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Dissertations / Theses on the topic 'Devotional objects in art'
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Tycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.
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While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.
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Rask, Katherine. "Greek Devotional Images: Iconography and Interpretation in the Religious Arts." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338473387.
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Booth, Constance Hale. "DEVOTIONAL ART, MEDITATION, AND SENSORY EXPERIENCE: HOW GERMAN NUNS GAINED SPIRITUAL AUTHORITY BETWEEN 1300 AND 1500." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/537927.
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Art HistoryM.A.
In the late Middle Ages, nuns in southern Germany and the Rhineland were strictly enclosed behind their convent’s walls, and they had been stripped of their clerical powers as a result of papal reforms. However, life in such cloistered environments allowed nuns’ affective piety to evolve and flourish in new ways, for example, via the use of devotional images. This paper examines the devotional imagery created and used by nuns in these regions, and how such imagery aided them in developing spiritual authority, as a way of overcoming not only their loss of clerical authority, but also perceived weaknesses and inferiority ascribed to female bodies, minds, and morals by contemporary male theorists and theologians. This study concentrates on a small subset of images – those of the suffering and wounded body of Christ. These include the profusely bleeding and suffering Christ on the Cross, and images that are related to his side wound and the pierced Sacred Heart. Of particular interest is how these nuns used images to stimulate their meditation and imaginative visions, for which women had a propensity in their piety. It was this personal engagement with the images that invoked an intensely gendered and inherently sympathetic relationship with Christ, and also provoked their bodily senses, which thus allowed for a deeper and more salvific experience that put them on a direct path to uniting with God. The results of this study indicate that, due to a confluence of these and other factors, nuns were able to acquire an authority of their own via their ability to establish a close connection with the divine through their gendered alignment with the humanity, flesh and blood of Christ, and through the unique and personal piety they developed. These instances of intimate union with the divine did not go unnoticed by members of the male clergy, who by their gendered nature, were more resistant to imaginative and visionary experiences. Some even saw the heightened and emotional experiences of the nuns as superior to, and more immersive than, their own devotion, thus giving these women a degree of spiritual authority over their male colleagues. Moreover, some religious men were not only aware of this, but also encouraged women in their imaginary and spiritual visions, and sought to learn from them.
Temple University--Theses
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Cornish-Dale, Charles. "Migrations of the holy : the devotional culture of Wimborne Minster, c.1400-1640." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:25e1a5d0-d168-4ddc-8902-ec849b5e125d.
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This thesis is a study of the religious culture of the market-town parish of Wimborne Minster, Dorset, from c.1403-1640. Broadly, it is a contribution to the history of the English Reformation (or Reformations, as the historian pleases; capital 'R' or lower-case). Religious change is the most significant focus, but over a longer period of time than is usually allowed for. Such themes as lay control, tithe controversies, relations with the ordinary, and popular support for preaching and church music are considered, as well as theological issues about the nature of English and European Protestantism. The thesis includes quantitative evidence drawn from the parish churchwardens' accounts and also wills. The date range was chosen for a number of reasons. First, because the available evidence for the parish is unusually rich, and allows for a kind of sustained attention that cannot be directed towards other such parishes: Wimborne has among the earliest and most complete surviving churchwardens' accounts in England (beginning in 1403), as well as myriad other sources, including hundreds of wills, and corporation and church-court records. Secondly, as a means of pursuing Alexandra Walsham's 'migrations of the holy' agenda. Walsham believes that investigation of religious change in the late medieval and early modern periods is hindered by those very periodisations, which are in fact products of the changes in question; how, then, to study religious change without presupposing too much? To that end, the structure of this thesis is both chronological and thematic; and an attempt has been made to preserve what was unique and so important about the changes of the mid-sixteenth century, during the reigns of Henry VIII and his progeny, at the same time as revealing deeper structural changes - and continuities too. The broad division of the thesis is into two parts. This first three chapters, part one, establish the early religious scene in the parish, examining the legacy of the Minster's place as a mother church in the Anglo-Saxon landscape of east Dorset, and how parish identity and forms of self-organisation were put to the test during the reigns of Henry VIII and his son, Edward VI. In part two, the focus is the interaction between the parishioners and the parish's new governing structure, a closed corporation of 12 lay worthies; in particular, the governors' attempts to provide regular preaching of the most sophisticated kind, as well as elaborate polyphonic music, and disputes arising from their management of the tithes and the divisive behaviour of one preacher in particular.
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Snyder, Cara L. "The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.
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Thesis (M.A.)--West Virginia University, 2001.Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).
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Forys, Jessica. "Objects of affection." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5751.
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Thesis (M.F.A)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 2, 2008) Includes bibliographical references.
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Sullivan, Ceri. "Rhetoric in recusant writing, published 1580-1603." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:6c33a077-8c94-4652-b5b6-f4be928afbba.
