Dissertations / Theses on the topic 'Eva Hesse'
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Cavagnaro, Loretta Maureen. "Eva Hesse in exhibition : contexts and categories /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
Full textCorby, Vanessa Jane. "'Establishing losses encountered' : towards a detail of Eva Hesse." Thesis, University of Leeds, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412738.
Full textTong, Kim Christina. "The sur(real) sublime : Bourgeois, Hesse and contemporary sculptural practice." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314306.
Full textMillard, Michèle. "An analysis of the critical discourse on the work of Eva Hesse /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61138.
Full textFor the most part, Chapter One concerns critics' Modernist analyses of Hesse's relationship to Minimalism and their progression towards a criticism based on non-formalist, non-hierarchical theories of style. There is also a short discussion on the linkage created between Hesse's art and specific psychological traumas in her life. Included as well is an explanation of the changing conception of originality and the critic's dilemma in confronting private content through the strictures of public dialogue.
Chapter Two investigates critical discussions of experience, how art was apprehended and how meaning was transmitted.
Chapter III involves a feminist debate on the issues of gender. The content of Hesse's work was analyzed in psycho-biographical terms and within the framework of her identity as a female artist in western culture.
And finally, the thesis concludes by pointing out the evolution of criticism into a distinct, independent discipline whereby the critic articulates the theoretical contexts in which the artwork exists, but then extends in into a broader cultural setting where the critic analyzes the significance of such positions taken, its relationship to the past and future implications.
Conley, Christine Louise. "Love among the runes : allegory, gender and the symbolics of loss in the work of three twentieth century women." Thesis, University of Essex, 1998. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242256.
Full textKosoi, Natalie. "Nothingness in art : Mark Rothko, Yves Klein, Robert Ryman, Anish Kapoor and Eva Hesse." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343551.
Full textFeldhaus, Reinhild. "Der Ort von Künstlerinnen im Diskurs der Avantgarde zur Rezeption von Paula Modersohn-Becker, Frida Kahlo und Eva Hesse." Berlin dissertation.de, 2002. http://d-nb.info/999377647/04.
Full textNurmi, Kaela L. "Challenges Surrounding the Conservation and Replication of Eva Hesse’s Sculpture." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/709.
Full textWoithe, Gabriele. "Das Kunstwerk als Lebensgeschichte zur autobiographischen Dimension bildender Kunst." Berlin Logos-Verl, 2007. http://d-nb.info/991379152/04.
Full textJohn, Anna. "Stages for Objects." Thesis, The University of Sydney, 2015. https://hdl.handle.net/2123/22299.
Full textSoltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.
Full textHesse, Mischa [Verfasser], Eva [Gutachter] Lutz, and Christian [Gutachter] Schwens. "Essays on Venture Lending as Alternative Source of Funding for Innovative Ventures / Mischa Hesse ; Gutachter: Eva Lutz, Christian Schwens." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2017. http://d-nb.info/112881806X/34.
Full textFriend, Zoe L. "Normal What." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1305.
Full textFriend, Zoe L. "Normal What." University of Sydney, 2005. http://hdl.handle.net/2123/1305.
Full textThe title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.
Haynes, Rachael Anne. "Embodied vulnerabilities : responding to violent encounters through installation practices." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/27663/1/Rachael_Haynes_Thesis.pdf.
Full textHaynes, Rachael Anne. "Embodied vulnerabilities : responding to violent encounters through installation practices." Queensland University of Technology, 2009. http://eprints.qut.edu.au/27663/.
Full textDaniel, Hugo. "Les Voies du dessin : statut et redéfinitions du dessin dans les avant-gardes occidentales des années 1950-1960." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010547.
Full textDrawing is hardly studied in works of art history focusing on the 1950s and 1960s. This fact is all the more surprising that many artists, such as Rauschenberg, Hesse, Tinguely, Twombly, Michaux or Lebel, but also critics, gallerists and curators took notice of the medium at that time.Drawing must be defined according to its operations and analyzed in its relationshipwith other media. It is approached as a practice. This project is based on a material, culturaland social understanding of art history, it relies on the study of drawings, but also on archive documents and interviews with major figures of the period. From the working process of artists, to the changing discourses of critics and therenewed interest of curators and gallerists, drawing is redefined as a complex object. It allows artists to deal with the flow of images that characterizes the 1950s and 1960s. It also takes on an experimental quality because of its association to the thought process. Psychiatrists andartists have used the practice of drawing to better understand the mind. Whether it is used as an origin of art or as a marginal space implying specific experiences, drawing in the 1950sand 1960s is multi-faceted and is studied as such
Barbosa, de Almeida Lecourt Iracema. "Poétiques de la répétition." Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20049/document.
