Dissertations / Theses: 'Modernism (Art) Penis in art'

1

Galati, Gabriela. "Duchamp meets Turing : art, modernism, posthuman." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6609.

Full text

Abstract:

In her book How We Became Posthuman (1999), Katherine Hayles analysed the process through which the conception of the liberal humanist subject led the way to the posthuman subject, a subject who lives in complete entwinement with the digital. This process, however, was not innocuous: it made the (fallacious) perception that information could do without material instantiation pervasive within many fields of knowledge, a process that Hayles contends originates in the Macy Conferences and the evolution of cybernetic theory. This research identifies an analogous process within the artistic realm: when Clement Greenberg delineated the concepts of opticality and colour field as the main characteristics that “defined” Modernist painting, he conceived of these in a purely disembodied subject (Krauss 1993). In this context, this work proposes to consider that the actual overcoming of modernism comes along with the advent of the posthuman, tracing its origin to Marcel Duchamp and his invention of the readymade, and not with postmodernism, the theoretical consistency of which, at least in the artistic field, this research will question. A first aim of this work will be to unify the main concepts and theories of the artistic field with those of cybernetics, to bring together ‘Turing land’ and ‘Duchamp land’ (Manovich 1996). For achieving this, digitalisation processes are not to be understood as representations of some material reality, but rather as ontological repetitions through which difference is conveyed. This is why the consideration of the temporal dimension of the archive as event is fundamental for understanding that the archive can only exist in its change, in its movement, in its action, in its metamorphosis, and thus the relevance of digitalisation processes in this regard becomes evident. Therefore, the archive is not only an issue of memory, but also a question yet to come, of conformation both of the future and subjectivities (Derrida 1967b, 1995). In this context, the present work advances the emergence of a digital subject with the emergence of new media, and theorises that the constitution of this subject happens by assuming a ‘point of view’ (Deleuze 1988) in the technological unconscious (Vaccari 1979). Reflecting upon the effects of digitalisation and actualisation (Deleuze 1968) on the subject, on how the digitised artwork and event affects, and changes, the subject observing and interacting with it, the present research will demonstrate that it is pertinent to talk about a subject who is embodied in the digital. In this sense, if the digitised artwork in the archive needs a subject to be actualised, this process also has its consequences for the subject. Therefore, the digital subject is the possibility of actualisation of the archive, and at the same time changes with it: she assumes an always-different ‘point of view’ constituted for her by the floating signifier in the technological unconscious. All these theories, which are part of the posthuman, are presented as the actual overcoming of modernism to show that the readymade as medium is, at the same time, both one of the points of rupture and the key link to bring back new media and art theory as art at large.

APA, Harvard, Vancouver, ISO, and other styles

2

Sharp, Neil. "Modernity, art and art education in Britain, 1870-1940." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285129.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Park, Jeong-Ae. "Modernism and postmodernism in contemporary Korean art : implications for art education reform." Thesis, Roehampton University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362641.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Christie, James. "Fredric Jameson and the art of Modernism." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/60251/.

Full text

Abstract:

The primary subject of this thesis is the work which Fredric Jameson has published since the year 2000. It argues that this date has functioned as a kind of watershed in thinking about Jameson, and that the work which appeared after it has not yet received close or rigorous enough critical attention, especially in comparison to his very widely read and discussed work of earlier decades; in particular his various writings from the 1980s on the subject of postmodernism. It claims that as a consequence the full significance of this writing has been broadly overlooked. The thesis identifies the existence of a 'modernist turn' within this later work which is focussed around three texts in particular; A Singular Modernity of 2002, Archaeologies of the Future of 2005, and The Modernist Papers of 2007. It claims that the mutation in regard to modernism which takes place in these works, and the emergence of modernism as the central concern of Jameson's thinking, is not just valuable in itself in terms of the wider contemporary movement within the academy towards an interest in global forms of modernity. It also constitutes a highly significant revision on Jameson's part of the foundations of much of the vast body of far more canonical work which preceded it. The aim of the thesis is to explore this revision and to effect a subsequent movement in the view of Jameson's thinking onto a far more firmly modernist footing. In asserting the value of this modernistic rethinking of Jameson's oeuvre the thesis argues for a resituating of Jameson's thought in relation to two wider theoretical traditions. The first of these is the Frankfurt School, and in particular the form of modernism associated with Theodor Adorno. The second is the current of post-structuralism contemporary with Jameson's 1980s work; in particular the alternative, post-structural model of postmodernism laid out by Jean-François Lyotard, and the deconstructive form of reading associated with Paul de Man. This argument takes place in four chapters. The first discusses the construction of modernism which occurs in Jameson's key works of the 1980s. The second outlines the revision which this construction is subjected to by his later modernist works. The final two chapters then develop the significance of this model of modernist revisionism by using it to intervene in two of the most widely-discussed and controversial areas of Jameson's career to date; the question of totality (the subject of the third chapter), and Jameson's engagement with the subject of 'Third-World Literature' (the subject of the fourth).

