussing ultimately on the multifaceted conception of authenticity, belonging and identity for those artists who heeded the overwhelming urge to engage with and participate in the Old World.
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Foster, Susanne. "Contemporary indigenous art reflecting the place of prison experiences in indigenous life /." Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.pdf.
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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "March 2005" Bibliography: leaves 179-190.
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Rivett, Mary I. "Yilpinji art 'love magic' : changes in representation of yilpinji 'love magic' objects in the visual arts at Yuendumu /." Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.mr624.pdf.
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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "January, 2005" Bibliography: leaves 108-112.
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Butler, Sally. "Emily Kngwarreye and the enigmatic object of discourse /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16427.pdf.
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Gerard-Austin, Anne. "The greatest voyage: Australian painters in the Paris salons, 1885-1939." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10462.
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From the 1880s, the first generation of Australian artists began to travel abroad and many chose Paris, the undisputed capital of the arts in the nineteenth century, as their final destination. With them began a long tradition to go to the French capital to complete one’s artistic training and obtain acceptance in official artistic circles there. This thesis attempts to reveal the extent of Australian artists’ engagement with Parisian artistic practices from 1885 to 1939. The argument is divided into two main sections: the first section investigates the notions of expatriatism, migration and sense of belonging among the Australian community in the French capital, while the second section explores the responses Australian artists brought to Parisian artistic institutions. The research pays particular attention to their participation in the major Paris Salons and the rare Australian solo exhibitions organised in Paris in the early twentieth century. The result underlines the predominant position of Rupert Bunny, the most successful and best-integrated into Parisian art circles during the five decades he spent in France. A crucial component of this research is a dictionary of artists active in Paris and an illustrated catalogue of their works in colour. If the predominance of the Salon system slowly attenuated during the twentieth century, the tradition prospered until the Second World War among foreign artists. The thesis is not an exhaustive account of the Australian presence in Paris and does not take in account some Australian artists such as John Power and Anne Dangar who took alternative paths in the early 1920s, the focus here is rather on the painters who exhibited at least once in the official Paris Salons.
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Burke, Janine, and mikewood@deakin edu au. "A Portrait of Albert Tucker, 1914-1960." Deakin University. School of Contemporary Arts, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.161937.
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Van, der Merwe Leana. "Sacrificial and hunted bodies : ritualistic death and violence in the work of selected South African female artists." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46213.
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This study investigates the multiple occurrence of violent sacrificial imagery
associated with animalistic and hunted bodies in the work of selected South African
female artists as an articulation of the society in which the art was created. The
theoretical framework of corporeal feminism is applied with reference to the
postulations of George Bataille (1962), René Girard (1972) as well as Deleuze and
Guattari (1984,1987), specifically with regard to the notion of becoming animal. This
study shows how such imagery is used to act as a catalyst for social change by
challenging Cartesian dualisms and forefronts certain issues applicable to women in
a society that is patriarchal and violent. A comparison is made with the art of a
selected group of Australian female artists who deal with similar themes and imagery
from more or less the same timeframe.Dissertation (MA)--University of Pretoria, 2014.
tm2015
Visual Arts
MA
Unrestricted
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McDonald, Michelle. "Selling Utopia marketing the art of the women of Utopia /." Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.
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Thesis (MA)--Macquarie University, Institute of Early Childhood.Includes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
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14
Rakhsha, Layli. "Diaspora and home: contextualizing the idea of home in Australian contemporary art as visualised by selected Iranian artists." Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/74952.
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This practice-led research project investigates the impact of displacement on the idea of home in the new place. By focusing on some Iranian migrants who practice art in Australia and analysing their selected works, this project aims to discuss how memories from the past and imaginations can influence on the idea of home in the new place, and how home can be visualised based on experiences of migration and displacement. Considering the emotional impact of displacement on the idea of home, and Iranian collaborators’ responses to the definitions of home and homeland, as well as producing artworks, this studio based research project explores home can be defined within personal experiences, social and cultural relationships and attachments to a particular place.
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Peacock, Janice, and n/a. "Inner Weavings: Cultural Appropriateness for a Torres Strait Island Woman Artist of Today." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.140720.
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This exegesis examines the context of my studio work submitted for the degree of Doctor of Visual Art at Griffith University in 2004. My art practice reflects my identity, which is complex and many-stranded, but at its core is my identity as a 21st century woman of Torres Strait Islander descent. I also acknowledge multiple heritages and, like many of my contemporaries, I am a descendant of those two thirds of the Torres Strait population who now live on the Australian mainland. Having been born and brought up on the mainland also means that I am connected to, and have been affected by, wider Australian Indigenous issues, particularly those resulting from the alienation and dislocation which stem from colonialism. Therefore, as I draw from both traditional and contemporary modes and theory to explore the appropriateness of my art practice, this exegesis centres on the question: What constitutes culturally appropriate practice for me as a contemporary Torres Strait Island woman?