Full textThis research finds its starting point in the practical experience of the studio work and proposes a study of the notion ofrepetition such as it emerges from different contemporary artistical poetics.Different notions associated to repetition are evoked by the works and the specific approaches of the artists, through a research which builds itself in a reflexive way, during comings and goings between the work, the way it is elaborated, the perception which it arouses and texts dedicated to the poetics of each artist.The identification of a particularly vast universe, revealed by the repetition and found in various initiatives and in various moments, directed this work to the construction of a well articulated structure, and concentrated the glance on the poetics of four artists: Mira Schendel, Richard Long, Eva Hesse and Nelson Félix
Fries, Katherine. "Ariadne’s Thread - memory, interconnection and the poetic in contemporary art." University of Sydney, 2008. http://hdl.handle.net/2123/5709.
Full textThis Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.
Koplin, Eva [Verfasser]. "Aufbau und elektrische Charakterisierung zwei- und dreidimensionaler Nanopartikelsysteme / vorgelegt von Eva Koplin, geb. Hesse." 2006. http://d-nb.info/981656757/34.
Full textSears, Antoinette Louise. "Themes of the liminal, the absurd and the unstable in the sculpture of Eva Hesse." Thesis, 2017. https://hdl.handle.net/10539/24454.
Full textThe creative component of the research project explores, through the medium of sculpture, the notion of the liminal, with a particular focus on themes of the absurd and the unstable as characteristics of liminality. These themes may be useful for investigating and providing a valuable source for critical assessment, so as to allow for the opening of and extending of debates on reading and thinking about art regarded as ‘in-between’ the poles of a binary opposition. Broadly, it seeks to explore the historical trajectory of the 1960s artist Eva Hesse in relation to these themes, and how it resonates with my own sculpture-making and development. The aim of the written research is, therefore, through engaging with a close critical and theoretically informed reading of selected examples of Hesse’s work, to identify themes and approaches which may inform and advance the understanding of my own work produced in the context of this study. Connections will be drawn to the way in which these themes facilitate a favourable space in which the making of art flourishes. As far as viewers are concerned, such work may encourage the viewer to be an active participant in a dimension of human experience potentially not yet encountered, thereby liberating viewers’ fixed and rigid perceptual constructs. Entering into a discussion of the themes of liminality, the absurd and unstable, serves this aim.
XL2018
Oliveira, Luis Miguel Antunes 1993. "O corpo em transição." Master's thesis, 2017. http://hdl.handle.net/10451/29057.
Full textvon, Grumbkow Philipp. "Das Leben in der napoleonischen Armee - interdisziplinäre Untersuchung eines Massengrabs aus Kassel, Hessen." Doctoral thesis, 2013. http://hdl.handle.net/11858/00-1735-0000-0001-BC00-A.
Full textSequeira, Maria Luísa Paiva 1966. "O minimalismo nas produções escultórica e arquitetónica." Doctoral thesis, 2013. http://hdl.handle.net/10451/8680.
Full textQuando tudo se torna estético a própria noção de arte corre o risco de desaparecer. O facto de se privilegiar a imagem à custa de exercícios plástico-formais, de maior ou menor complexidade, tem conduzido a uma compreensão empobrecida do espaço construído, transformando o espaço social numa abstração fetichizada. Assim, debruçámo-nos, fundamentalmente, sobre a produção artística ao nível da escultura e da arquitetura, a partir de meados do séc. XX, de forma a compreender, de que modo os progressos tecnológicos que ocorreram, durante e após o período da 2ª grande guerra, tiveram uma influência determinante no processo conceptual de idealização da escultura e da arquitetura a partir de então. Para além disso, tomou-se como ponto de partida o movimento Minimalista, como o movimento artístico surgido durante a década de sessenta, que se afirmou por negar a arte cartesiana europeia, pela via fenomenológica e por contestar os limites disciplinares definidos pelo Modernismo. Neste campo indefinido, propício à pluralidade de linguagens e ao confronto de protagonismos, a emergência de uma estética “minimal” assumiu rapidamente um sentido disciplinador de contenção e economia visual. Uma espécie de estabilização canónica que traduziu uma prática escultórica e arquitetónica reconduzidas ao limite mínimo da sua expressão plástica.
When everything becomes aesthetic the concept of art itself becomes in danger of disappearing. The increasing focus on image, at the expense of plastic-formal exercises, of varying complexity, has led to an impoverished understanding of the built environment, transforming the space into a social fetishized abstraction. Thus, we focused primarily on the sculptural and architectural productions, from mid XXth century, in order to understand how the technological advances that took place during and after the period of the 2nd World War, had a decisive influence on the conceptual processes of idealization of sculpture and architecture since then, allowing an approximation of the two areas. The Minimalist movement, became a refernce to the contemporary art for its ability to deny the European Cartesian art throug fenomenology, besides it contested the Modernist limits of the arts and defended a new interdisciplinary way of understanding it. In this indefinite field, enabling the plurality of languages and the confrontation of protagonisms, the emergence of a "minimal" aesthetic quickly assumed a sense of discipline based in a restraint visual economy. A sort of stabilization canon that reflected a sculptural and architectural practice reduced to the minimum of its plastic expression.