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Catholic writers traditionally approach the laity through the sacraments rather than the Word. Nonetheless, three devotional genres - meditation, hagiography and catechism - recognize that effective written appeals to a reader can be made using rhetoric. This thesis analyses such rhetoric, in recusant devotional texts published by secret presses between 1580 and 1603. Most detailed examinations of Catholic works think of rhetoric as emasculating the virile yet chaste prose of a 'shining band of martyrs'. This thesis proposes that the rules of rhetoric are used to empower the reader of these works by Grafting a new character in him. Meditations act as deliberative orations, swaying the reader's will. They use amplificatio and memoria to produce matter and to dwell on it. Late sixteenth-century translations of continental meditation manuals by Granada, Scupoli, Estella and Loarte provide a theory of meditation for the English works studied: rosary texts by John Bucke, Thomas Worthington and Henry Garnet; several anonymous collections of meditations and prayers; contemplations on Scriptural stories by Robert Southwell, I.C., C.N. and Robert Chambers. In the second section, saints' lives are read as rhetorical examples which support this deliberative discourse, rather than as blazons, innocent of intent on the reader. Hagiographies by Worthington, Robert Persons, William Alien and Thorns Alfield reflect images of what a martyr or saint should do, not what he did. The last chapters show how catechisms recreate these idealized images in the reader by acting as dramatic scripts for him. Repetition through rhetoric dissolves the element of theatre, allowing the reader to absorb these rules for life. Once again, Elizabethan translations of foreign catechisms by Granada, Bellarmine and Canisius are used to illuminate English catechisms by Persons, Southwell and Lawrence Vaux.
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Neurohr, Theresa. "The seismic vulnerability of art objects /." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99782.
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Throughout history, objects of art have been damaged and sometimes destroyed in earthquakes. Even though the importance of providing seismically adequate design for nonstructural components has received attention over the past decade, art objects in museums, either on display or in storage, require further research. The research reported in this study was undertaken to investigate the seismic vulnerability of art objects. Data for this research was gathered from three museums in Montreal.The seismic behaviour of three unrestrained display cases, storage shelves, and a 6m long dinosaur skeleton model structure was investigated according to the seismic hazard for Montreal and representative museum floor motions were simulated for that purpose. Particular attention was paid to the support conditions, the effects of modified floor surface conditions, the sliding and rocking response of unrestrained display cases, the location (floor elevation) of the display case and/or storage shelves, art object mass, and the dynamic properties of the display cases/storage shelves. The seismic vulnerability of art objects was evaluated based on the seismic response of the display cases/storage shelves at the level of art object display. The display cases were investigated experimentally using shake table testing. Computer analyses were used to simulate the seismic behaviour of storage shelves, and the seismic sensitivity of the dinosaur structure was determined via free vibration acceleration measurements. The floor contact conditions and floor elevation had a crucial effect on the unrestrained display cases, causing them to slide or rock vigorously. The distribution of content mass had a large impact on the response of the shelving system. As a result of experimental and analytical analyses, recommendations and/or simple mitigation techniques are provided to reduce the seismic vulnerability of objects of art.
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Kolisnyk, Oleksandra, Svitlana Pashukova, Iryna Prykhodko, and Polina Chernova. "Modern songbooks: art objects of design." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18089.
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This paper classifies songbooks as a separate type of printed matter, an art-object of art and design. The relevance of their development for the design and music industries is determined. The peculiarities of modern songbooks will be revealed, taking into account their creative novelty and successful commercial distribution.У даній роботі класифіковано пісенники, як окремий вид друкованої продукції, арт-об’єкт мистецтва та дизайну. Визначено актуальність їх розробки для дизайнерської та музичної індустрій. Виявлено особливості створення сучасних пісенників з урахуванням їх творчої новизни та успішного комерційного поширення.
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Wagstaff, Brooke Elizabeth. "Material objects of paint." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10197.
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The research paper ‘Material Objects of Paint’ is an extension or review of past endeavours by others to establish a credible argument that paint is capable of being adopted and used beyond conventional means in the creation of a broader range of works in the arena of visual art. The research covers the areas of the visual, theoretical and practical work directed at two objectives: The first objective is to study and report on the work of modernist and contemporary artists, writers and commentators. The second objective is to develop my potential to contribute to a greater knowledge and practical ability to extend the recognition of paint as a tool and vehicle in the area of Visual Arts.
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Penders, Jacobus Sybrandus Johannes Hendrikus. "The practical art of moving physical objects." Maastricht : Maastricht : Universiteit Maastricht ; University Library, Maastricht University [Host], 1999. http://arno.unimaas.nl/show.cgi?fid=7526.
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Gallin, Pauli. "Mamluk Art Objects in Their Architectural Context." Thesis, Boston College, 2017. http://hdl.handle.net/2345/bc-ir:107566.