APA, Harvard, Vancouver, ISO, and other styles

5

Trodd, Tamara Jane. "Mediums and technologies of art beyond modernism." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446623/.

Full text

Abstract:

My thesis is a study of the reception of photography into art practices of the twentieth century. It is addressed to the transformations in the idea of an artistic medium which this reception produced. These transformations are studied theoretically by examination of key critial concepts and narratives, including Laszlo Moholy-Nagy's and Walter Benjamin's accounts of the obsolescence of mediums under the pressure of new technologies, Clement Greenberg's theory of modernist medium-specificity, and Rosalind Krauss's recent idea of the 'post-medium condition' as a framework for contemporary critical practice. Transformations in the idea of the artistic medium are also studied in material terms, through a focus on studio practice. The studio photograph is a key document studied. Overall I argue for an understanding of artistic mediums which follows Benjamin's theorization of a 'technology', in his 'Little History of Photography' (1931), 'unpretentious makeshifts meant for internal use'; which helps expand a history of art's involvement with mediums beyond the critical horizons of modernism. There are five chapters, each of which conducts a study into the work of specific artists, in chronological progression. In Chapter One I analyse the oil-transfer works of Paul Klee (1919-1925), interpreting their compound apparatus of making in relation to photography. Chapter Two is a study of Hans Bellmer's Doll photographs (1933-1937), which compares these to photographs taken by Picasso and Duchamp in their studios. Chapter Three considers Ellsworth Kelly's La Combe, I-IV (1950-1951) in relation to the Duchampian model of the cast shadow and John Cage's theorization of 'silence'. Chapter Four examines the aestheticizing effects of conceptual art via a study of artists' uses of the map and functions of mapping. Finally, in Chapter Five, I show the ways that the historic issues tracked help interpretation of contemporary practice, in relation to the work of Tacita Dean.

APA, Harvard, Vancouver, ISO, and other styles

6

Matthews, Carrie McGowan John. "Articulations of anarchist modernism putting art to work /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1438.

Full text

Abstract:

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Apr. 25, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.

APA, Harvard, Vancouver, ISO, and other styles

7

Mentan, Julia Elizabeth. "Beyond art and politics : voices of Spanish modernism /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6661.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Hulks, David. "Adrian Stokes and the changing object of art." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246431.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Hincks, Anthony. "Modernism and the crisis in art : the structure of fine art practice : a sociological account." Thesis, University of Leicester, 1988. http://hdl.handle.net/2381/34519.

Full text

Abstract:

The fine arts can be described as in a state of crisis, manifest in the tendency for style to fragment and pluralism in art criticism - the view that the work of art is a document and that there are no privileged criteria of artistic value. Following the example of the anti-art avant-garde, recent art critical and sociological theory has rejected the notion of artistic 'specialness', and undermined the category of aesthetic experience. In this context, it has been suggested that art is finished, that a new era of Post-modernity has begun. This thesis confronts these claims by raising the question of the nature of art. This thesis argues that:;- Theorisation about the nature of art can be located within a structural framework, itself a response to the existential reality of the socially mediated categories of art and aesthetic experience.;- The fine art tradition was historically constituted as a social category, with the theorisation of the special relationship between artist, art object and aesthetic object.;-Theorisation took two forms within the Classical tradition, each developing into distinct aesthetics in the Modernist period, the form of the aesthetic being related to the art style and its social conditions of production and consumption.;- The form of the aesthetic can be shown to be structurally related to the consciousness of freedom/oppression in society, providing an important component in the dynamics of style.;- Contemporary art remains Modernist. Claims concerning the end of art and Postmodernism have wrongly delimited Modernism, often narrowly confined to avant-gardism.;Nonetheless, since 1945, artists have pushed art to the limits of the structural framework that defines it as a special social practice, all but abandoning art's aesthetic core, but not erasing its public's expectation of 'meaning'. In this context, a more evaluative response to art is called for from a critical sociological discourse.

