Dissertations / Theses on the topic 'Exilic artists'
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Oh, Keumhee. "Exilic experiences and creative practice : insights from the lives and art of scholar-artists exiled on Cheju Island during the Choson Dynasty (1392-1910)." Thesis, Curtin University, 2012. http://hdl.handle.net/20.500.11937/2154.
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The experiences of three scholar artists who are exiled to South Korea’s Cheju Island during the Choson Dynasty is examined with a focus on the conditions of exile they were subjected to and their expressions of mental and physical pain in the form of letters, poetry, paintings and other works of art and literature. Insight from the historical exiles’ experiences and creative practices is hoped to offer a more multi-faceted understanding of Choson exile artists.
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Semerjian, Victor. "Artists in exile : the great flight of culture." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29482.
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The subject of this thesis is the circumstances surrounding the emigration of European modern artists to America in the late 1930's and early 1940's, and their initial reception in the city of New York. The primary vehicle of this investigation will be the Artists in Exile show, their first collective exhibition which took place at the Pierre Matisse Gallery in March of 1942. The reason why it is felt that such an investigation is warranted is that while there is a great deal of literature concerned with the Nazis vehement denunciation of modern art and their persecution of its practitioners, little has been written on how these artists actually came to arrive in America. It is I believe, too often assumed that while their voyage may have been a difficult one, they were embraced by a nation that has perpetually proclaimed itself as a defender of democratic freedom and a haven for the oppressed. Contrary to this assumption, it will be asserted that their initial presence was largely met with resistance in America due to a historical period of economic, social, political and cultural isolationism.
In Chapter One, an attempt will be made to more clearly define the historical circumstances which gave rise to American isolationism and a resultant anti-alienism, sentiments which had a direct bearing upon the cool reception of the Europeans and their work. Given the existance of such attitudes, it becomes necessary as well to identify the various groups who championed the artist refugees, their motives in doing so, and the specific strategies employed to circumvent native resistance in order to bring these individuals to North American shores. It will be asserted that this support came from a small group of liberals situated within northeastern educational institutions who were alarmed by the fascist threat to freedom of scholary and artistic expression. In addition, they were motivated by what they believed to be an unprecedented opportunity to bring to America and place at its disposal, superior levels of European scholarly and artistic achievement.
Chapter Two will undertake an investigation into the reception of the Europeans in New York based upon an analysis of the problematic usage of catagories employed to place them in roles reflective of their circumstances. These terms include refugee, emigré, immigrant, exile, and alien. In addition, it will hopefully be revealed how these new roles had a deleterious effect upon the self perception of the emigres, seriously affecting their critical output as exiles.
Chapter Three will be devoted to the Artists in Exile show itself. Specific focus will be on the strategies employed in its manifesto and why for the most part, they were unsuccessful in winning over a viewing public largely resistant to European modern art. In addition, specific works exhibited in the show will be analysed to see how they registered the varied concerns of the artist emigrés at this time in history.
Finally, the conclusion will deal with two additional shows of European modern art in that same year; the First Papers of Surrealism, and Peggy Guggenheim's Art of This Century. It will be maintained that the strategies employed in this latter show were to a high degree, largely responsible for the eventual winning over of needed patrons necessary for the acceptance and continuation of European modern art in America.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Kiss-Davies, Adriana. "The exile experience : Hungarian and Czech Cold War refugee artists in Britain." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/f372a97d-f457-4ac0-b92c-99f577d46260.
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This study is an investigation of the life and work of émigré artists who arrived in Great Britain as refugees after the 1956 revolution in Hungary and after the crushing of the Prague Spring in 1968. The artists selected for examination represent different aspects of cultural production and range from painters through graphic artists and designers to film-makers. The work of these artists is discussed in the wider cultural, social and political context of Cold War Europe. The human aspect, that is, the way in which exile affected individual artists and their lives and altered their perception and artistic output, is a central thread of the thesis. Other key issues that are considered include: the relationship between art and politics, exile and identity, cultural exchange and issues of communication with a foreign audience. The main argument is based on the analysis of selected artworks created in exile and the thesis is structured around eight case studies which explore specific aspects of the uprooted experience in the context of artistic creativity in exile. The major themes which the case studies focus on are: questions of identity and loss in the films of Robert Vas, the feeling of dislocation and alienation in György Gordon’s self portraits, the problems of artistic acceptance in the context of the career of cartoonist Edma, the transposition of Hungarian landscape painting traditions into English art by Gyula Sajo, the origins and artistic benefits of Josef Koudelka’s wandering existence, forms of Czech Functionalism in Eva Jiricna’s architectural designs, nostalgia and memory in the paintings of Jiri Borsky and Jan Mladovsky’s conceptual explorations of Eastern and Western cultural identities. The case studies are used to identify common artistic, philosophical and theoretical threads which connect the visual responses of the examined artists to the wider subject of art in exile.
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Lang, Birgit. "Eine Fahrt ins Blaue : deutschsprachiges Theater und Kabarett im australischem Exil und Nach-Exil (1933-1988) /." Berlin : Weidler, 2006. http://catalogue.bnf.fr/ark:/12148/cb410371753.