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Thesis advisor: Sheila S. BlairThe field of Mamluk art and architectural history is well developed but there has been a tendency to discuss objects apart from their architectural contexts. My research seeks to explore the relationship between Mamluk objects, furnishings, and fittings attached to particular foundations in Cairo, The aim of this study is to examine the dialogue between design elements in different media and explore their aesthetic and functional relationship to their surroundings. This will give insight into how designs are transferred across media, and how architecture acted as a meeting place for a variety of artistic disciplines. The study will also investigate the merits and limitations of such an approach, and the effects the removal of Mamluk objects from their context has on our perception of them
Thesis (MA) — Boston College, 2017
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Middle Eastern Studies
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Schrader, Sally. "The search: art, life and found objects." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322067629.
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Schanding, Desireé Rose. "The ephemeral form and objects of inspection /." Online version of thesis, 2008. http://hdl.handle.net/1850/10828.
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Keller, Kourtney. "Lumensecity: Objects Illuminated in Time." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1206.
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This thesis explores the evolution of my work in graduate school. Upon entering into this course of study my artistic expression was polarized into realms of 2 and 3-Dimensional tactile works and experiments in 4-Dimensions (time) in the form of animations and short films. The content and context of these works have interwoven but their presentations remained polarized. In my masterʼs studies I have attempted to synergize the mediums of my artworks in order to achieve more realized and formal presentations. Following this course, I hope for my work to further evolve.
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Gracia, Dominique. "Encounters with art-objects in discourse network 1890." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/27787.
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What can the study of Victorian literature gain from approaching primary texts explicitly as processing, storing, and transmitting data? I suggest that, by applying tools and methodologies from German media history that are usually reserved for technical and digital media, we can illuminate how individual texts operate and better understand Victorian texts as media, which remains an underdeveloped aspect of materialist literary study. In analysing how Victorian texts depict encounters with traditional plastic art-objects, I develop new applications of Friedrich Kittler’s ideas of recursion and transposition, Hans Ulrich Gumbrecht’s method of reading for Stimmung, and the theory of cultural techniques (Kulturtechniken). I also propose new concepts to further our understanding of how encounters with art-objects function, such as the observer effect: the simultaneous perception of past and future meanings of an art-object. Close readings of Michael Field’s Sight and Song and Dante Gabriel Rossetti’s Ballads and Sonnets suggest that both volumes acknowledge encounter as a cultural technique, rather than a spontaneous, independent action by the subject. Yet they propose different roles for themselves within that technique. Michael Field’s poems purport to halt the process of recursion, but Rossetti’s demand that readers experience their own observer effects. Meanwhile, Vernon Lee’s Hauntings: Fantastic Stories and Oscar Wilde’s The Picture of Dorian Gray demonstrate the agency of art-objects vis-à-vis the cultural technique of encounter. Lee’s stories reveal the threat to an individual subject’s production of future meanings that art-objects pose, in particular through their effects of presence. In Dorian Gray, the art-object’s own data processing circumscribes the subject’s observer effect. Each text thus evidences its operations as a medium and its complicated relationships with other media in the form of art-objects. Each processes data; recurs to art-objects, tropes, or themes and transmits future meanings thereof; and participates in the cultural technique of encounter. In so doing, these texts resisted the threats of marginalisation that faced ‘old media’ from the rise of photography and the incipient development of film at the fin de siècle.
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Wear, Eric Otto. "Patterns in the collecting and connoisseurship of Chinese art in Hong Kong and Taiwan." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21734653.
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Muir, Autumn M. "The Psalter Mappaemundi: Medieval Maps Enabling Ascension of the Soul within Christian Devotional Practices." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300733958.
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Stonestreet, Tracy. "Toward Liveness: The Polytemporality of Performance Objects." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/6084.
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In this dissertation, I examine the temporal and material connections between component parts of hybrid artworks, specifically between live events / acts of performance and the long-lasting sculptural elements that those events / performances produce. I propose a re-orientation of the temporal gaze of performance art history, from one oriented to the past to one focused on the continually unfolding present. Such a re-orientation requires a nonlinear approach to art making that complicates set boundaries of past and present, liveness and record, and presence and absence, and disrupts in potentially corrective ways our historically normative systems of looking, categorizing, and archiving art. Through a transfeminist analysis that prioritizes multiplicity rather than categorization, I consider elements of liveness in relation to subjectivity and agency, paying attention to their effect on the works’ ongoing reception and classification in archiving systems. I examine three elements of liveness as maintained through indexicality: action, endurance, and presence. Each of these elements has been historically associated with live art but not with static objects; each has been considered only in the past tense after the initial performance has ended. Using definitions of indexicality, nonlinearity, and agency as starting points, I examine how performance-based artworks connect the performance and subjectivity of the artist across time. This project loosely takes the form of three case studies of hybrid art practices by contemporary artists: Kate Gilmore, Mary Coble, and Cassils.