APA, Harvard, Vancouver, ISO, and other styles

10

Krakenberg, Jasmin. "Gothic art and German modernism Max Beckmann and "Transzendente objektivitat" /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4265.

Full text

Abstract:

Thesis (M.A.)--University of Missouri-Columbia, 2005.
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 (December 13, 2006) Includes bibliographical references.

APA, Harvard, Vancouver, ISO, and other styles

11

Godfrey, Mark Benjamin. "The memory of Modernism abstract art and the Holocaust /." Online version, 2002. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.395783.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Godfrey, Mark. "The memory of Modernism : abstract art and the Holocaust." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395783.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.

Full text

Abstract:

This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.

APA, Harvard, Vancouver, ISO, and other styles

14

Monk, Craig. "Transition magazine and the development and transmission of modernism." Thesis, University of Oxford, 1996. https://ora.ox.ac.uk/objects/uuid:8cb82896-5c0f-4209-96ad-fe82fa58afae.

Full text

Abstract:

Our understanding of modern art draws a distinction between the Anglo-American and continental European traditions. These two traditions overlapped in the 1920s and 1930s with the publication of transition magazine, an expatriate American journal based in Paris. Its editor Eugene Jolas was an American raised in Europe who used his little magazine to bring to readers in the United States highlights of literary and other artistic innovations on both sides of the Atlantic. The general purpose of this thesis is to explore the role of transition in the development of modernism from the middle of the 1920s, with an emphasis on the important part played by the magazine in transmitting an international vision of modern art to its English-speaking audience. Chapter One provides a chronological history of transition, framing its story in the context of that which has been written about the perils of producing little magazines. Chapter Two outlines the aesthetic program by which transition came to be edited, exploring whether or not an emphasis on writing prejudiced the presentation of other art forms. Chapter Three examines the issues surrounding translation in transition, and the role of the translator in sharing modern writing across frontiers. Chapter Four explains the importance of James Joyce and Gertrude Stein in transition, outlining the ways in which the former was more appropriate to the program undertaken in the magazine. Chapter Five explores the apolitical foundation of transition, outlining the battles it fought against politically engaged writers between the world wars. Chapter Six assesses the influence of transition in America, tracing the way in which its reception mirrored the general reception of modern art in the United States. Chapter Seven explores the role of the little magazine in the historical writing of modernism, distinguishing between its conservative and avant-gardist impulses.

APA, Harvard, Vancouver, ISO, and other styles

15

Blair, Sean. "Permanent novelty." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5125.

Full text

Abstract:

Thesis (M.F.A.)--West Virginia University, 2007.
Title from document title page. Document formatted into pages; contains vi, 38 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 36-38).

APA, Harvard, Vancouver, ISO, and other styles

16

Edmonson, Patricia K. "The tension between art and industry the Art-In-Trades Club of New York, 1906-1935 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 121 p, 2008. http://proquest.umi.com/pqdweb?did=1605134201&sid=3&Fmt=2&clientId=8331&RQT=309&VName=PQD.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Millward, William. "Abstract painting the development and analysis of innovative processes." Saarbrücken VDM Verlag Dr. Müller, 2003. http://d-nb.info/990055116/04.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

García, Ramón. "Chicano representation and the strategies of modernism /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820853.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Cosgrove, Mary. "Paul Henry and Irish modernism." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Estrada-Berg, Victoria. "Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5587/.