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Walker, Parker Sharon LaVon. "Embodied Exile: Contemporary Iranian Women Artists and the Politics of Place." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1432%5F1%5Fm.pdf&type=application/pdf.
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Dabat, Amandine. "Hàm Nghi (1871-1944) : empereur en exil, artiste à Alger." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040138.
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Hàm Nghi (1871-1944), empereur patriote selon l’historiographie vietnamienne, victime ou acteur de la résistance anticoloniale selon les historiens français, fut exilé à Alger dans l’espoir de mettre fin au mouvement Cần Vương. Déporté à l’âge de dix-huit ans, pion sur l’échiquier politique de l’Indochine, il était considéré par une partie des autorités françaises comme un homme politique influent. Il fut surveillé toute sa vie et ne fut jamais autorisé à entrer en contact avec l’Indochine. Cependant, celui qui était désormais appelé « prince d’Annam », noua des amitiés avec des élèves vietnamiens au lycée d’Alger, des officiers et des missionnaires français, qui circulaient entre l’Indochine, l’Algérie et la métropole. Ces intermédiaires lui permirent de conserver un lien avec l’Indochine. Hàm Nghi consacra sa vie à l’art. Il devint peintre et sculpteur. Il fut l’élève du peintre orientaliste Marius Reynaud, du sculpteur Auguste Rodin, et fréquenta de nombreux artistes de son époque. Les archives nationales, vietnamiennes et françaises, nous apprennent les aspects administratifs de son exil : seul le point de vue du gouvernement français est alors connu. Les archives privées du fonds Hàm Nghi, récemment découvertes, apportent le regard intime de l’empereur exilé sur sa vie, par l’intermédiaire de sa correspondance. Ces documents permettent d’écrire une biographie et d’établir un catalogue raisonné de son œuvreHàm Nghi (1871-1944), patriotic emperor according to Vietnamese historiography, victim or actor of the resistance against colonisation according to French historians, was sent into exile in Algiers in order to end the movement called Cần Vương. Deported when he was eighteen years old, pawn on the political chessboard of Indochina, he was considered by some French authorities to be an influential political figure. He was kept under surveillance his entire life and was never allowed contact with Indochina. Hàm Nghi, who was henceforth called “prince of Annam”, nevertheless established friendships with Vietnamese students of the Algiers highschool, and with officiers and missionnaries who travelled between Indochina, Algeria and France. These intermediaries helped him to maintain a connection with Indochina. Hàm Nghi dedicated his life to art. He became a painter and a sculptor. He was the student of the orientalist painter Marius Reynaud and of the sculptor Auguste Rodin, and he associated with many artists of his day. Previously the Vietnamese and French national archives informed us of the administrative aspects of the emperor’s exile, revealing only the point of view of the French government. Today the private archives of Hàm Nghi’s collection bring us the personal view of the emperor on his life. These documents enable us to write a biography and a catalogueraisonné
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Surlapierre, Nicolas. "Les artistes allemands en exil en france de 1933 a 1945 : histoire et imaginaire." Amiens, 2000. http://www.theses.fr/2000AMIE0006.
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Avant l'arrivee d'hitler au pouvoir, la montee du nazisme enterine le naufrage de la republique de weimar creant une reelle diaspora intellectuelle et artistique. Le mouvement des artistes allemands commence avant 1933. Les artistes n'ont pas immediatement traduit les sentiments que l'exil genere. Les artistes allemands sont dans une position d'attente. Ce travail s'est articule en fonction de trois axes de recherche. Le premier se proposait d'integrer l'heterogeneite du phenomene. Nous avons analyse les raisons du depart des artistes, ce qui a permis de rendre compte des derniers mois de la republique de weimar. Nous avons essaye de montrer que les artistes allemands deja installes en france devenaient des exiles. L'exil des artistes allemands se caracterise par deux imperatifs : un imperatif politique et formel. Les raisons qui ont pousse les artistes allemands a emigrer en france etaient la plupart du temps basees sur ce compromis. Ils pensent pouvoir s'exprimer en france grace a l'antifascisme mouvement qui a ete dans un premier temps tres federateur. C'est pourquoi nous avons montre les specificites de la representation antifasciste allemande. Cette politisation a pris de l'importance jusqu'en 1938 puis nous avons observe et analyse la brusque depolitsation des artistes. Dans un troisieme temps, nous avons tente de comprendre les raisons qui ont pese sur la politisation, soupcon qui ne pouvait pas se resumer a la seule usure de l'imperatif politique. A ce changement d'attitude correspond une dispersion sur le territoire francais des artistes allemands exiles. Les artistes allemands ont vu se lever l'imperatif politique et ils ont pu s'exprimer plus librement. L'internement dans les camps a ete aussi une etape importante de meme que l'experience de la guerre, de la resistance. Les donnees etaient completement nouvelles puisqu'a la contrainte de la visibilite se substitue celle de l'invisisibilite. En somme, nous retiendrons pour caracteriser l'exil des artistesallemands l'idee de passage : social, politique, historique. L'art de l'exil stigmatisait bien une place que l'on niait aux artistes dans leur pays et leur difficulte a trouver la leur en france et a transposer sur le plan formel ce phenomene, cette contrainte de l'histoire.