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Hall, Stephanie Ann. "A Reexamination of Authenticity in Objects and Experiences." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338931103.
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Katz, Sharon. "Animated Video Projection on Objects – a Studio Art Practice." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31543.
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This thesis support paper is the trajectory of my search to uncover what constitutes an aesthetic for my current practice and to unpack what I think the work is about. In this paper I trace the development of my process, identify primary aesthetic preferences, elucidate inspirations, and finally present several interpretations of the work.
I came into the MFA program with the intention of moving my practice in animation to an art form that was non-linear and free of a flat projection screen and story arc. Working with materials is important to me and I also wanted to find a way to integrate time-based media with material art forms.
What I discovered early in the MFA program is that making this shift in my practice involved understanding how object art generates meaning differently than the animated film does.
In the Thesis Exhibition I take ordinary household objects, disrupt them so they are unfamiliar then project animated video of other ordinary objects made strange onto them. The illogical objects and their juxtaposition generates a tension – a cognitive stretching – that gives rise to various readings of the work.
Perceptually engaged, I am immersed in a cognitive puzzle trying to make sense of the paradoxes I am experiencing and bring them to a resolution. It continues to astound me to what degree the household objects that I make strange can generate sensation, feeling, and meaning through the amalgam of their motion, gesture, and form, through the way in which they are situated in space and the way in which they relate to one another.
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Vo, Khanh Van Ngoc. "Uncanny Objects: The Art of Moving and Looking Human." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1477068487.
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Automata ("self-moving" machines) and reborn dolls (hyperrealistic baby dolls) individually conjure up questions of dynamic and aesthetic realism--external components of the human form as realistically represented or reproduced. as simulacra of humans in movement and appearance, they serve as sites of the uncanny exemplifying the idea in which as varying forms of the cyborg imbue them with troubling yet fantastical qualities that raises questions about our own humanness. My first essay, “Automaton: Movement and Artificial/Mechanical Life” directly addresses the characteristics that define humanness, principally the Rene Descartes mind-body dichotomy, by tracing the evolution of mechanical life, predicated as much on movement as consciousness, via the construction of automata. “Dis/Playing with Dolls: Stigmatization and the Performance of Reborn Dolls” takes the discussion a step further and examines people’s reactions when objects that look human are treated like human. I compare observable behaviors of dolls owners via social mediums like videos posted on YouTube, message boards, blogs, and news sources with responses by observers of this type of doll play, and superimposing a theory of play over this interaction. Whether or not automata and reborn dolls are socially accepted as signifiers of humanness, they already exist within our social space and reality. It is the recognition and acknowledgement of their presences in our everyday life and their agency that puts them squarely in the discourse of life.
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Astfalck, Jivan. "Narrative structures in body-related craft objects." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/7411/.
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In a largely under-theorised subject area as the crafts, this practice-based research contributes to the knowledge and understanding of the body related crafts object at PhD level. It conceptualises the narrative methodology necessary to make the creative work and theoretically examines its intention. Because the theoretical work on narrative structures has been largely done outside the crafts/art context, the research adopts and adapts existing procedures and concepts from hermeneutic philosophy and literary theory to expand on the understanding of the body related crafts object in this new context. The research project investigates narrative structures in body related crafts objects to further the understanding of these objects and to make a contribution to the theory of studio crafts practice. The dialogical and dynamic relationship between the surveying of relevant literature and the creative development of the practical work enabled the development of the narrative context of the work itself and the advancement of a studio methodology that emphasizes reflexivity and is conscious of its own need for understanding. Drawing on historical and autobiographical material, fiction and fairy tales, a series of body-related crafts objects have been produced that tell hybrid, fantastical stories. These objects are enigmatic, yet suggestive of the wounds of history and of the trauma and healing processes that are part of our relationships with others. The work is understood as a mnemonic device created to evoke the complexities and webs of relationships, which exist between the various levels of interpretative investments that would otherwise be un-containable. The exploration of the notion of metaphor within a semantic context is here adapted to facilitate new understanding of the metaphorical qualities found in creative and narrative craft objects. Metaphoricity can be regarded as a way of cross-mapping the conceptual system of one area of experience and terminology with another, suggesting a coherent system created for understanding knowledge in terms of critical reflection, and being conducive to new creative articulation and representation. In the work theory emerges as a dynamic encounter, a continuous re-figuration within a tradition of commentary and interpretation. Researched ideas, practical work and developing studio methodology have been explored further and tested in exhibitions, written publications, conference contributions, teaching projects and artists residencies. A large body of practical work has been generated over the period of the research. Some of the objects are pieces of jewellery, using precious metals and other more idiosyncratic materials. Other objects, even though still wearable, extend the boundaries of the traditional piece of jewellery towards what has become a fine art practice, which uses a multi-media approach together with traditional handcraft goldsmithing skills. Assemblage, installation, video and relational interactive projects have been developed to investigate narrative structures invested in those objects.
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Beckman, Jeannine A. "Imported Glass Objects in the Bronze Age Aegean." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/215280.
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Art HistoryM.A.
A great deal of evidence exists in support of Bronze Age intra-Aegean trade, but the dynamics and material goods that made up these exchanges are still being explored. Initially, foreign glass most likely originated in Western Asia and Egypt. Recent excavations at the Minoan sites of Chryssi, Papadiokambos, and Mochlos have provided evidence of such trade on Crete. All three sites yielded glass beads that, judging by their rarity in the region, must have come from elsewhere. While glass artifacts such as those found on Minoan Crete are often assumed to be Egyptian in genesis, a Western Asian source has not been sufficiently ruled out. Based on their findspots, appearance, and our present understanding of shipping and trade in the Bronze Age Aegean, it is most likely that the beads from Chryssi, Papadiokambos, and Mochlos were manufactured in the Levant and arrived in Crete from the East.
Temple University--Theses
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Magneson, Mary Bergshneider. "Objects and Images." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/808.
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I create to emphasize the aesthetic or beauty of an object. When I begin a work, I feel the influence of the many photos I am constantly looking at and analyzing. I look at how light affects color, how light defines form, and how patterns are created by repeated shapes. I try to reproduce the things I see, but with dramatic impact by enlarging shapes and emphasizing colors. While my paintings are about pure aesthetics, my books are social commentary.
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Kurokawa, Kumiko. "Jade openwork egret finials their historical context and use in China and Korea /." Online version, 2004. http://bibpurl.oclc.org/web/23612.
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Bennion, Lyndsay M. "THE FUNCTIONAL PRINT WITHIN THE PRINT MARKET OF THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURY IN NORTHERN EUROPE AND ITALY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162659677.
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Larsson, David. "DISORIENTATION/OBJECTS/BODIES." Thesis, Kungl. Konsthögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-206.
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Uppsatsen utgår ifrån Sara Ahmeds bok “Queer Phenomenology – Orientations, Objects, Others”. I uppsatsen diskuteras hur vi människor upplever världen genom föremålen som omger oss och hur detta orienterar oss på olika sätt. På samma sätt som vissa förmål orienterar oss och gör att vi följer normativa linjer så kan andra föremål, eller föremål i andra situationer bryta dessa linjer och desorintera oss. Konst skulle kunna ses som sådana desorienteringsföremål som låter oss se världen på nya sätt. Uppsatsen innehåller också en diskusion kring induktiva resonemang i realtion till att förstå och navigera sig i välden och hur dessa år både nödvändiga och otillräckliga.
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Minkley, Emma Smith. "A study of the art object as performative." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/12042.
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My research project explores conventions in art-making and viewing via the notion of the performative art object. The performative (derived from J.L. Austin and Judith Butler’s formulations of the word) is here used predominantly as a term to denote a generative, experiential and iterative process (in this case outlined by art theorist Barbara Bolt) in which intuitive or playful actions of both artist and spectator dictate the route of research. The project, following an A/r/tographical cycle of theoriapraxis-poesis (or theory/research - doing/learning - art/making) as defined by Rita Irwin, thus investigates the relations inherent between artists, spectators or viewers, and objects, and how these may change according to the spaces they are conceived in; from art gallery to urban “non-art” environments. It deals with the inclusion of process or performativity within, or in relation to the art object and how this take on the traditionally static object may have the capacity to change how artworks are envisaged, and more significantly, how they are received, in terms of the effects they (in combination with the viewer) have on the world around them. Blurred in the context of performativity, the art object may become a means of documenting process and in a sense may act as a ‘prop’ for artistic research. This enquiry has involved the study of process and play, as related to creative practice, via a series of object-based events or interventions (including gallery exhibitions and other “non-art” events initiated by the artist outside of conventional art-related space) which have been documented and included in the theoretical research as a means of providing a first-hand narrative of theoretical ideas put into practice. Here Diana Taylor’s understanding of interrelated modes of storing and enacting knowledge as posed in the notion of the archive and repertoire has been utilised as a means of collecting and collating performative and ephemeral research. These events/interventions have further served as a means of gauging viewer interaction and participation, thus actively involving the viewer in the creative act. Jacques Rancière’s notion of the emancipated spectator is here utilised to activate the role of the viewer. In this regard, Martin Heidegger’s concept of handiness or handling serves as a means of “emancipating” spectators by encouraging tactile viewership. It is my intent to open up or reveal new modes of thinking or doing within the viewer when he or she enters a state of performative play within these events. Here the status of the art object is challenged and in this way has the potential to subvert or confront problematic repetitions, both in the identity of the viewer and the space occupied in each event.
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Wissman, Jeffery S. "CONTEMPORARY DEFINITIONS OF ART AND THE METAMORPHOSIS OF ORDINARY OBJECTS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997893495.