Full text

Abstract:

This thesis identifies and analyzes gendering in the art writing devoted to Lee Bontecou's metal and canvas sculptures made from the 1959 - 1964. Through a careful reading of reviews and articles written about Bontecou's constructions, this thesis reconstructs the context of the art world in the United States at mid-century and investigates how cultural expectations regarding gender directed the reception of Bontecou's art, beginning in 1959 and continuing through mid-1960s. Incorporating a description of the contemporaneous cultural context with description of the constructions and an analysis of examples of primary writing, the thesis chronologically follows the evolution of a tendency in art writing to associate gender-specific motivation and interpretation to one recurring feature of Bontecou's works.

APA, Harvard, Vancouver, ISO, and other styles

21

McLeod, Allan. "Bad gestalt : the dialectics of modernism in London, 1945-1960." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285112.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Ekman, Franciska. "En demokratiserad modernism : i dialog av Jean Prouvé, Charlotte Perriand, Le Corbusier." Thesis, Gotland University, Institution 2, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-484.

Full text

Abstract:

Målet är att få en bättre kunskap om Jean Prouvé och hans arbete, att förevisa om hans vikt i arkitektur- och designhistorien samt att upplysa om de idéer och ideal som var bakomliggande. En diskussion med några konkreta exempel förs runt det samarbete han närde med Le Corbusier och Charlotte Perriand. Detta tycks ha varit avgörande i mognaden och utvecklingen av hans stil och produktion.

The aim of this essay is to acquire a better understanding of Jean Prouvé’s work and of the importance his production had in the fields of architecture and design. It also aims to represent the ideas and principles that were underlying. A discussion is held about the professional collaboration Prouvé nourished with Le Corbusier and Charlotte Perriand by stating specific examples since it seems as relevant in the evolution of Prouvé’s production and style.

APA, Harvard, Vancouver, ISO, and other styles

23

Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Faulkner, S. "A cultural economy of British art : 1958-1966." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284879.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.

Full text

Abstract:

Master of Philosophy
Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

APA, Harvard, Vancouver, ISO, and other styles

26

Balcerek, Katherine Emma. "The Whitney Museum of American Art gender, museum display, and modernism /." NCSU, 2010. http://www.lib.ncsu.edu/theses/available/etd-04012010-131832/.

Full text

Abstract:

The Whitney Museum of American Art founded in 1931 by Gertrude Vanderbilt Whitney offers insight into the role of women patrons in the American art world. Furthermore, the Museumâs contemporary identification with the Museum of Modern Art obscures its unique history and different founding principles. This paper explores the foundation of the Whitney Museum in roughly the first two decades of its existence from 1931 to 1953 to examine how Whitney and the Museumâs first director, Juliana Force, negotiated gender and class ideology and the Modernist discourse to found the first museum solely devoted to American art. Gertrude Vanderbilt Whitney and Juliana Force operated the Whitney Museum based on three main principles: the primacy of the individual artist, the promotion of American art, and the importance of an informal museum space. The Whitney Museum of American Art, staked Whitney and Forceâs claim in a male dominated art world. The Museum was a complex space, representing a modern feminine viewpoint that embraced inclusivity and elitism, masculine and feminine, Modernism and conservatism. Whitney and Force wanted the Whitney Museum to be less formal and more inclusive, so they designed it like a middle class home with intimate galleries, furniture, carpets, and curtains. However, the decor hindered the Whitney Museumâs influence on the modern art canon because critics perceived the Museum as feminine and personal, Modernismâs rejection of the feminine and realism that ultimately led to the exclusion of the Whitney Museumâs collection of realist art from the modern art historical canon.

APA, Harvard, Vancouver, ISO, and other styles

27

Carpenter, Lisa. "Folk into Art: John Fahey, Modernism and the American Folk Revival." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.

Full text

Abstract:

John Fahey’s music holds a distinct place in the mid-century folk revival--distinct because he is difficult to fit in with traditional narratives of the revival. John Fahey created a unique musical style through incorporation of traditional American music with classical music forms. His musical “quotations” and renditions of American blues, folk, ragtime, Protestant hymns, and parlor songs did not merely revive traditional music, but gave it new form and newfound respect in order to further artistic exploration. Fahey was a musical modernist, infusing tradition with the new. Fahey’s work can be situated in the context of modernist/folk connections that began earlier in the century.