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Benitez, Pilar L. "Calle Ocho revived : artists studios commemorate the role of Cuban exiles (1960-1973) in the development of Calle Ocho." FIU Digital Commons, 2001. http://digitalcommons.fiu.edu/etd/1508.
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The purpose of this study was to learn about the historical development of Eight Street in order to use this information in the revitalization of this area with the new migration of artists.
This study demonstrated a cyclical pattern prompted by the economical success of the immigrant group. The 1960 Cuban migration brought an era of life to Eight Street. As the Cubans became successful they left the area causing a decline. Presently the area is witnessing a migration of artists that may bring it new life.
The thesis retrofits buildings in this area to create a series of artist studios. These studios are designed using elements of 1960 Cuban urbanity, an era of robust urban life for this street.
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Foster, Emmanuelle. "Les artistes peintres et graveurs allemands en exil à Paris : 1933-1939." Paris 1, 1991. http://www.theses.fr/1991PA010527.
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Cette recherche porte sur l'exil à Paris des plasticiens allemands qui quittèrent l’Allemagne hitlérienne entre 1933 et 1939. Kandinsky, Otto Freundlich, Max Ernst, Anton Raderscheidt, Hans Bellmer, Heinz Lohmar, Gert Wollheim etc. . . Ces artistes sont, pour la plupart, les représentants des grands courants esthétiques qui avaient consacré le renom international de l'art allemand sous la république de Weimar. L'exil représente un tournant dans leur biographie, parfois, une rupture dans leurs carrières. Leur rapport au monde s'en trouve modifie. Certains artistes développent pendant ces années un art à contenu politique, expression d'une résistance au fascisme, empruntant souvent une forme réaliste (Heinz Kiwitz, Heinz Lohmar). Les peintres de l'abstraction, eux, s'engagent autrement, en continuant précisément de peindre dans la direction qui leur a valu d'être pourchassés par le nazisme. L'art allemand en exil devient alors lieu de résistance. Telles sont les œuvres à contenu militant, mais aussi les œuvres non politiques, portraits, paysages urbains, qui opposent une vision humaniste à l'esthétique nazie du "sang et sol" ; cet art figuratif est le fruit d'une résistance ; mais l'art abstrait, banni d’Allemagne, par son exigence absolue de liberté n'est-il pas également expression d'une résistance ? En quoi s'impose-t-il encore comme élément subversif dans les années 30 ? Telles sont les interrogations auxquelles cette thèse tente de répondreThe subject of this thesis is the parisian exile of german artists who fled nazi Germany between 1933 and 1939. Kandinsky, Otto Freundlich, Max Ernst, Anton Raderscheidt, Hans Bellmer, Heinz Lohmar, Gert Wollheim etc. . . In the vast majority, these were artists representative of the esthetic movements that had been responsable for the international renown of german art during the weimar republic. This exile meant a major change in the life of these artists and sometimes a complete rupture in their career. Their "weltanschauung" was radically altered. During this period, some artists developed an art with consciously political overtones in order to express their opposition to fascism. This art often took a realistic form (Heinz Kiwitz, Heinz Lohmar). Abstract painters continued in the style that had led to their being banned by the nazis. This was another form from "moral" engagement and of opposition to fasciom. German art in exile thus becomes a sector of resistance. Whether is the consciously political art or not, portraits or urban landscapes, thes works of art stand for a humanist conviction which contradicts the nazi esthetic "blut und boden". Figurative art is, in this context, the fruit of resistance. But abstract art also, (forbidden in nazi Germany) with its obvious expression of a total artistic liberty
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Tien, Ming-Chang. "Visual representations of an imagined return from a Taiwanese exile : an installation of photographic diptychs with artists' books." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/5c028a5d-b469-4622-9cc2-5cddb51ae978.
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This thesis constitutes five sets of photographic work of self-portraits in diptych form within an installation, with two Artists’ Books and a written component. It explores and visualises my autobiographical condition as an exiled artist from Taiwan, seeking for an imagined return.
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Alnahedh, Suha. "Borders of home and exile : four female artists from the Middle East and the trajectories of their diasporic experience." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/borders-of-home-and-exile(8a749eec-4363-41e0-9f1f-08357621b621).html.