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Kim, Hyungsook. "Objects and knowledge : a historical perspective on American art museums /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488188894441767.
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Evans, Christine. "Art, war, and objects : reality effects in the contemporary theatre." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318314.
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Moyer, Matthew E. Clarke Bede. "Monuments to water and air systems." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6576.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 19, 2009). Thesis advisor: Bede Clarke. Vita. Includes bibliographical references.
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Kuhn, Maria Diane. "Mother Mary Comes to Me: The Stylistic Shift in Portrayals of Mary and her Adoration in Medieval Italy." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619455685665479.
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Horton, Mary Therese. "The cultural status of objects." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35867/1/35867_Horton_1996.pdf.
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This paper addresses the cultural status of objects. The
discussion focuses on domestic objects. It is proposed that functional domestic objects are cultural artefacts which have significance beyond that of useful commodity. Their cultural status is explored by considering the nature and influence of the Marxist critique; examining
the 'aesthetic dimension' of useful objects; and by experimenting with a range of written forms which draw upon three sources: i) concepts investigated through the first two chapters; ii) ideas being cultivated through my studio practice; and iii) issues raised through the exploration of a particular site - the Rocklea Flea Markets.
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Anusas, Mike. "Beyond objects : an anthropological dialogue with design." Thesis, University of Aberdeen, 2018. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237173.
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This thesis, an anthropological dialogue with design, seeks to explore the formation of the material world beyond objects. The work is situated within the fields of design studies and social anthropology, and contributes to the emerging interdisciplinary field of design anthropology. It draws on my education and perspective as a designer and engineer, my field dialogues with contemporary practitioners and the writings of the media philosopher Vilém Flusser, the social anthropologist Tim Ingold and the architect Kengo Kuma. I begin with a consideration of the material world as all matter which forms the earth, its atmospheres and the dwellings and features of many organisms. Such a notion of the material world is abundant with life, energy and potential and recognises human perception as entwined with lineages of materials, making and transformation. However design has evolved, I argue, to become a practice that tends to obscure the energetic and entangled conditions of the world, by way of presenting materials in the form of objects; discrete and enclosed material entities. This results in an impoverishment of environmental perception and a clotting of the ecological currency of materials. To understand how materials come to be formed into objects, I attend to a site of contemporary engineering practice where designers work with materials, tools and computational media in the formation of a product: in this case the royal relay baton for the 2014 Commonwealth Games in Glasgow. Drawing on a period of sustained participant observation with one Glasgow-based company, I observe how lines of practice course through intention, gesture, conversation, writing, drawing, modelling and making, as materials are projected and presented in object form. I highlight the specific dispositions and activities of individual practitioners as they orient their perception towards different ways of knowing materials and specific practices of formation. Here, it becomes evident that design is, fundamentally, a social practice, constituted in an ongoing dialogue between people, matter and energy. Drawing the strands together, I argue that design is not so much a point-to-point procedural process, as an active matrix of social, material and energetic interchange, in which performance and form are intertwined in the transformation of people, materials and surrounds. Within this matrix of activity, the condition of the object is notably evident - and often dominating - but not absolute or inevitable, and there always exist possibilities for manifestations of form beyond objects. Following this prospect, the thesis rounds not to a closure, but to an opening: to the possibility of design as a practice of material performance led by the attentiveness, critique and imagination of an anthropological education.
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Platt, Kevin Ronald. "Incomplete Objects and Object Sketches." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/9496.
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The research and the work that motivates it, herein discussed in this thesis, hinge upon the need to communicate with the viewer, a sense of desire that remains suspended. Throughout both thesis and practice a defining concept is incompleteness. This suggestion is made manifest in the practical element of my work, through the use of the iconography of the frame and construction images, that suggest what could yet be built upon, or added to the work, that is present in the gallery. The implications of this iconography are diverse and accordingly are explored through a series of art-historical discussions. The physical appearance, or the signature aesthetic of my practice, is explored through the pressing immediacy that ruled and defined the sketch aesthetic of Impressionism. The concept of a desire continually entertained is given exemplary treatment in the seminal Large Glass of Marcel Duchamp. As such this is used as a major study with which to compare the motivating factors of my practice. Engaging with the text Kant After Duchamp, by Thierry de Duve facilitates an exploration of two belief systems that arose and defined and impacted art discourse through the middle and latter half of the last century. This study does not seek to align my work either but rather finds the conviction to follow neither and instead identifies my practice with work that does not take a heavy authorial hand looking for a determined outcome. As such, what is made apparent through this investigation is an enduring interest in that which cannot be attained.
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Massaro, Vincent Peter. "Transmogrification /." Online version of thesis, 1990. http://hdl.handle.net/1850/11190.
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Croteau, Susan Ann. ""But it doesn't look Indian" objects, archetypes and objectified others in Native American art, culture and identity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1691848931&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Strickland, John. "The church valuables campaign in the history of the new martyrdom in Russia." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Guagliumi, Arthur Robert. "Assemblage art: origins and sources /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10910244.
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Thesis (Ed.D)--Teachers College, Columbia University, 1990.Includes appendices. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: David S. Nateman. Bibliography: leaves 162-186.
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Greedy, Paul Maxwell. "Listening to Objects: Sound as an Expression of Material Flux." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18133.
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This research paper examines the use of sound in art as a means to explore processes of movement, transformation, and change as they operate within the physical relationships that exist between energy, matter and space. It situates the author’s own material-based sound art practice in relation to its primary historical and contemporary influences, identifying critical developments in art making that offer creative, conceptual and practical insights into the nature of physical processes. In doing so, the paper locates the origins of sound art within late 20th century sculpture, experimental music, and installation practice, and introduces a number of key concepts that form the underlying theme of sound as a manifestation of temporal and material flux. This theme is developed through a focus on energy, considering how sound can be deployed to model and access energetic flows. The discussion is framed around particular art practices that employ the mediation of sound to explore the physical dynamics of sound energy and its expressive relations to space and matter. The paper explains how environmental aspects of sound conjure certain modes of listening, and explores the use of simple sounds and methods of technological transduction as means to evoke and make perceivable the intangible qualities of natural processes. The creative works produced over the course of the author’s research reflect the practical and conceptual objectives that drive this research paper. These works deploy experimental methods drawn from the field of science (particularly acoustics) to guide their particular approach to sound as a material medium. Such works include Mandala (2012) and Sifting (2014), which incorporate Cymatic systems aimed at conveying the dynamics of sound energy in visual form, and Pressure Vessel (2014) which explores processes of thermo-acoustic transduction and the propagation of acoustic energy in space. A sustained investigation into the system of electro-acoustic transduction developed by American experimental composer Alvin Lucier’s Music on a Long Thin Wire (1977) also forms a central line of enquiry within this research-based practice, resulting in a series of works that culminate with Untitled, Wire No. 6 (2017). Through its various manifestations, this prolonged experiment witnesses the affects of material and environmental variables on Lucier’s system. A number of these works are discussed at length within the research paper.
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Gilhooly, Jonathan. "Enchanted Objects : Agency in the Magic Act and Contemporary Art Practice." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523528.
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Vale, Sam. "Collecting rooms : objects, identities and domestic spaces." Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7782/.
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This practice-based enquiry into United Kingdom based collecting rooms reveals five participants’ motivations, frustrations and satisfactions manifested in the creation of their spaces. Through the examination of theorists and commentators in the distinct but related fields of cultural theory, sociology and art, the thesis proposes that a collector’s past can be witnessed through memories generated by and within the space. The thesis also advances the idea that part of the experience of the space takes place in the present but simultaneously imagines the future. I have constructed spatial portraits using semi-structured interviews, photography and video, which explore the environment of each collector thus gaining insights into individual circumstances and personal situations. Narrative within this enquiry takes three intersecting forms: firstly the account of the construction of each collecting room, which divests objects of their historical origins, replacing these with personal associations or meanings devised by each collector. Secondly, each participants’ re-telling of their narratives and thirdly through the re-presentation of the collectors’ narratives to an audience. The latter brings my agency as an artist into focus. Uniting all three narrative forms, the creative practice intends to produce a metanarrative of each collecting room that further investigates the temporality of the space through the combined use of still photography, video and sound. Constructed from a symbiotic relationship between theory and practice, the research uses a methodology that combines Sensory Ethnography with Interpretive Phenomenological Analysis. This methodology explores the idiosyncrasies of each collector, engendering an extensive investigation of the individual collecting spaces. This detailed approach formed and eventually determined the number of participants, resulting in the production of a developmental case study and four original re-presentations that respond to ideas and debates on collecting, material culture and domestic space. These artworks that have been informed by combining existing research methods and constitute my contribution to new knowledge, disclosing ideas and observations which combine narrative and experience not necessarily discernable from theoretical arguments alone.
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Schlifer, Laura. "Unloosed: Designing Participatory Objects." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3386.
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The ubiquity of technology has mediated the means of receiving content through digital networks; users have complete control over receiving, shaping, and sharing information. In contrast to the inherent elasticity of these networks, physical pieces of communication often manifest through a closed and highly controlled process. However, the increased prominence of user-interaction with media provides an opportunity to evaluate the design process as it applies to the creation of physical objects. Throughout much of my work, I investigate the potential for unloosening the control of designed objects by inviting others into the design process. By considering the audience as active participants, rather than passive receivers of communication, the designer becomes a facilitator for communication. Through the design of frameworks, the designer relinquishes some control of form or content, allowing author and audience to coalesce.
