Relevant bibliographies by topics / Fields of Research – 410000 The Arts – 410200 Visual Arts and Crafts Studies

Academic literature on the topic 'Fields of Research – 410000 The Arts – 410200 Visual Arts and Crafts Studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Dissertations / Theses on the topic "Fields of Research – 410000 The Arts – 410200 Visual Arts and Crafts Studies"

1

Woods-Jack, Virginia. "The empty portrait : encounters with a photographer : an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Fine Arts, Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/963.

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The Empty Portrait forefronts a new experience of the portrait for all participants involved: the photographer, the subject, and the viewer. Breaking away from the camera, the materiality of the photograph, and the portrait as a locus of identity are central aspects of this new experience. As it challenges the relationship between photography and temporality, The Empty Portrait attempts to blur the boundary between the photographic and cinematic image, asking the viewer to look and contemplate further.
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Jacobson, Shelley. "Temporal landscapes : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/907.

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Temporal Landscapes is a research project concerned with culture-nature relations in the context of contemporary industrial land use in New Zealand; explored visually through the photographic representation and presentation of gold mining sites – former, current and prospective – in the Hauraki region. In the current period of industrial capitalism, featuring the mass exploitation of natural resources, nature is commonly thought of as subservient to humankind. This stance, with its origin in scientific ideology of the 17th Century, is interesting to consider in relation to contemporary notions of landscape, and the ‘ideal’ in nature. In New Zealand, a balance is being sought between interests of sustainability and conservation, and of industry and economy. This is not to say that industry opposes environmental safeguards; in contrast, sustainable management including the rehabilitation of land post-industrialisation is integral to modern mining practice in New Zealand. With this emphasis on controlled industrial progress, two key factors emerge. Firstly, this level of control implicates itself as a utopian vision, and secondly, industrialisation is advocated as a temporary situation, with industrial land as transitory, on the path to rehabilitation. The research question of Temporal Landscapes asks; in considering contemporary industrial land use in New Zealand within a utopian framework – focussing specifically on gold mining in the Hauraki Region – has our ideal in nature become that of a controlled, even post-industrial, landscape? The photographic representation of these sites offers a means to explore and express their visual temporality. With the expectation of industrial sites as fleeting and rehabilitated sites as static utopias, it would seem that this industrial process is a kind of contemporary ideal. Presented as a flickering projection piece, 23 Views. (Prospective gold mining site, Golden Valley, Hauraki, 2008 / Martha gold mine and Favona gold mine, Waihi, Hauraki, 2008), and a set of selectively lit prints, Untitled I. (Garden, pit rim walkway, Martha gold mine, Waihi, Hauraki, 2008), Untitled II. (View of pit, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), and Untitled III. (View of water treatment pond, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), they act as landscapes of partial comprehension.
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Hunkin, Mathew. "Drawing from experience : visual modality in historic narrative illustration : a thesis presented in partial fulfilment of the requirements for the degree of Master of Design, Massey University, Institute of Communication Design, College of Creative Arts, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1342.

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This research investigates critical methods for approaching aesthetic design decisions in illustration. As a method of communication illustration qualifies its subjects through aesthetic choices, or modalities. The qualifying nature of these modalities can affect communication in an image and this research seeks an explicit understanding of how this communication occurs. This practice-based research project employs two aesthetic extremes, line and tone, in the creation of four historic visual narratives designed to fill visual gaps in the history of 1 Commando Fiji Guerillas. Line and tone are tendered as a means of visually negotiating the informing records of the Fiji Commando experience, records characterised by both conflict and absence. Can these disparate, conflicting, yet necessary records of experience be visually acknowledged in an illustrated expansion of the Fiji Commando's visual history? This position serves as the point of departure for research. An understanding of the communicative properties of line and tone is followed by investigation into their relationship to the propositions they represent, with initial research suggesting that modalities reflect the social contexts from which they encode. This relationship implied a means to negotiate the historic records necessary in a contemporary visual articulation of the Fiji Commando experience through the strategic use of aesthetic modalities to acknowledge the nature of informing source material. This practice-based approach to research allowed the consolidation of both the possible and the probable in the creation of a new visual, historic text, while revealing analytical approaches to aesthetic choice.
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4

Ivory, Andrew John. "Street photography in the Google age : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1309.