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This thesis critically evaluates the charting of ‘home’ and ‘exile’ in regards to four Diasporic female artists from the Middle East, specifically, Iraq and Palestine. The study employs a dual approach in the examination of Diaspora; a theoretical one that engages in the literature on Diaspora and a practical one founded on the author’s interviews with the artists. Thus a comparative analysis of their biographical narratives with the existing literature underpins the discussion of the various realities of home and exile. Moreover, the study links three broad themes in its analysis and is thereby divided thematically into six chapters, excluding the study’s introduction and conclusion. Providing a sociopolitical perspective, Chapters One and Two examine the modern histories of Iraq and Palestine, depicting the political climate of both countries in general but more specifically in regards to the personal and individual experiences of the artists in their homelands. This, essentially, is set up in a way to illustrate the physical locality from which their uprooting and Diasporic journeys were initiated. Chapters Three and Four offer a theoretical outlook in their analysis of the issues pertaining to Diaspora; Chapter Three examines the Diasporic memories of the artists and their sense of distance from, or attachment to, the homeland from their positions in exile. Through examining the artists’ relationship with the homeland this chapter sheds light on the relationality of place and thus conceptualizes their Diasporic consciousness. Subsequently, Chapter Four demonstrates how the Diasporic consciousness of the artists grounds their ascriptions of ‘home’ and ‘exile’ and the construction of their Diasporic identity. The concluding chapters, Five and Six, grant the artists’ Diasporic trajectories visual narratives through an exploration of their artwork. The chapters uncover personal links between their artwork and their Diasporic context, and therefore highlight their work’s Diasporic iconography and biographical significance. The imagery in these chapters thus offers unique insights into the turmoil of war, exile, and loss, and the complexities of the Diasporic experience. Overall, the study rethinks the concepts of ‘home’ and ‘exile’ as grounded in fixed geographical foundations, and upholds that fundamental to the complex mapping of such notions is its location within the geographies of the mind.
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Grebius, Sofia, and Jane Karlsson. "Äkta dans : en studie av förändringar i konst och konstnärskap beroende på kulturbyte, fallet Abdul Rahim Ghafori." Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2433.
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This study examines the nature and possible causes of the changes in the art and artistry of Abdul Rahim Ghafori, an Afghan artist who has migrated to Sweden. The premise of this paper is that over time a person who migrates to another culture will undergo change. In an artist this change should manifest itself in his art and artistry. The study examines this process of change and how it is manifested in the artistry and art of Abdul Rahim Ghafori. The study intends to increase knowledge and understanding of the changes a person undergoes when experiencing a culture change.
Studien är en detaljerad fallstudie vilken ingående belyser ett konstnärskap och utförligt diskuterar ett antal av konstnärens verk. Studien undersöker vilka förändringar i konst och konstnärskapberoende på kulturbyte som kan skönjas hos den afghanske men till Sverige invandrade konstnären Abdul Rahim Ghafori. Att det över tid sker en förändring hos en person som invandrat till en annan kultur är ett utgångsantagande för studien. Hos en konstnär bör denna förändring visa sig i konst och konstnärskap. I studien undersöks vad som händer och hur detta visar sig i Ghaforis konstnärskap och konst samt vilka möjliga orsaker dessa förändringar har. Studien avser att utöka kunskapen om och förståelsen för de förändringar en människa går igenom när han eller hon byter kultur.
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Penet-Merahi, Camille. "L’écriture dans la pratique des artistes algériens de 1962 à nos jours." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL002/document.
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Cette thèse se propose d’apporter un éclairage nouveau sur la pratique des artistes algériens de 1962 à aujourd’hui en examinant les rapports entre écritures et œuvres, qu’il s’agisse d’imbrication avec des mots dans la création artistique comme les titres, d’autonomie avec des écrits d’artistes ou de pratiques collectives dans le cas d’un travail en commun entre artiste et écrivain. À partir d’un corpus constitué de figures tutélaires de la période post-indépendance telles que Mohammed Khadda, Choukri Mesli ou Denis Martinez, d’artistes des années 1990 comme Adel Abdessemed, Kader Attia ou Rachid Koraïchi et de la jeune génération représentée par Yasser Ameur, Walid Bouchouchi ou Souad Douibi, notre objectif est d’interroger les liens entre évènements historiques et écriture dans la pratique artistique. Dans un premier temps, durant les années qui suivent l’indépendance et la volonté de s’émanciper des instituions coloniales, au moment où se met en place un nouvel « art algérien », on observe une manière d’envisager l’écriture, soit comme réactivation du passé (national), soit comme vecteur d’arabisation, soit comme revendication de diversité linguistique, soit comme quête d’abstraction. Il s’agit ensuite, pour la période de 1988 à 2000, de mettre à jour les particularités d’une écriture de l’exil et de l’intitulation des œuvres à l’étranger en insistant notamment sur l’extranéité et la revendication identitaire avec le soufisme. Enfin à partir de 2000, une nouvelle scène artistique se met en place en Algérie. Objet de transmission, l’écriture dans l’art se déploie dans un contexte de globalisation accrue, à un moment où la circulation des artistes et des œuvres change d’échelle. Ce rapport nouveau à l’écriture est envisagé dans une perspective comparatiste avec le Maroc et la TunisieThis thesis seeks to shed new light on the practices of Algerian artists from 1962 to the present day by examining the connection between writings and works of art, whether in the interweaving of words in the artistic work such as the titles, the autonomy of the artists’ writing, or the collaborative practices of artists and writers. Drawing from a corpus of work consisting of tutelary figures of the post-independence period such as Mohammed Khadda, Choukri Mesli, or Denis Martinez, of artists from the 1990s such as Adel Abdessemed, Kader Attia, or Rachid Koraïchi, and the young generation represented by Yasser Ameur, Walid Bouchouchi, or Souad Douibi, our objective is to question the connections between historic events and writing in artistic practices. At first, during the years which follow the independence and the will to become emancipated established colonial, as is set up a new "Algerian art", we observe a way of envisaging the writing, either as reactivation of the (national) past, that is as vector of Arabisation, as claiming of linguistic diversity, or as a quest of abstraction. It is then a question, for the period from 1988 to 2000, to examinate the peculiarities of a writing of exile and the naming the works abroad by insisting in particularly on the foreignness and the identity claiming with the Sufism. Finally, from 2000, a new artistic scene emerging in Algeria. As an object of transmission, writing in art is increasingly used in a global context leading to a moment when the circulation of artists and works changes of scale. This new connection to writing is envisaged in a comparative perspective with Morocco and Tunisia
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Friedman, Betty McClanahan. "The princess in exile : the alienation of the female artist in Charlotte Bronte, George Eliot, and Virginia Woolf /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341333416.
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Yahi, Naïma. "L' exil blesse mon cœur : pour une histoire culturelle des artistes algériens en France : 1962-1987." Paris 8, 2008. http://www.theses.fr/2008PA083637.
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Ce travail de recherche se propose de faire le récit de l’histoire culturelle des artistes algériens en France, du lendemain de l’indépendance algérienne en 1962 jusqu’à la fin de la mode beur en 1987. Cette thèse s’appuie sur une chronologie culturelle des Algériens en France et sur l’analyse des principales œuvres produites. Notre réflexion porte également sur les conditions de production, le degré de réception de ces œuvres et analyse les publics : les artistes algériens on-t-ils un public en France ? De quel(s) type(s) ? Quelles sont les caractéristiques de l’expression culturelle algérienne en France ? Qu’est ce qu’un artiste algérien en France ? Quels sont les circuits de financement dont ces artistes bénéficient ? Quels messages véhiculent ces œuvres ? Avec quel accès à la médiatisation ? Dans une première partie, nous verrons comment les thèmes de la guerre d’Algérie et de l’exil transcendent la littérature algérienne de langue française et le répertoire musical des Algériens en France. Dans une seconde partie, nous analyserons comment l’immigration algérienne use de l’action culturelle comme d’un moyen de revendication sociale et politique dans le cadre de concerts et de pièces de théâtre. Enfin, dans une dernière partie, nous décrirons les circonstances qui président à l’avènement médiatique des artistes issus de la seconde génération, qui donnent sens au concept de société multiculturelleThis research proposes to analyse the cultural history of the Algerian artists in France from the Algerian independence, in 1962 until the end of the « beur » fashion in 1987. This dissertation is based on a cultural chronology of the Algerians in France and the analysis of major works. Our reasoning considers the conditions of production, the degree of reception and describes the audience: Does the Algerian cultural expression have a public in France? What are the characteristics of the Algerian cultural expression in France? What is the definition of an Algerian artist in France? What sort of financial resources do benefit to the Algerian artists? What are the main messages conveyed by these works? What media coverage do they have? And what sort of audience? Firstly, we will see how the topics of the Algerian War and exile transcend the Algerian literature written in French and the Algerians’ musical repertoire in France. Secondly, we will analyse how Algerian immigration uses cultural action as a mean of social and political demands, through concerts and plays. Lastly, we will describe the circumstances in which the media coverage of the « beur » artists of the « second generation » improves, and eventually give meaning to the concept of multicultural society
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Zullo, Douglas R. "Jiri Kolar in Exile: Ubiety and Identity in Two Views of Prague." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132666987.
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Bory, Plenet Aimée. "Exil(s) et création : dans quelle mesure l'éloignement du pays d'origine peut-il agir sur la création artistique et l'influencer ?" Paris 4, 1997. http://www.theses.fr/1997PA040205.
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Zapperi, Giovanna. "Stratégies artistiques et masculinité : Marcel Duchamp et son entourage entre avant-garde et culture de masse, 1909-1924." Paris, EHESS, 2005. https://buadistant.univ-angers.fr/login?url=https://www.cairn.info/l-artiste-est-une-femme--9782130606543.htm.
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Cette thèse traite des relations entre la masculinité de l'artiste et la culture de masse dans le contexte de l'avant-garde des années 1910. Les artistes européens, exilés à New York en raison de la guerre, font l'expérience d'une modernité industrielle, sociale et sexuelle qui les conduit à remettre en cause leur propre identité artistique. Marcel Duchamp a donné à cette crise son expression la plus radicale, dans un contexte dominé par le bouleversement des anciens paradigmes sexuels et la montée en puissance du capitalisme industriel. La mécanisation du travail, le développement de la consommation de masse et les modifications de la condition féminine affectent fortement l'avant-garde de ces années-là et conditionnent les différentes stratégies adoptées par les artistes dans la redéfinition de leur masculinitéThis dissertation focuses on the relationship between the artist's masculinity and mass-culture in the context of the 1910s avant-garde. Exiled in New York because of the war, several European artists, experienced an industrial, sexual and social modernity that led them to call into question their own identity as artists. Marcel Dchamp gave his most radical expression to this artistic crisis in a context dominated by the upheaval of the old sexual paradigms and the rise of industrial capitalism. The mechanization of labor, the development of mass- consumerism and the transformations in the condition of women strongly affected the avant-garde of the years and determined various strategies adopted by the artists in order to redefine their masculinity
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Kulykivska, Mariia. "President of Crimea. Constitution : Author(s) Autonomous Republic of Xena-Maria." Thesis, Konstfack, Institutionen för Konst (K), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7252.
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In this essay, two voices are heared, from two women: a certain artist Xena, who talks about her life and its dramas, interwoven with her own experiences from her diaries; and the voice of Maria, who analyzes Xena's life story and her art, diffracted through the prim of the history of 21stC art. Art the outset, "President of Crimea. Constitution", announces its author as Xena-Maria; but it is not yet clear whether the author is one person or two, nor who they are. Is it Maria who writes here, or Xena, or both? Or are they one and the same person? But at the end of the story, which is told rather in a form of certain legends and fairy tales, Maria and Xena turn into one whole, and meaningfully put an ellipsis after the words "to be continued". This reception was specially intended by the artist Maria Kulikovska, author of this essay, in order to protect both herself and the reader from possible persecutions by migration services and goverment officials of various countries, especially Russia. Also, for her it is an opportunity to step aside and analyze her own life and art form a third person, about which, perhaps, a fictional character from her childhood talks - a sensible step for Maria Kulikovska. The step that her creative language conceptually continues is to replicate casts of her own body and establish them in different spaces and contexts. So she fairly confuses the viewer as to where is the truth, and where is fiction; where is herself, and where is her clone - only now, here, she has applied the same trick in her text. This essay tells a very personal story of the life of a human body, a migrant woman in forced relocation, displacements, alienation and persecutions for her views on life and the conduct of society, and for her moral values expressed throught architecture, sculpture, drawings, performances, actions and public statements. Through the prism of geopolitical upheavals, it tells the artist's own story: How her analysis of own body position and boundaries helped her overcome stigma regarding the body of a woman from Eastern Europe, and how art can save and redeem in an unending inner drama.
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Krebs, Sophie. "L'Ecole de Paris, une invention de la critique d'art des années vingt." Paris, Institut d'études politiques, 2009. http://www.theses.fr/2009IEPP0045.
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L’Ecole de Paris est née en 1923 au cours d’une querelle dite « des étrangers » ou des « Indépendants » au moment de l’organisation des salons de 1923 et 1924. La critique d’art, celle favorable aux étrangers, a inventé cette notion pour séparer les étrangers installés depuis longtemps en France des vrais étrangers, en s’appuyant sur le constat d’une immigration forte notamment à Montparnasse. Grâce à sa position dominante dans la presse et l’édition, elle a révélé les réseaux d’artistes qui unissent Français et étrangers, écrivains et artistes fondés sur une entraide mutuelle. Ces réseaux traversent ceux d’un anarchisme diffus mais bien présent. Cette même critique a fabriqué mythes et légendes individuelles ou collectives d’un Paris accueillant et prompte à faire éclore tous les talents venus du monde entier. Pourtant, derrière cet universalisme revendiqué, la critique au cours de ces années 20 révèle des positions de plus en plus divergentes, passant d’un cosmopolitisme généreux à un nationalisme frileux, pouvant même amener à une xénophobie plus marquée au nom de la défense de l’art français. La question de l’antisémitisme accompagne le débat sur les étrangers, posant parallèlement la question d’une école juive (de Paris) ou d’un art juif. Enfin, au début des années 30 qui marque la fin de l’Ecole de Paris, les institutions muséales séparées en deux, le Jeu de Paume réservé aux étrangers et le Luxembourg aux seuls français, s’emparent de la notion d’Ecole de Paris pour introduire la modernité sur les cimaises. La naissance du musée national d’art moderne qui réunit les deux collections ne résout pas le problème qui établissait une distinction « ethnique » et non artistique« L’Ecole de Paris », was launched in 1923, in the course of a quarrel said « Quarrel of the Independants », during the organization period of the 1923 and 1924 « Salon ». The art critics, who were in favor of the foreigners, invented this notion to distinguish the foreigners installed in France for a long time, from the true foreigners. They were relying on the fact that a strong immigration movement could be observed in Montparnasse. Thanks to its dominating position in the Press and in the publishing business, this movement revealed artistic networks, which were associating French and foreigner writers and artists, and which were grounded on mutual aid. These networks were crossed with diffuse but very present anarchistic networks. The same art critics fabricated individual or collective myths and of a welcoming city of Paris, which would be eager to let blow all talents from the entire world. Yet, behind this claimed universalism, artcriticism revealed divergent positions along the 1920s, from generous cosmopolitism, to overcautious nationalism, even to a more affirmed xenophobia in the name of the defense of French art. The question of anti-Semitism goes along with the debate on foreigners, and at the same time raises the question of a Jewish School of Paris and Jewish art. At last, in the beginning of the 1930s, a time which marked the end of the “Ecole de Paris”, the museums then grabbed the notion of “Ecole de Paris” in order to introduce modernity. The new “Musée national d’art moderne”, which bound the two collections, does not solve the question which established an “ethnic” distinction, and not an artistic one
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Mascarenhas, Nilton. "O papel das criações artísticas na integração de refugiados em Paris: o caso dos artistas refugiados do “Atelier des artistes en exil”." Master's thesis, 2020. http://hdl.handle.net/10400.2/10109.
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Tipo universal de linguagem, a arte é um dos meios mais utilizados para expressar
pensamentos, emoções, identidades de grupos e indivíduos. Por via da arte, grupos humanos
e indivíduos influem sobre o comportamento dos seus semelhantes, influenciam a opinião,
exercem a cidadania, manifestam as suas reivindicações políticas e de direitos, críticas ao
estado do mundo e da sociedade assim como projetam as suas visões do mundo. Com efeito,
as práticas artísticas são instrumentos úteis para a compreensão da alteridade e das relações
interculturais. Sendo ela mesma um espelho da diversidade cultural humana, a arte tem
potencialidades para facilitar a comunicação com o “Outro”, o qual pode assumir várias
formas: tanto pode designar uma posição fora de nós ao qual atribuímos os mesmos
pensamentos e sentimentos que nós, como também pode representar um perigo, o rival ou o
inimigo. O “Outro” pode também ser o estrangeiro, o hóspede, o ser que vem de longe, que
tradicionalmente as religiões aconselham que sejam recebidos e abrigados. É precisamente
nesta última forma que se concentra o nosso estudo. Na sequência do aumento dos fluxos
migratórios em direção à Europa entre 2015 e 2016, a França à semelhança de outros países
da UE, viu-se confrontada com a necessidade de pensar a integração de um número crescente
de requerentes de asilo e refugiados. Face à insuficiência das respostas da parte do Estado,
surgiram muitas iniciativas da parte da sociedade civil que visam promover a hospitalidade
e a integração plena de migrantes. A partir do estudo das atividades de um espaço cultural
de Paris criado com essa finalidade, atelier des artistes en exil, do estudo das narrativas e
práticas de artistas refugiados a ele associados, procuramos compreender qual é o papel da
arte na integração de refugiados.Universal form of language, art is one of the most used means to express thoughts, emotions, individual and collective identities. Through art, human groups and individuals influence the behavior of their peers, influence opinion, exercise citizenship, manifest their political and rights demands, criticizing the state of the world and society as well as projecting their views of the world . Indeed, artistic practices are useful tools for understanding otherness and intercultural relations. Being itself a mirror of human cultural diversity, art has the potential to facilitate communication with the “Other”, which can take many forms: it can either designate a position outside of us to which we attribute the same thoughts and feelings as we, but it can also represent a danger, the rival or the enemy. The “Other” can also be the foreigner, the guest, the being who comes from afar, that traditionally religions advise to receive and give shelter. It is precisely in this latter form that our study is concentrated. Following the increase in migratory flows towards Europe between 2015 and 2016, France, like other EU countries, was faced with the need to think about the integration of an increasing number of asylum seekers and refugees. In view of the insufficient responses on the part of the State, many initiatives have emerged from civil society that aim to promote hospitality and the full integration of migrants. From the study of the activities of a cultural space in Paris created for this purpose, atelier des artistes en exil, from the study of the narratives and practices of refugee artists associated with it, we seek to understand what is the role of art in the integration of refugees.
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Jenkins, Elizabeth Speight. ""faithful Departed": tracing the themes of exile and betrayal through James Joyce's Dubliners, A Portrait of the Artist as a Young Man, and Exiles /." 2008. http://www.lib.ncsu.edu/theses/available/etd-03142008-150110/unrestricted/etd.pdf.
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Rokytová, Bronislava. "Exilová výtvarná scéna v Čechách a její následné působení v zahraničí, 1933 až 1945." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313185.
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The exile visual art scene in Bohemia and its subsequent activities abroad, 1933-1945 The development of the political situation in Germany during the thirties of the 20th century, when the Nazi Party was radicalizing and Adolph Hitler's power gradually became unlimited, meant a danger not only for the political opponents of Nazism. Artists who work didn't meet the criteria of the new aesthetic or even engaged in its detriment, had to seek for asylum. The First Czechoslovak Republic became one of these refuges. The Czech-German art scene was a significant aid for the integration of the refugees into the society. Some of its personalities returned to their birthplace for similar reasons as anti-Nazi refugees. Czech-German conditions provided to emigrants an opportunity for active continuing of the struggle against Nazi regime, also with a backward impact in Germany. But the support by the Czech population and the state went through series of changes under pressure of Nazi German government and the growing influence of the Sudeten areas. Artists with the status of refugees were obliged to follow a set of state regulations and orders, which often bureaucratically confined their creative activity. Nevertheless, some of their artworks, contacts and memories show their positive attitude to the Czech...
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Yu-Chia, Hsieh, and 謝侑佳. "The Imprisonment and Exile of “the Other”:to Search for “ the Other” in the Field of the Artistic Creation." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/55635799382392773317.
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碩士臺北市立教育大學
視覺藝術研究所
95
To reveal the research purpose on attaining the internal state of self-accepttance and self-approval, the author of this essay probes the factors of the gender’s difference, introspects the possibility beyond the duality of the male and femal, utilizes the aspect of “the other” to clarify the feminine value and social status, and furthermore, integrates the arts of quilt to present her individual viewpoint. In the first and second chapters，the author takes the concept of decentralization in the theory of deconstruction as a starting point. Then, on the one hand, she quotes not only the analysis of “the other” from Lacan, Jacques ( Marie Emile ), but also the reflection of female artist, Miriam Schapiro, to explore the connection between the issues of Hakkas（one of ethnic groups in Taiwan）female, and mother vs. daughter; On the other hand, the author looks back upon the formation background of the traditional Chinese needlework, as well as the features of the Western arts and crafts, to confirm her own position of artistic creation. The author takes quilt as the main form of expression to produce her own artistic work. Through the reviewing process of her mother and the past, in order to examine her own self-identity and self-approval, the author’s creation, combining the elements and perception of fabrics, patching, mother image, and “the other”, is used as an attempt to excavate her known and unknown ego.
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Fergus, Larissa. "My sister chaos : women and exile : a novel and inter-layered exegesis." Thesis, 2010. https://vuir.vu.edu.au/30098/.
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My Sister Chaos: Women and Exile is a creative writing thesis in a single volume. It
comprises a novel - My Sister Chaos - and exegesis. Both novel and exegesis are
centred around a research question: 'What are some ways of constructing and
representing the idea of exile as it relates to women, particularly as lesbians and as
artists?' The novel responds creatively to the question, and the exegesis engages it
through the forms and processes of academic analysis. The research draws on the
theoretical frameworks of feminist human rights and socio-political theory, as well as
lesbian feminist literary theory and philosophy. Conceptual links and associations are
created, images juxtaposed, and patterns identified to generate new ideas through the
interaction of both creative and 'academic' methodologies. The broad question of how
exile is experienced by women is layered with considerations of how women who reject
'the category of sex' live in a society founded upon that distinction, and how they, as
artists, seek to understand and represent a world to which they do not 'belong.'
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Donné, Tereza. "John Heartfield v Československu." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340352.
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Introduced diploma thesis John Heartfield's stay in Czechoslovakia 1933-1938 deals with artistic creation and stay of the origin German artist John Heartfield in Prague from 1933 till 1938 which had become his haven after Hitler's after Hitler's takeover of power. This thesis analyses Heartfield's work in Czechoslovakia, from creating photomonages and political caricatures, which he was publishing in workers newspapers, Arbeiter-Illustrierte Zeitung and Volks-Illustrierte, move of berliner publisher The Malik to Prague, participation in the Oskar Kokoschka Bund, to book covers for Czech publishers or his participations in Prague exhibitions like International exhibition caricatures and humour or International exhibition of photography. Provided historical-cultural analysis also examines other Heartfield's activities linked with his Prague stay. These are his relationship to Czechoslovakia formed by artistic, social and working contacts with Czech leftist orientated intellectuals and artists and reflections his works in Czech environment. Heartfields fruitful stay in Czechoslovakia was ended in a hurry thanks to occupation of Czechoslovakia in 1938 and by his moving into exile in London.
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Jarolímková, Klára. "Paříž jako útočiště českých umělců po roce 1945." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-398676.
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The Master thesis has for its objective mapping of destiny of czech comunity in Paris from sixties to eighties. Its purpose is not to get a complete list of all artists, who came to Paris. It's just a sellection of those important persons, who broke through Paris. The personal interviews play an important part of the sources. The thesis is not structured in medallion-biography way, but it is lined up in a thematic way. Most of the artists handled in their new home country withe similar problems and situations. First theoretical part characterise the period, the environment, the czech-french relations and the general phenomena of emigration in the czech historical memory. In sixties the czech-french relations started to be reanimated and many french art critics visited Czechoslovakia and they wrote about czech art. Beside France, the czech emigration refuged in sixties largely to West Germany, United States of America, Canada, austrian Wien, Swiss and nordic countries. Individuals art centres were connected to others by friendships and artists visited themselves. Second and more extensive part of the thesis works with the oral and witten interviews. The respondent artists are Miloš Cvach, Roman Kameš, Karel Machálek-Zlín, Miloslav Moucha, Vladimír Škoda, Ivan Theimer and art historian Jana Claverie....