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Valgarðsson, Guðlaugur. "Joy(n) : creating multi-use objects for children." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2750.
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This report deals with the importance and need for more adaptable objects for children to use as furniture as well as for playing in their everyday life. It discusses the importance of such objects that are more suitable for play and movement to aid the physical and psychological development of the child, as well as adressing the nature and importance of play itself in this process. It also gives a short overview of previous furniture designed for children and tries to answer the question of why it is important to allow for the element of play when designing furniture for children, and gives some examples of where this has or has not been taken into consideration. The report then introduces a new set of objects, the Joy(n)- line, that consists of various components that can be arranged and rearranged to suit the children´s wishes and needs, building and transforming them into traditional furniture such as beds, tables, shelves and seating, but at the same time being "things" that they can climb on and play with. The working process is followed through sketches and model works, examples of trying out the product are demonstrated, and the end result evaluated .Master / InSpace 2010
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Wills, David. "Cultural Mulch : an investigation into collectors who create collections of mass produced objects and of the potential significance of those objects in relation to consumer culture." Phd thesis, Canberra, ACT : The Australian National University, 2009. http://hdl.handle.net/1885/8036.
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Collecting is an activity that stems from humankinds roots as hunters and gathers, when necessity rather than want, was key. This dissertation considers the strategies and motivations behind collecting in the 21st Century and what the significance is of collected objects. It considers the many guises, aims and reasons for collections being made, from the attainment of wealth and status, to the filling of personal voids, or the simple pleasures of belonging to a like-minded group of people. The dissertation charts contemporary influences in collecting behaviour, from an increased interest in celebrity, the push by corporations to market mass-produced collectibles, alternative consumer trends, and what effect the internet has had on the availability of a vast array of objects globally and locally. Back grounded by a diminishing of the earth’s resources and the production of objects at a peak, it considers the notion of futility.
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Tornari, Vivi. "Holographic interference : structural deformation detection applied to cultural heritage objects." Thesis, University of Sunderland, 2013. http://sure.sunderland.ac.uk/5228/.
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Interference is a fundamental physical phenomenon proving the wave nature of energy. It is based on wave superposition forming natural waveeffects expressed both in nature under random selective conditions as well as in laboratory scientific experiments by carefully controlled selection of parameters. Science generates a number of technology applications using the inherited properties of waves after their superposition in space termed interference. These interfering waves have extremely rare properties compared to their initial physical systems and become entities with measurable quantities which can be used to quantify qualities in other phenomena, mechanisms, and physical objects with variety of physical properties. These waves are currently fully explored in theoretical and experimental physics finding many modern applications and enlightening the way to longstanding questions. Remote non contact study of surfaces and their reactions visually witnessing internal subsurface and unknown bulk information without need to implement destructing forces or penetrating irradiation to trace them and without interacting with it or interfering with the results is one of the most challenging modern applications of interference physics. Apart from everyday life applications artworks’ conservation is a field that interference properties are uniquely suited. It is the quality of light wave interference that is being utilised in this body of research and summarised in the present thesis. The context of the presented thesis unfolded in next chapters is constructed in one book on a contextual rather than chronological order. The contextual base presentation is achieved through clustering same context published articles that have resulted over the course of years of research which have been published in review journals, conference proceedings or governmental publications. The formation of laser interference fringe patterns and their exceptional qualitites in application for structural diagnosis with defect detection and definition, their unique properties utilised in studies of environmental and climate effects, the prototype optical geometries and novel experimental methodologies envisaged to solve specific application problems are presented along with examination on theoretical matters of exploring interference properties, qualities, geometries and their outmost final product the interference fringe pattern. Thus in this thesis the aim is to prove the contribution of the experimental research publications to the study of interference patterns as a highly sophisticated structural diagnostic tool in the complicated problems of Cultural Heritage applications. The implementation of interference phenomena and the development in experimental investigations applied in inhomogeneous, anisotropic, shape variant, multilayered, multicomposition cultural heritage objects, paves the way to implement “fringe patterns” as a scaleless (scale independent) diagnostic detector allowing generation of novel tools and practices on problem solving projects. The developments are beyond the specific application and are extended to other fields of science and technology. The articles and bibliography cited within the text including author's publications utilised as sources in the writing of this thesis are referenced in square brackets and are explicitly listed in ANNEX I The list of publications of the author is shown in ANNEX II. The originals of author's publications supporting the thesis are provided after the Annex II as have been published. Due to limitation in number of pages there is not included a section to present the fundamental principles of the phenomena presented here instead a list of books commonly found in most University libraries is provided for interested readers as BIBLIOGRAPHY at the last paragraphs of ANNEX I.
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Cleveland, Chad L. "The music of art /." Online version of thesis, 2009. http://hdl.handle.net/1850/11203.
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Burgio, Lucia. "Analysis of pigments on art objects by Raman microscopy and other techniques." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369123.
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