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The role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.
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Caudwell, Catherine Barbara. "Failure for dummies : intersections in emotive objects, busy women and meaningful pursuits : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1268.

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This extended essay explores a historical investigation into the connections between women and machines, particularly focusing on the traditionally gendered processes of sewing, weaving and other processes deemed ‘handicrafts’ and how they parallel techniques in the evolution of the technologies we recognise today. Within this relationship, the nature of these acts to provide comfort is investigated and related to the practice of art making. This historical lineage is examined in the present day where digital and electronic technologies impact everyday life and cause new a brand of anxieties that require a fresh approach to healing and soothing. Through the analysis of this research my practical input and output are informed and result in the development of an installation of objects that examine the electronic object and how it can be imbued with or reflect these realities.
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6

Hansen, Lans. "Desirable impact : an exploration of how design for desirability can enhance a forecast snowboarding safety product." Massey University, 2010. http://hdl.handle.net/10179/1328.

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With origins in skateboard and surfing culture, snowboarding has grown to become a mainstream recreational and professional sport, officially recognized in the Olympic Games. This popularity can be attributed to several factors, including the sub-culture of rebellion and self-expression it embodies and the daring, dynamic aerial maneuvers and stunts often portrayed in the media. However, the sport also exposes participants to a well-documented injury pattern, with injuries rates typically twice as frequent as those seen in skiing. While a number of studies have shown existing snowboarding safety products reduce the risk of injury, these readily available products are not widely used among participants who view them as “uncool” and “unnecessary”. Exploring how affective features and attributes can improve the desirability of a forecast snowboarding personal protective equipment (PPE) product, this thesis proposes that a primary requirement for these products must be desirability - to make attractive, to create a positive impression, to strengthen ones identity and engender appreciation. Responding to these emotional needs, this thesis presents a proposal for a product designed to enhance user-experience, challenging the current philosophy of safety products and their ‘uncool’ perceptions.
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7

McGrath, Shane Michael. "Making as a tool of self-examination and search for meaning : sifting through remaining residue as the tide of faith ebbs away : an exegesis presented with exhibition as fulfilment of the requirements for thesis Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1311.

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At the commencement of this thesis I saw myself standing at the outer limits of my knowledge with my nose pressed against a wall of demarcation. This wall was built from my willingness to tolerate systems of control in silence and from my unwillingness to make my beliefs and personal convictions known. I set out at the start of this journey with two intentions. I want to raise my voice because I didn’t want to pretend about my faith anymore. And for the first time use my art practice as a mouthpiece to tell these truths.
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Korver, Ruth M. "In memory of cats : the camera and the ordinary moment : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/956.

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In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.
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9

Trevelyan, Peter Ross. "Formal confusion: virtuality and utopian space : an exegesis presented with exhibition as fulfillment of the requirements for thesis, Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/867.

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This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.
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10

Hudson, Sarah Peti Sian. "Other identities : portrayals from the past and what remains in the present : an extended essay presented in partial fulfilment of the requirements for the post-graduate degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1310.

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How can the reintroduction of colonial depictions of Maori women in early twentieth century postcards engage a modern audience in a dialogue concerning the aestheticisation of Maori women, both past and present? Drawing on questions incited by the visual representation of my own family, the constructs of photographic depictions of Maori women in early 1900’s postcards will be examined. The correlation between the past and present will be the focus of this essay as the research considers whether the romantic, ancient ideals imposed onto Maori women by male colonialist photographers are still apparent in the present.
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