APA, Harvard, Vancouver, ISO, and other styles

28

Grinchtein, Olga. "Portraits of Sculptors in Modernism." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-443240.

Full text

Abstract:

The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors.

APA, Harvard, Vancouver, ISO, and other styles

29

Buchanan, D. A. "Aesthetics, art and Utopia : the philosophical significance of the discourse of aesthetics." Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296698.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Mao, Jianxiong. "A study about the "cultural orientation" in Chinese avant-garde art." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1346.

Full text

Abstract:

Thesis (M.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iii, 50 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 35-36).

APA, Harvard, Vancouver, ISO, and other styles

31

Akpang, Clement Emeka. "Nigerian modernism(s) 1900-1960 and the cultural ramifications of the found object in art." Thesis, University of Bedfordshire, 2016. http://hdl.handle.net/10547/621830.

Full text

Abstract:

This thesis explored the phenomenon of Modernism in Twentieth Century Nigerian art and the cultural ramifications of the Found Object in European and African art. Adopting the analytical tools of postcolonial theory and Modernism, modern Nigerian art was subjected to stylistic, conceptual and contextual analysis. The avant-gardist context of the form was explored for two reasons; first in an attempt to distinguish the approaches of named artists and secondly, to address the Eurocentric exclusion of the ‘Other’ in Modernist discourse. The works of Nigerian modernists - Aina Onabolu, Ben Enwonwu and Uche Okeke whose practices flourished from 1900 - 1960, were interrogated and findings from detailed artists case studies proved that during the period of European Modernism, a parallel bifurcated Modernism (1900-1930 / 1930 -1960) occurred in Nigeria characterised by the interlacing of modern art with nationalist political advocacies to subvert colonialism, imperialism and European cultural imposition. This radical formulation of modern Nigerian art, constituted a unique parallel but distinct avant-gardism to Euro-American Modernism, thus proving that Modernism is a pluralistic phenomenon. To valorise the argument that Modernism had multiple avant-garde centres, this thesis analysed the variations in philosophies, ideologies and formalism of the works of Nigerian Modernists and contrasted them from Euro-American avant-gardes. The resultant cultural and contextual differences proved the plurality of Modernism not accounted for in Western art history. Furthermore, by adopting comparative analysis of the Found Object in European and African art, this thesis proved that, the appropriation of mundane objects in art differ from culture to culture, in context, philosophies and ramifications. This finding contributes to knowledge by addressing the ambiguity in Found Object art discourse and problematic attempts to subsume this genre into a mainstream framework. The uncovering/theorisation of this parallel bifurcated Nigerian Modernism, contributes to expanding understanding of Modernism as a pluralistic phenomenon thus, contributing to debates for the recognition of the different Modernisms which cultures outside Europe gave rise to. The recognition and situation of Nigerian avant-gardism and modernism and interpretation of the Found Object as being culturally specific will subsequently contribute to the reconstruction of modernist discourse and Nigerian/African art histories.

APA, Harvard, Vancouver, ISO, and other styles

32

Lien, Anthony Marcus. "Against the grain : modernism and the American art song, 1900 to 1950 /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

McComb, Don E. "Mediating modernism : the expert discourse on art and advertising in the 1920s." Diss., University of Iowa, 1994. https://ir.uiowa.edu/etd/5357.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Reece-Hughes, Shirley (Shirley Ellen). "Arthur Garfield Dove's landscape assemblages: a unique intersection of European modernism, American ideas, and nature-based abstraction." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc798472/.

Full text

Abstract:

In the middle of his career, Arthur Garfield Dove created a smell yet novel body of landscape assemblages. They illustrate Dove's central interest in evoking nature--its motifs and rhythms--through imaginative associations of organic and man-made materials. These works represent Dove's synthesis of contemporary European stylistic and intellectual ideas as well as American philosophies and concerns. They also reflect the influence of Alfred Stieglitz and his circle and the artist Helen Torr, Dove's second wife. This study examines how Dove used a complex interplay of European theory and technique, American ideas and his own nature-based abstract style to create the landscape assemblages, works that are uniquely independent in the history of American art.