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Peacock, Janice. "Inner Weavings: Cultural Appropriateness for a Torres Strait Island Woman Artist of Today." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365502.
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This exegesis examines the context of my studio work submitted for the degree of Doctor of Visual Art at Griffith University in 2004. My art practice reflects my identity, which is complex and many-stranded, but at its core is my identity as a 21st century woman of Torres Strait Islander descent. I also acknowledge multiple heritages and, like many of my contemporaries, I am a descendant of those two thirds of the Torres Strait population who now live on the Australian mainland. Having been born and brought up on the mainland also means that I am connected to, and have been affected by, wider Australian Indigenous issues, particularly those resulting from the alienation and dislocation which stem from colonialism. Therefore, as I draw from both traditional and contemporary modes and theory to explore the appropriateness of my art practice, this exegesis centres on the question: What constitutes culturally appropriate practice for me as a contemporary Torres Strait Island woman?Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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Shiel, Erin Patricia. "Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15995.
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During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. My exegesis considers these different forms and draws some links between the creative processes of the artists interviewed and the writing of poetry.
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Croft, Pamela Joy, and n/a. "ARTSongs: The Soul Beneath My Skin." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
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This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
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Croft, Pamela Joy. "ARTSongs: The Soul Beneath My Skin." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367423.
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This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
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McKay, Duncan Robert. "Drawn from artists’ lives: An empirical study of the situation and realisation of professional visual art practices in the Western Australian Field of cultural production." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/2006.
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This thesis presents the findings of empirical research on the working lives of visual artists living and working in Western Australia. No detailed studies of this kind have previously been undertaken in a Western Australian context, though a series of national, economically framed studies have surveyed Australian artists working in a variety of art forms about their working lives on five occasions since the early 1980s. Collectively the reports published from these five studies make up the most comprehensive picture of artists’ economic activity that has been available to policymakers and others involved in arts and culture in this country (Australia Council, 1983; Throsby & Hollister, 2003; Throsby & Mills, 1989; Throsby & Thompson, 1994; Throsby & Zednik, 2010). Seldom, however, has other suitable empirical data been collected from Australian artists facilitating the evaluation of the findings, methods and assumptions underlying economic research in this area. The detailed qualitative data collected for this research both augments and interrogates the findings of national quantitative studies, assessing their applicability to the particular circumstances of professional visual artists working in this state.
Artists’ working lives were examined using data in two forms: Curriculum Vitaes (CVs) of 322 Western Australian visual artists, published on commercial gallery websites; and in-depth interviews with a diverse sample of 20 Western Australian visual artists. This data has provided access to what Florian Znaniecki (1934) has called the humanistic coefficient: the understandings that social actors have of the situations within which they are acting. Without this understanding it is not possible to properly account for social activity, such as professional art practice. CVs have rarely been used as a data source for research, so this study has taken an innovative methodological approach and has demonstrated the potential for further development of these methods and this form of social data. CVs of visual artists were used to examine the Western Australian field of cultural production, and to produce a network-map of the social values and the complex relationships between artists, commercial galleries and other entities in the field.
In-depth interviews with 20 visual artists, practising in different media, at different stages of their career and earning their living in diverse ways, have provided detailed accounts of how visual artists construct their professional artistic identities and sustain their creative practice in Western Australia. Through qualitative analysis of these accounts, a new conceptual model of the labour of visual art has emerged, in which artists’ work is considered across four interrelated kinds of cultural production. 1) Artists define their practice, making it real for themselves. 2) Artists create the conditions in which they can define and maintain their practice. 3) Artists attract validation of their practice, seeking to make it real for other people. Throughout their work to establish the cultural reality of their practice, 4) artists also strive to maintain the integrity of their practice, to ensure that they continue to recognise themselves within it. The development of this conceptual model, the CV study and the rich contextual material obtained through interviews have informed the multi-dimensional understanding of the work of professional artists presented in this thesis, challenging and building upon previous research.
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Snell, Edgar William. "Close focus : interpreting Western Australia’s visual culture." Thesis, Curtin University, 2011. http://hdl.handle.net/20.500.11937/2309.
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Distance from the centres of world art and from national hubs of creative practice provides both opportunities and constraints for Western Australian visual artists. Informed but isolated, they have learned to direct the lens shaped by received ideas onto the extraordinary natural environment they inhabit. Regional perspectives influence this act of re-focusing, which is inflected by local knowledge and personal experience in a process of reinvention and re-imagination that has escalated since the Second World War.The objective of this PhD by supplication is to situate my practice as an art historian, critic and curator within the broader context of Australian visual culture and to examine how the process of assimilation, described by George Seddon as taking 'imaginative possession', has contributed to our understanding of local identity within the wider framework of a national identity.In my writing and through my activity as a curator of exhibitions over the past two decades, I have identified the importance of local conditions in generating a critical, regional practice and I have shown how imported ideas have been absorbed, modified and accommodated within the work of the State’s leading artists to create a vibrant sense of regional identity that makes a significant contribution to our understanding of a wider and more comprehensive view of cultural practice in Australia.
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Syron, Liza-Mare. "Ephemera Aboriginality, reconciliation, urban perspectives ; Artistic practice in contemporary Aboriginal theatre /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.155544/index.html.
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Clifford, Sally Margaret. "Why have you drawn a wolf so badly? : community arts in healthcare." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35893/1/35893_Clifford_1997.pdf.
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Community arts is often criticised for its tendency to be more about welfare than art. This thesis investigates this claim through the environment of a growing number of
arts projects taking place in healthcare settings. Healthcare settings inherently deal with the field of welfare. This research has recognised that many of these projects are participation-based community arts projects. I have termed these projects arts-inhealth
and they form the case studies of this research.
Arts-in-health is not art therapy. Arts-in-health is a community arts-based approach to artmaking which enables people to access art processes and skills which are not part of the treatment or diagnosis of their illness. This thesis recognises that people belong to a communal web of relationships which can often be severed when they
become ill. Because arts-in-health encourages artmaking beyond a treatment framework, it can re-connect people to their communal web. is thesis claims that for community art to have this impact it must be designed and
implemented through artistic processes and not treatment, therapeutic or clinical ones. If community art processes do become distorted by therapeutic processes, they
will become more about welfare and less about art; consequently, they contribute less to the community in which individuals live.
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Medlen, Kim Stanley. "Deliberate masquerades: socialised stigma, HIV/AIDS and altered gay male body image." Thesis, Curtin University, 2010. http://hdl.handle.net/20.500.11937/824.
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Three themes are developed in this exegesis. Firstly, it discusses the conceptual base that informs the creative outcomes of this research. This centres on homo-sexuality, disease, illness and the deliberate masquerades that are often under-taken by HIV-positive Australian homosexual males as a response to socialised stigma. Through these masquerades, they enhance the physicality of their bodies so as to conform to Western cultural perceptions of masculine and healthy body ideals and thus avoid stigma that would otherwise be placed on them. This exploration draws upon theories from sociology to discuss these physical enhancements with an emphasis on the period since the onset of HIV/AIDS in the early 1980s. Secondly, it explores the works of visual artists that comment on the HIV/AIDS pandemic prior to the mid 1990s when no effective long-term treatments were available. Thirdly, it investigates HIV/AIDS-based art produced since the mid 1990s, after long-term treatments became available, and discusses how this work contrasts with the earlier works. Also discussed are the parallels and differences between the body of work that is supported by this exegesis and these other contemporary artworks that address HIV/AIDS issues.
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Smith, Claire E. "Situating style: an ethnoarchaeological study of social and material context in an Australian aboriginal artistic system." Phd thesis, University of New England, 1994. http://hdl.handle.net/1885/266544.
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This is an ethnoarchaeological study of style in the visual arts of Aboriginal people living in the Barunga region of the Northern Territory, Australia. My main concern is the development of a practical framework for the analysis of style in indigenous visual arts. This framework integrates the notions of style, semiotics and social strategy in an attempt to deal with the dynamics of image creation and perception. The principal result is that the morphological characteristics of style are influenced systematically by the historically situated positions of both producer and interpreter and by the differing strengths, possibilities and constraints of different raw materials. Moreover, each raw material has inherent qualities that make it particularly suitable for specific social uses. Since different media within an artistic system are likely to exhibit a unique combination of stylistic characteristics, including differing degrees of diversity, it is incorrect to assume that a single art form will be indicative of an artistic system as a whole. My conclusions are that research needs to be focused clearly on the contexts in which archaeological art occurs and comparative studies need to compare like with like. Single explanations are unlikely to be sufficient since it is most likely that they tell only part of the story. In addition, seemingly anomalous evidence should not be discounted, but should be used as a basis for inquiry into the likelihood of alternative scenarios that coexist with the main explanation.
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Sherwin, Fiona Gill Harry P. "Harry Pelling Gill, a practising artist /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahms5541.pdf.
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Shelley, Roger James. "‘SELBY WARREN: AUSTRALIAN BUSH ARTIST AND TRIBE OF ONE’." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16844.
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In this thesis I have looked at the life and works of the Australian self-taught artist, Selby Warren, who was born in 1887 and spent his whole life in rural New South Wales near the small, inland city of Bathurst. Warren was typical of many self-taught artists in that he was completely untrained in art, unaware of the artworld and, having worked as a labourer, only began painting in earnest after semi-retiring at the age of seventy-six. Almost a decade later he was discovered by an art lecturer who introduced him to a city dealer and gallery owner and his work was exhibited in commercial galleries in Sydney, Melbourne and Brisbane. During this brief (three year) period he was reasonably well known in art circles but this soon ended and he spent the remaining years of his life in his home town of Trunkey Creek. He died in 1979 aged 91. Warren exemplified the experiences shared by many self-taught artists both in Australia and overseas. I consider the events involved in the growth of interest in self-taught art and the ensuing influences it (and related phenomena like primitivism and primitive art) had on approaches to modern art movements from the turn of the twentieth-century until about 1980 in Europe, America and Australia. George Melly’s idea of the ‘tribe of one’ 1 and how it relates to artists like Warren and his ilk is explored. An analysis of Warren’s paintings and those of his Australian, European and American contemporaries is provided in a response to the view that it is the sometimes unusual lives rather than the output of self-taught artists that is too often used in the discussion of a unique, but not uncommon, art form.
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Eastburn, Melanie. "The living specimen: Guan Wei: a Chinese-Australian artist." Thesis, Canberra : Australian National University, 1997. http://hdl.handle.net/1885/266282.
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Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.
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Caines, Rebecca English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Troubling spaces: The politics of ???New??? community-based guerrilla performance in Australia." Awarded by:University of New South Wales, 2008. http://handle.unsw.edu.au/1959.4/36750.
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This thesis examines the politics of twenty-first century ???guerrilla??? performance. It historicises site-specific, political performance by examining ???guerrilla??? art forms from the 1960s to the present. It argues that recent community-based, site-specific performance events can be seen as a ???new??? type of guerrilla work, as they utilise techniques which challenge public space, authorship and control without resorting to traditional guerrilla forms of didactic street protest. The author establishes two main political tactics of the community-based guerrilla artist. The first is the utilisation of a problematised definition of ???community??? and the second is an understanding of physical, conceptual and experiential ???space??? as open to intervention. Community-based performance and site-specific art practices are investigated and space and community are placed into critical theoretical frameworks using post-structural and spatiality theory. The author then argues that post-structured communities which are based on an ethics of difference can trouble and create site, conceptual space and place (site/concept/place) through contemporary guerrilla performance events. Three examples of community-based guerrilla performance in Australia are examined. The first case study explores Western Sydney based Urban Theatre Projects and their 1997 performance event TrackWork. The second focuses on community-based hip-hop artist Morganics and his facilitation of two hip-hop tracks Down River and The Block in 2001. The third considers US theatre director Peter Sellars??? problematic curation of the 2002 Adelaide Festival of the Arts. In all three case studies, guerrilla artists are shown working with post-structured communities to challenge and trouble site/concept/place in order to improve the lives of their participants and audiences. This thesis proposes new post-structural frameworks for the powerful presence of community and site in performance events, thus contributing to performance and cultural studies and to the emerging field of community-based performance scholarship.
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Whitehand, Dawn. "Evoking the sacred : the artist as shaman." Thesis, University of Ballarat, 2009. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/64909.
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This thesis examines, via a feminist theoretical framework, the systems in existence that permit the ongoing exploitation of the environment; and the appropriateness of ceramics as a medium to reinvigorate dormant insights. I argue that the organic nuances expressed through clay; the earthy, phenomenological and historic ritual connotations of clay; and the tactile textured surfaces and undulating form, allows ceramics to conjure responses within the viewer that reinvigorates a sense of embedment in the Earth.Doctor of Philosophy
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Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
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Cette thèse explore l’influence artistique et culturelle de la Grande-Bretagne en Australie, ou les caractéristiques britanniques de l’identité australienne, depuis les années suivant la fin de la Première Guerre Mondiale jusqu’à 1941. La culture australienne de cette période a souvent été décrite comme isolée, voire même « en quarantaine », caractérisée par son acceptation tardive du modernisme. Bien qu’à cette époque la Grande-Bretagne accorde davantage d’indépendance et d’autonomie à ses dominions, l’Australie cherche à maintenir des liens culturels et impériaux en s’identifiant exclusivement à la Grande-Bretagne. Ainsi, pendant cette période, la majorité des Australiens considèrent toujours l’Angleterre comme mère patrie et Londres attire de nombreux artistes australiens expatriés. Pour reprendre les termes de Daniel Thomas, historien de l’art australien, l’Australie développe une identité culturelle dite « bi-hémisphérique Anglo-australienne », imprégnée de nationalisme, de conservatisme et de valeurs patriarcales. Cette thèse examine les échanges artistiques entre l’Australie et la Grande-Bretagne pendant les années 1920 et 1930 et met en lumière les complexités de l’identification culturelle. Elle considère tout particulièrement le fait que l’historiographie nationaliste de l’art australien a passé sous silence le rôle joué par les femmes dans la construction de l’identité nationale et dans la définition d’un art australien. A travers l’analyse des collections nationales d’art britannique et les mécanismes de circulation de l’art moderne britannique en Australie, cette thèse met en avant la dualité de l’identité culturelle australienne et la marginalisation des femmes, non seulement en tant qu’artistes mais aussi en tant que défenseuses culturelles. En mettant l’accent sur l’expérience d’expatriés australiens en Angleterre et comment ceux-ci cherchent à s’intégrer à la scène artistique britannique, cette thèse rend compte de l’importance de l’expatriation en tant que concept contribuant aux historiographies de l’art en Grande-Bretagne et en Australie. Enfin, cette thèse conceptualise le travail de deux Australiennes expatriées, Edith May Fry et Clarice Zander, qui, en tant qu’organisatrices d’expositions, ont considérablement contribué à la dissémination du modernisme en Australie et à la définition de l’identité culturelle australienne pendant l’entre-deux-guerres. L’enjeu de cette thèse est de démontrer les mécanismes qui ont permis à l’Australie de représenter sa propre identité à travers l’art tout en continuant à s’identifier à la Grande-BretagneThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
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Waddell, Simone. "Communicating artistry through gesture by legendary Australian jazz singer Kerrie Biddell." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18635.
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Singers communicate with audiences using a sophisticated blend of vocal, musical and physical gestures. While gestures appear naturalistic and spontaneous, they are the culmination of extensive preparation, reflection and rehearsal. The late Kerrie Biddell, (1947-2014) was arguably the most influential jazz singer in Australian Jazz history (Carriage 2000) and an expert in communication with her audiences. The aim of the study was to explore how Biddell designed and transmitted vocal, musical and physical gestures in performance and how she transmitted these to her colleagues and students. Five of Biddell’s former singing students and professional musical colleagues were invited to participate in an interview to explore the way in which Biddell utilised gestures and techniques to maximise her performance presentation. Each participant recounted their personal knowledge and history of working with Biddell, and analysed a video of Biddell performing live on Australian television to document how she effortlessly translated gestures into captivating performance. Participants reflected on their experience working with Biddell, and described how she was renowned for her stage presence, physical gestures, and facial animation. All described the way in which Biddell would create a scenario to depict the text of the song, and prepare a character to ensure her gestures were authentic and genuine to her audiences. Findings will be considered in the context of recent studies in performance and non-verbal communication. Future work on gesture must consider the work of leading performer/teachers and discover how they conceptualise and communicate gesture to audiences.
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Hands, Karen Ruth. "A Space Of Possibles: Artistic Directors and Leadership in Australian Theatre." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366162.
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This research investigates the agency of artistic directors of subsidised major Australian theatre organisations in the post Major Performing Arts Inquiry (1999) sector. The research was conducted in response to a new generation of artistic directors commencing leadership of the major theatre companies from 2008. This new era of leadership was expected to revitalise the sector, however it remained in a perceived state of artistic and financial crisis. This thesis considers the role of the artistic director as an artistic leader of the field, and examines how the agency of this position came to be shaped by arts policy, economic and artistic forces. I argue that historical arts policies and the recommendations of MPAI altered the structures of the sector. Furthermore, while the changes these policies introduced reorganised the structure of the sector and administration of the companies, they also restricted the transformative agency of its artistic leaders to advance the artistic and economic performance of their organisations.
This research uses a qualitative case study methodology. The data was collected through interviews with artistic and administrative leaders in the field, document and archival analysis and observation. The data is analysed within a theoretical framework inspired by French sociologist Pierre Bourdieu’s space of possibles, a conceptual device put forward in “The field of cultural production” (1983, p.313). Three chapters present the research. The first, a case study, examines episodes of artistic leadership at Sydney Theatre Company (STC) between 1980 and 2014. The second chapter also presents a case study that examines the career path of Aubrey Mellor and his leadership as the final artistic director of Playbox Theatre Company (Melbourne) between 1993 and 2004. The third chapter discusses the length of artistic director’s tenure as a significant constraint in the sector, with the time spent in the position revealing the effects of several artistic, economic and personal forces. The findings of the research indicate that the agency of an artistic director is predetermined through the organisation’s position in the field, established through the agendas of arts policy. Additionally, the agency of an artistic director is also profoundly influenced by the dynamic of the transition between generations of artistic leaders and the career trajectory of the individual artistic leader. These conclusions suggest the agency of artistic directors at major theatre companies is shaped through sector-wide and personal forces. Their capacity for transformative agency is limited.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Morrow, Guy Richard. "Managerial creativity a study of artist management practices in the Australian popular music industry /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/42648.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006.Bibliography: p. 377-385.
Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity.
Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity. Artist managers build and maintain 'brands', and this is a creative industry function. The thesis begins with a description of what artist management is, then it reviews the way in which various Australian musicians' and artist managers' careers are created and maintained. A musical idea or product arises from the synergy of many sources and not only from the mind of a single person (Csikszentmihalyi, 1996). Therefore it is easier to enhance creativity by changing conditions in the environment the artist is located in than by trying to make artists think more creatively. Managerial creativity involves the creation and maintenance of the system, context or environment from which artistic creativity emerges and is therefore the facet of the music industry that can most effectively enhance musical creativity.
Mode of access: World Wide Web.
ix, 390 p., ill
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McLeish, Amelia. "Artist-run initiatives and community: A practice-led examination of how artist-based communities are formed and understood in contemporary Australian art." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/234043/1/Amelia_McLeish_Thesis.pdf.
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This practice-led project examines how Artist-Run Initiatives (ARIs) are situated within the context of localised visual arts ecologies. Interviews, data regarding arts funding, and studio experiments are combined to arrive at the projects findings: that ARIs offer the arts sector a community that invigorates and develops its own artistic practice, while also making meaningful connections between practices that become integral to the visual arts by facilitating emerging and experimental art. The project affirms that the collection, display and preservation of ephemera is an essential task that documents an aspect of the arts which is often overlooked.
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Thomson, Jonathan Wyville. "From aestheticism to the modern movement: Whistler, the artists Colony of St. lves and Australia, 1884-1910." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B29293479.
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Wellman, Jessica-Anne. "Drama, education, artistry: Australian practitioners fostering connections across cultures and disciplines in China." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2546.
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This study examines the experience of Australian drama educators working as professional development facilitators in China between 2017-2019. Limited literature exists that highlights the perspectives of professional development facilitators in this field. This thesis highlights the impact of engaging in this role on the practice of drama educators. Using an autoethnographic approach, data were collected from five individuals through semi-structured interviews. Interpretative Phenomenological Analysis (Smith, 2004) highlighted that the participants' experiences acted as critical moments that led to positive personal and professional outcomes. Three key supporting factors for positive outcomes were identified: 1) critically reflective practice; 2) knowledge and experience in theatre practices and drama pedagogies; and 3) collaborative approaches to delivering professional development.
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McCarron, Robyn Janelle. "Performing arts and regional communities : the case of Bunbury, Western Australia /." Access via Murdoch University Digital Theses Project, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.
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Master of Visual ArtsThe Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1098.
Full textAbstract:
The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Rimmer, Matthew. "The Pirate Bazaar: The Social Life of Copyright Law." Thesis, The Faculty of Law, The University of New South Wales, 2001. https://eprints.qut.edu.au/86581/1/fulltext.pdf.
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This thesis provides a cultural history of Australian copyright law and related artistic controversies. It examines a number of disputes over authorship, collaboration, and appropriation across a variety of cultural fields. It considers legal controversies over the plagiarism of texts, the defacing of paintings, the sampling of musical works, the ownership of plays, the co-operation between film-makers, the sharing of MP3 files on the Internet, and the appropriation of Indigenous culture. Such narratives and stories relate to a broad range of works and subject matter that are protected by copyright law.
This study offers an archive of oral histories and narratives of artistic creators about copyright law. It is founded upon interviews with creative artists and activists who have been involved in copyright litigation and policy disputes. This dialogical research provides an insight into the material and social effects of copyright law.
This thesis concludes that copyright law is not just a ‘creature of statute’, but it is also a social and imaginative construct. In the lived experience of the law, questions of aesthetics and ethics are extremely important. Industry agreements are quite influential. Contracts play an important part in the operation of copyright law. The media profile of personalities involved in litigation and policy debates is pertinent. This thesis claims that copyright law can be explained by a mix of social factors such as ethical standards, legal regulations, market forces, and computer code. It can also be understood in terms of the personal stories and narratives that people tell about litigation and copyright law reform.
Table of Contents
Prologue 1
Introduction A Creature of Statute: Copyright Law and Legal Formalism 6
Chapter One The Demidenko Affair: Copyright Law and Literary Works 33
Chapter Two Daubism: Copyright Law and Artistic Works 67
Chapter Three The ABCs of Anarchism: Copyright Law and Musical Works 105
Chapter Four Heretic: Copyright Law and Dramatic Works 146
Chapter Five Shine: Copyright Law and Film 186
Chapter Six Napster: Infinite Digital Jukebox or Pirate Bazaar? Copyright Law and Digital Works 232
Chapter Seven Bangarra Dance Theatre: Copyright Law and Indigenous Culture 275
Chapter Eight The Cathedral and the Bazaar: The Future of Copyright Law 319
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Henbest, Caroline. "From Nowhere to Now Here: A Journey from Performer to Collaborative Artist." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/413696.
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This research project involved the creation of a collaborative composition titled From Nowhere to Now Here. It was first performed at Tempo Rubato in Brunswick, Melbourne on 18 April 2021. This supporting exegesis examines the creative process, which involved myself as violist working closely with seven selected collaborators – six musicians and a movement theatre artist – as we created a series of musical duos.
The compositional process involved the participants exploring how to create a work of chamber music – in this case a cycle of 14 duos, plus an improvised Prelude and Postlude – using a collection of creative stimuli, which included images, words and musical phrases as the basis of our inspiration. The collaborations involved many unconventional ways to creatively interact. I set out to incorporate the musical personality of each collaborator together with my own. As such, the composition goes beyond a conventional score both in its notation and its nature.
We developed the collaborative composition through a series of workshops, primarily using the video-conferencing platform Zoom (Yuan, 2011) (as a result of the participants being unable to meet in person due to the COVID-19 pandemic). In light of this unexpected format, improvisation proved to be a crucial in the compositional process. In addition, a number of the duos were improvised in performance. Others contained minor elements of improvisation from one or other of the players. The scores vary in presentation, some are traditionally notated and some are graphic.
In performance, the pieces were interspersed with eight poems, composed and read by the participants. Each poem was accompanied by movement theatre. Behind the musicians, and visible to the audience, one of the performers created another work of art and movement theatre by wrapping a pin board in coloured yarn in the shape of a bicycle. My research was principally related to the musical composition and, as such, in this exegesis, I have concentrated on its creation.
As research through practice, my exegesis, along with the accompanying video of the performance, as well as tables and scores, demonstrates how our work came into being, examining the process from conception to performance from the perspective of the performer/composer. Using qualitative research methods, I have explored autoethnographically how I developed the work. Through self-reflection, description and analysis, the compositional processes have been explored. Using the methods of ethnography and video ethnography I have chronicled how my collaborators reacted, responded and operated, as we played with ideas, rehearsed and performed.
During the course of this project, all participants endured a succession of state lockdowns due to the COVID-19 pandemic, these were often lengthy periods of time when we were only able to communicate in an online format. As such, the creation and performance of the work, against all odds, is a testament to the resilience of this particular group of Australian creative artists.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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Le, Roux Géraldine. "Création, réception et circulation internationale des arts aborigènes contemporains : ethnographie impliquée et multi-située avec des artistes de la côte est de l'Australie." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0431.
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La thèse examine les formes d’interaction développées par des artistes aborigènes de la côte est de l’Australie avec des marchands d’art et des commissaires d’exposition. A partir d’observations ethnographiques menées entre 2003 et 2008 auprès de Boomalli, une coopérative aborigène fondée en 1987 à Sydney, du Lockhart River Art Gang, un groupe de peintres du Cap York constitué en 1996 et de proppaNOW, un collectif aborigène institué à Brisbane en 2004 , j’ai observé la manière dont leurs œuvres sont représentées dans les expositions et la réaction critique des artistes à cette représentation. Je fais l’hypothèse que le soutien institutionnel et le développement d’une industrie de l’art ont entraîné une agentivité spécifique et des réponses créative de la part de certains artistes résidant en ville. A partir d’une analyse systématique des expositions organisées en France depuis 1979, j’examine la place qu’occupent les marchands d’art et les membres associatifs dans la circulation des œuvres en France et réalise une analyse détaillée de la réception de l’art aborigène. L’analyse ethnographique de mon rôle de commissaire d’exposition indépendante offre une intéressante perspective sur une figure majeure du monde de l’art contemporain, un intermédiaire encore peu étudié en sciences sociales. Mon positionnement multi-sites (géographique) et multi-situé (domaine d’activité) me permet de retracer un vaste ensemble de rapports de concurrences et d’alliances entourant les différentes étapes de valorisation culturelle et économique de l’art aborigène, de sa production locale et à sa réception internationaleThis thesis examines the forms of interaction that Aboriginal artists from the east-coast of Australia have with art dealers and curators. This study stems from ethnographic observations made between 2003 and 2008 and undertaken among artists from Boomalli – an Aboriginal cooperative which was founded in 1987 in Sydney -, painters from Lockhart River Art Gang created in 1996 and founding members of proppaNOW – another Aboriginal collective established in Brisbane in 2004. This thesis examines the criticisms expressed and the explanations given by urban artists in commenting upon their representation in national and international art exhibitions. I postulate that the development of an art industry brings an agency specific to certain urban-based artists. Through a systematic analysis of exhibitions organised in France since 1979, I examine the role of art dealers and members of organisations and civil society in the circulation of these artworks in France and I carry out a detailed analysis of the reception of Aboriginal artwork. The Ethnographic analysis of my role as an independent curator provides an interesting perspective on a major figure of the contemporary art world, an intermediary who still remains underexplored in the social sciences. My own positioning, which is multi-sited (in terms of geography) and multi-situated (in terms of areas of activity), enables me to reconstitute a large composite of competitive and collaborative relations which surround the different stages of cultural and economic promotion and development of Aboriginal art, from its local production to its international reception
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Crawford, Terence Michael. "Real Human in this Fantastical World: Political, Artistic and Fictive Concerns of Actors in Rehearsal: An Ethnography." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13803.
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This study adopts an ethnographic and—in part—autoethnographic stance in the observation of professional rehearsal rooms, with a view to identifying the division of interests and responsibilities of actors working in mainstream Australian theatre. From a position of intense professional locatedness as an actor and acting teacher, I examine and interpret rehearsal practices utilising an ethnographic rubric that embraces the legacies of Pierre Bourdieu, Clifford Geertz, and Michael Jackson, and through the lens of my own experience. The study pursues a centripetal action, beginning with a focus on industrial and social realities, toward an identification of distinctions between artistic and fictive concerns, and so identifies three notional compasses: symbolic spaces that actors occupy in their journeys through professional engagements. These are: the political compass, representing industrial and social restrictions and liberations; the artistic compass, lying within the political, enormously divergent, and determined by the nature of the text under pursuit, and the influence of the director; the fictive compass, lying wholly within the artistic, which is found to be of a consistency and reliability that belies its prominence in the canonical literature on the craft of acting, particularly in the Stanislavskian tradition. That is to say, these actors in rehearsal are found to concern themselves most consistently and reliably with artistic challenges, as distinct from fictive challenges, and in the constant light of their industrial and social circumstances. Along this centripetal path, notions of acquiescence, compliance, agency, mystery, roguery, epistemology, democracy, friendship, loneliness, and phenomenology are encountered and examined in the context of actors’ weird working lives. Finally, claims are made for actors as artists, and these claims are held to the light of prevailing industrial structures that, perhaps, neither admit nor utilise the actor as artist.
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Topliss, Helen. "Australian female artists and modernism, 1900-1940." Phd thesis, 1992. http://hdl.handle.net/1885/133859.
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The thesis provides a revaluation of the art of Australian women artists in the
period 1900-1940. In the first instance, this study attempts to answer the
question posed by a number of male historians: "Why were there so many
succesful Australian women artists in the period between the two world wars?"
My answer has involved the analysis of three major phenomena:
1. The women's emancipation movement which enfranchised women and
gave them the key to education and subsequently to the professions.
2. The women artists of the early twentieth century were the direct benefactors
of the women's movement, the confidence that the new woman acquired
enabled her to continue her studies abroad for the first time in significant
numbers.
3. Women artists became identified with modernism and also for their
contribution to the arts and crafts movement. Critics have noted that there was
a large proportion of women artists involved with various aspects of the
modernist movement. The question has not been examined before in
Australian art because there has not been any enquiry into their collective
artistic genealogies, nor has the interconnectedness of much of their art been
noticed before. When this is analysed, it becomes clear that women had a
special affinity with aspects of modernism because of their gendered artistic
education in the nineteenth century which rendered them particularly sensitive
to some aspects of modernism. This is clear in most of the case studies of the
women artists whose careers I examine here.
My study has been conducted from the point of view established by certain
feminist critics and art historians whose theories have provided an important
perspective on the art of this period. This perspective is a necessary one, it
hinges on the concepr of "difference" in women's artistic expression. This
theory of "difference" also provides a parallel to the sociological study of women's liberation at the beginning of this century (the data for which IS
provided in the Appendices at the end of the thesis). The theory of "difference"
can be seen to link up with an analysis of gendered art education and thus
facilitates an understanding of why it was that so many women readily
pursued the criteria for modernist art.
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Tonkin, Steven James. "Conceptual art and artists' books : an Australian perspective." Phd thesis, 2010. http://hdl.handle.net/1885/10041.
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It will be argued in this thesis that Australian conceptual and post-object artists' books established the field of Australian artists' books. From an Australian perspective, this thesis will investigate the international field of practice as it formed within global conceptualism through the period 1963 to 1983. This thesis will specifically examine the conceptual publications produced by expatriate Australian artists from the late 1960s onwards, and the artists' books produced by locally-based Australian post-object artists through the 1970s. This thesis will conclude by demonstrating how by the early 1980s, these conceptual and
post-object artists' books produced during the previous two decades had set the material and discursive foundations for the field of Australian artists' books.
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Reuter, Emily. "Terra Incognita: the sublime, the uncanny and nostalgia in painting the landscape Australian." Thesis, 2009. http://hdl.handle.net/1959.13/805548.
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Masters Research - Master of Fine ArtThis paper is written in four parts: Melancholy and the Colonial in Australia, the Sublime with Aspects of the Picturesque, the Strange - Freud's Unheimlich, the Uncanny, and a journal on the author's travel through Central Australia. The above is explored and shown how they continue to shape Australian identity, the author's painting practices and that of other Australian artists.
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Bowdler, Cath. "Peintpeintbat : four artists from Roper Way." Phd thesis, 2008. http://hdl.handle.net/1885/151044.
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