APA, Harvard, Vancouver, ISO, and other styles

35

Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Zhu, Chenlu (Cindy). "Searching For A Graspable Past: Landscapes, Nostalgia, And Chinese Contemporary Art." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1311.

Full text

Abstract:

Landscape art reinvents itself throughout history, along with changes in relationships between humans and nature. During unprecedented processes of urbanization, industrialization, and globalization, the past two hundred years witnessed shifts in global landscapes. The idea of using art to cope with a sense of loss becomes the departure point for my art project. To contextualize my work, I will discuss art scenes in urbanizing Europe and contemporary China and explore the powerlessness of individuals under the formidable trend of development reflected in landscape art.

APA, Harvard, Vancouver, ISO, and other styles

37

Gibson, Jeffrey Lanham. "The early high-rise in Germany a study in modernism and the creation of a modern metropolis /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487859313347215.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Dahlin, Kenneth C. "The Aesthetics of Frank Lloyd Wright's Organic Architecture| Hegel, Japanese Art, and Modernism." Thesis, The University of Wisconsin - Milwaukee, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13422325.

Full text

Abstract:

The goal of this dissertation is to write the theory of organic architecture which Wright himself did not write. This is done through a comparison with GWF Hegel’s philosophy of art to help position Wright’s theory of organic architecture and clarify his architectural aesthetic. Contemporary theories of organicism do not address the aesthetic basis of organic architecture as theorized and practiced by Wright, and the focus of this dissertation will be to fill part of this gap. Wright’s organic theory was rooted in nineteenth-century Idealist philosophy where the aim of art is not the imitation of nature but the creation of beautiful objects which invite contemplation and express freedom. Wright perceived this quality in Japanese art and wove it into his organic theory.

This project is organized into three main categories from which Wright’s own works and writings of organic architecture are framed, two of which are affinities of his views and one which, by its contrast, provides additional definition. The second chapter, Foundation, lays the philosophical or metaphysical foundation and is a comparison of Hegel’s philosophy of art, including his Romantic stage of architecture, with Wright’s own theory. The third chapter, Formalism, relates the affinity between Japanese art and Wright’s own designs. Three case studies are here included, showing their correlation. The fourth chapter, Filter, contrasts early twentieth-century Modernist architecture with Wright’s own organicism. This provides a greater definition to Wright’s organicism as it takes clues from Wright’s own sense of discrimination between the contemporary modernism he saw and his own architecture. These three chapters lead to the proposal of a model theory of organic architecture in chapter five which is a structured theory of organic architecture with both historical and contemporary merit. This serves to provide a greater understanding of Wright’s form of the organic as an aesthetically based system, both in historic context, and as relevant for contemporary discourse.

APA, Harvard, Vancouver, ISO, and other styles

39

Fisher, Melanie T. "Hungarian ethos and international modernism in the art of B'ela K'ad'ar (1877-1956)." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387379816.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Timmer, Cornelis. "Modernism and fragmentation /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030908.132615/index.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Bouchon, François. "GRILLE ET COMPLEXITE. : Analyse de l'entrecroisement régulier de lignes dans l'histoire de l'art." Phd thesis, Université Jean Monnet - Saint-Etienne, 2011. http://tel.archives-ouvertes.fr/tel-00690877.

Full text

Abstract:

La grille tient une place problématique dans l'histoire de l'art. Le critique y voit une structure abstraite, un signe pictural, une originalité recouvrant la rupture posée début xxème entre peinture et histoire. Or, le cubisme, sensément initial, se montre pluriel et perclus de résonances classiques. D'où, ressortent l'idée de charnière et la nécessité de définir d'abord la grille comme forme, possibilité de structure et qui peut faire sens. Mondrian retourne le tableau brunelleschien puis, fort de Braque, tente de mettre en phase représentation plane et plan de représentation. Par son œil, l'objet devient ainsi << division du mur" et, poussée l'outrance, la grille se réduit à un modèle architectural. Ceci dit, son ultime période suggère que la forme sait autrement répondre d'un modèle textile (le tressage). Matisse, lui, emprunte au tapis qui privilégiele nœud, le module, non la ligne. La grille textile revêt trois variantes, étrangères en termes d'extension et de processus. Le modèle architectural reconnaît ces versions. Un cas unique favorisant le nœud fait ressurgir un troisième modèle: cartographique. Sa variante nodale (le marteloire) se retrouve chez Mondrian (en écho à l'histoire de la peinture hollandaise) et chez Braque (sans plus de raison que formelle). La relation à l'œuvre d'art, propice au<< fictionnement ", et son anachronisme expliquent la qualité anhistorique de la forme. Psychologie et anthropologie aidant, une stratégie émerge, permettant (selon certains critères dont le marteloire pour schème) de l'étudier à l'œuvre scientifiquement (non seulement pour document), tel un complexe production-réception duquel la rencontre se rejoue indéfiniment.

APA, Harvard, Vancouver, ISO, and other styles

42

Gabriel, Clara Gonzalez de Miranda. "Equipo Crónica : a case study on the art work as an "object of criticism"." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21211.

Full text

Abstract:

This paper will look back on the work of Equipo Cronica, who worked between 1964--1980, to reveal a production of art that centered on issues of originality and value that were grounded in attempts at social activism and a redefinition of the role of art vis-a-vis society. To achieve their goals, I will argue and describe how the two man team of artists used serialism, objectivity, hybridity, appropriation of mass media iconography and techniques, and parody to produce something that was neither an art object nor an ordinary object, but an object of criticism. The historical relevancy of such an art lies in its claims of participating in a political critique of the culture industry controlled by the oppressive Franco regime, and its wary outlook on the rapid modernization of Spain into the neo-capitalist state it is today within the multinational world order.
The relevance of such an examination lies in how their intentions to create a new relationship between art and society is still pertinent today in modern Spain. Since the death of Franco in 1975 there has been a feeling in Spain that the eyes of the world have been on its new democracy, leading to a campaign, led until recently by the Socialist government, to prove Spain is a modern state that has recuperated from 40 years of isolation. It has tried to demonstrate that it is progressive, not only economically and technologically, but culturally. Over the last twenty years a veritable culture industry has boomed in Spain which has been generously backed by its federal and regional governments. As Spain zealously and rapidly finds its place in the globalized multinational world order, I will demonstrate that the issues of identity pertinent to Equipo Cronica, and the tactics they used to address it, can still contribute a critical position to present-day discussions.

APA, Harvard, Vancouver, ISO, and other styles

43

Reishus, John William. "Demarcating space : barriers and screens." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864906.

Full text

Abstract:

The problem addressed by the student was the creation of private, separate spaces within a larger area. It was determined that folding screens could be utilized in a variety of settings and situations thereby providing a flexible solution.As the creation of the folding screens progressed, the student was exposed to ideas and motivating concepts within the artworld which influenced him to consider a more sculptural response to the problem. A shift of the emphasis from the purely functional to a viewer oriented. perceptual interaction with the sculptural space was the result; although the sculptures did not have the obvious usefulness of the folding screens, the student found the sculptures to be personally useful in his artistic development.The primary method of constuction utilized was welding. Several of the sculptures were the result of combining wooden elements and assemblages with welded steel. Sevendifferent artworks were created, three being folding screens and four being sculptural barriers.
Department of Art

APA, Harvard, Vancouver, ISO, and other styles

44

Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Vickery, Jonathan Paul. "The dissolution of aesthetic experience : a critical introduction of the minimal art debate 1963-1970." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285868.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Berger, David S. "Modern Paintings of the Prodigal Son: Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336741954.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Marfella, Claudia. "Art, industrial design, science and popular culture : modernism and cross-disciplinarity in Italy and Great Britain, 1948-1963." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/33746/.

Full text

Abstract:

Conceived inside a chronological frame, which starts in 1948, the year the Institute of Contemporary Arts in London founded, and ends in 1963, when Gillo Dorfles wrote a crucial essay on industrial design, concluding more than a decade of discussions, the thesis aims to examine some artistic and cultural phenomena identified in Italy and Great Britain, and seen as the acknowledgement or as the reaction to modernity. Topics and fields taken in consideration within the thesis are technology, science (fact and fiction), vision of the future, the relationship between arts and the awareness of industrial design as a new discipline. All these aspects, that might seems unusual in relationship with visual arts, are perceived as the expression of a second phase of Modernism. The British personalities included in the thesis are Reyner Banham, Richard Hamilton, Nigel Henderson, John McHale, Eduardo Paolozzi, Alison and Peter Smithson, all members of the Independent Group. With the presence of architects, visual artists, photographers, critics and, in a broader sense, designers, the group encompassed a variety of popular interests, with the inclusion of mass‐produced goods. The Italian figures presented in the thesis – Gillo Dorfles, Bruno Munari, Ettore Sottsass and Giuseppe Pinot‐Gallizio – focused on industrial design objects, viewed as a new artistic branch, to promote, to plan or to question. Other recurring figures analysed in the thesis are Max Bill, Asger Jorn and Tomás Maldonado, who give international connections to the themes and British and Italian personalities examined. In order to provide a wider understanding of the 1950s and their crucial function in the story of post‐war Europe, the thesis aims to emphasise the role played at different level by British and Italian visual artists, designers and critics, and explain the reasons that, in the following decade, would push Italy in its industrial miracle and Great Britain at the peak for its popular culture, pop music and fashion creativity.

APA, Harvard, Vancouver, ISO, and other styles

48

Barwick, Emily Moran. "The John Holmes prick parade." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/2671.

Full text

Abstract:

John Curtis Holmes (August 8, 1944 - March 13, 1988) better known as "Johnny Wadd" (after the lead character in a series of related films), was one of the most prolific male porn stars of all time, appearing in about 2,500 adult loops, stag films, and pornographic feature movies in the 1970s and 1980s. Though he has passed on, the most famous part of Holmes is still present in the flesh (or thermal plastic elastomer, as it were). "The Original" is one of hundred of thousand mass-produced Holmes homages marketed all around the world and was molded directly from the legendary star. In response to this "toy", I became fascinated and somewhat disturbed by the implication of ownership and agency implied by the mass marketing and commercialization of an individual's actual body part. Further playing upon this co-opting of identity and commodification of the body, I placed an open call for artists to design their own piece for the John Holmes Prick Parade. The nude female form has long dominated as the artists' subject. The John Holmes Prick Parade hopes to give some visibility to the much neglected male apparatus. This is a move towards balancing gender equality within the anatomical object-ification of the art world. Before you is the grand culmination of this process, which began almost 70 years ago with the birth of a most "gifted" individual.

APA, Harvard, Vancouver, ISO, and other styles

49

D'Errico, Julia. "The Emergence of the Real in Modernist and Postmodernist Art: Torus Versus Rhizome." Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:108967.

Full text

Abstract:

Thesis advisor: Frances Restuccia
What qualifies a work as distinctly modernist or postmodernist? Moving beyond the idea that modernism and postmodernism are primarily distinguishable on a temporal basis, D’Errico instead argues that the key difference between these two movements lies on a theoretical level. Grounded in a framework of contemporary theory put forth by Žižek, Lacan, Deleuze, and Badiou, D’Errico proposes that the Real-Symbolic relation manifests differently in modernist and postmodernist works; the structural paradigms of the torus and rhizome are helpful to illuminate this fundamental theoretical difference. Expanding on Žižek’s definitions of modernism and postmodernism (from Looking Awry ), D’Errico posits that a torus-shaped Real-Symbolic relation accords with modernism and that a rhizomatic Real-Symbolic relation accords with postmodernism. This interdisciplinary analysis of twentieth-century art mainly focuses on literature, but also invokes poetry, visual art, theatre, and film. Overall, D’Errico dissects the theoretical structures of The Sun Also Rises, Waiting for Godot, The Trial, White Noise, and Caché to qualify the alignment of each with either the modernist or postmodernist canon
Thesis (BA) — Boston College, 2020
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: English

APA, Harvard, Vancouver, ISO, and other styles

50

Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer." Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.

Full text

Abstract:

Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Modernism (Art) Penis in art'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles