Dissertations / Theses on the topic 'Modernism (Art)'
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1
Galati, Gabriela. "Duchamp meets Turing : art, modernism, posthuman." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6609.
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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.
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Christie, James. "Fredric Jameson and the art of Modernism." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/60251/.
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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).
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Trodd, Tamara Jane. "Mediums and technologies of art beyond modernism." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446623/.
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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.
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Paul, Mumme. "The Absurd beyond Modernism." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16599.
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While the absurd is usually associated with the modern subject, it is the purpose of this project to show how it is still relevant today. The concepts of end times, ecological disaster, and post-democracy are pressing concerns of the new millennium that emphasise the futility of being and a lack of political agency. Absurdity describes a similar condition, the feeling of purposelessness that results from the observation that life has no inherent meaning. A fundamentally modern condition of religious dispossession, this feeling is predominantly frustration, since it is impossible to determine the meaning of life through reason. In these cases, crisis seems unavoidable, insurmountable, and permanent, and these attitudes can be observed in works of art since modernism. The thesis aims to define the absurd by the special examination of works closely associated with the concept, which will allow the identification of a specific literary and artistic tradition originating in the nineteenth century and continuing to the present. This is achieved through the rigorous examination of works by Søren Kierkegaard, Albert Camus, Michel Houellebecq, and Bruce Nauman. Despite the fact that works reflecting the absurd respond to distinct historical conditions, they all express frustration at the limitations of human agency, and the incomprehensibility of life.
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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.
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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.
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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.
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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.
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Vernon, Kay. "Searching for the surreal in Australian modernism." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/28545.
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[Surrealism] changed the face of art. Everything has changed. (James Gleeson)
A pervasive modern sensibility
This study adopts several approaches to surrealist practices in Australia. The
first is an historiographical one, in which I map surrealism's (re)presentafion
in Australian art historical texts. Second, I identify the emergence of
surrealism in modernist discourses in Australia, including mass media and
popular culture. I then contextualise surrealism in an epistemology of
privileged subjectivity in Australia, in which an understanding of Freud,
Jung, theosophy and Bergson are seen to inflect the apprehension of
surrealism. As psychoanalysis in particular is so crucial to an understanding
of surrealism, I have attempted to identify those ideas of Freud active in its
construction. In addition, I have included reference to Jacques Lacan, whose
ideas were constituted in the psychoanalysis of Freud and initiated in the
surrealist milieu. I have also drawn on the discourses of rhetoric to unpack
the surreal in Australian landscape practices in the 19405. And as surrealism
developed in Melbourne, particularly, against a background of various
claims on the left, I have situated it also in marxist discourses.
Over the past two decades in art historical texts, surrealism has been
recuperated as crucial to the construction of a legitimate Australian
modernism. These arguments have been rehearsed thoroughly in the review
of the literature in Chapter I. The explanation for this resurgence can be
attributed partly to the emergence in art history, as in other academic
disciplines, of theoretical concerns active also in surrealism, particularly
psychoanalysis and marxism. But there are still gaps in this recuperative
project which this study will attempt to address. First, with few exceptions
in the texts I draw on in the review of the literature in Chapter 1, surrealism
is represented as having emerged in Australian visual art practices at the end
of the 19305 and continuing into 1940s. But as this study will show
surrealism, like the latent signifier in the 'return of the repressed', insisted in
signifying practices in Australia during the 19303, particularly through mass
media and popular discourses. Surrealism as a contemporary European style
or tendency became available initially through imported reproductions and
in publications, such as Minotaure and Herbert Read's Art Now and in local
magazines such as Stream and Manuscripts. As the decade progressed
surrealist imagery was appropriated increasingly as the latest modern style
for photographs and advertisements in such popular Australian magazines
as The Home and Man and also Art in Australia.
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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.
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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.
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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.
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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.
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Ivanova, Tsvétélina. "Littérature et paysage mondial." Thesis, La Rochelle, 2017. http://www.theses.fr/2017LAROF002.
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La thèse se propose d’effectuer une lecture analytique et comparative de la production littéraire qui a eu lieu au cours de la première et de la deuxième mondialisation moderniste à l’époque contemporaine. Suivant la logique de l’évolution économique mondiale de Kondratieff, il s’agirait de la période de création esthétique et littéraire moderne entre 1850 et 1920, postmoderne entre 1950 et 1990, et hypermoderne à partir des années 2000. Ceci dans le but de vérifier si le roman moderniste, post- et hyper-moderniste, colonial et postcolonial pouvait acquérir le statut de littérature mondiale (Weltliteratur) fondée sur l’unité dualiste du système-monde capitaliste et sur l’idée de modernité antimoderniste ; telle que Baudelaire la définit en 1863 dans le Peintre de la vie moderne : « la modernité, c'est le transitoire, le fugitif, le contingent, la moitié de l'art, dont l'autre moitié est l'éternel et l’immuable ». La thèse se propose d’expliquer l’unité antagoniste de la notion de littérature mondiale et de l’affirmer comme œuvre d’art totale (Gesamtkunstwerk), moderne, à travers la vérification parallèle de l’existence d’un paysage mondial littéraire. Celui-ci, aussi fondé sur une approche dualiste -esthétique/stylistique et phénoménologique -, serait le produit (anti)moderniste des deux périodes de mondialisation capitalisteThe doctoral thesis proposes to effectuate an analytical and comparative reading of the literary production that took place during the first and second modernist globalization in the Late modern period. According to the logic of the world economic evolution of Kondratiev wave, it would be the period of modern aesthetic and literary creation between 1850 and 1920, postmodern between 1950 and 1990, and hypermodern from 2000 onwards. In order to ascertain whether the modernist, post- and hyper- modernist, colonial and postcolonial novel could acquire the status of world literature (Weltliteratur) based on the dualistic unity of the capitalist world-system theory and on the idea of modern anti-modernism ; as Baudelaire defined it in 1863 in The Painter of Modern Life (Le peintre de la vie moderne). The thesis proposes to explain the antagonistic unity of the notion of world literature and to affirm it as a modern "total work of art" (Gesamtkunstwerk), through the parallel verification of the existence of a literary world landscape. The latter, also based on a dualistic approach - aesthetic /stylistic and phenomenological - would be the (anti)modernist product of the two periods of capitalist globalization
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Lévy, Marjolaine. "Histoires de modernologues. Formes et significations du retour du modernisme historique dans la création contemporaine." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040093.
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Du Bauhaus à De Stijl, du Constructivisme au Style international ou au Mouvement moderne, le modernisme historique n’aura pas seulement occupé les historiens de l’architecture et du design. Il est en effet devenu, depuis une vingtaine d’années, un objet d’investissement à part entière d'un grand nombre d'artistes de toutes provenances. Au tournant des années 2000, ce phénomène de références, d'évocations, de déplacements, de réappropriations, de mises à distance ou de célébrations, a pris une ampleur telle que de nombreuses expositions en Europe et en Amérique du Nord l'ont interrogé, en le réduisant toutefois le plus souvent à une mouvance ruiniste, empreinte de nostalgie, qui n'est pas confirmée par une étude attentive des œuvres. Loin de toute vaine prétention à l’exhaustivité, notre recherche a opté pour une focale centrée sur les œuvres. Au risque d’un peu de myopie où pourrait sembler se perdre une conscience globale du phénomène historique traité, le parti est ici pris d’analyser individuellement les pratiques. L’étude des divers cas retenus conduit à différentes hypothèses et lectures, qu'on espère inédites. Si tous les travaux analysés ont en commun de se référer au modernisme, de prendre celui-ci pour objet à travers telle ou telle de ses réalisations, on verra qu’il est impossible de conférer un sens unitaire à pareil tropisme. L'indispensable proximité avec les œuvres aura ainsi permis de prendre non pas l’unique mais les mesures plurielles d’un phénomène qui aura indéniablement marqué la création artistique des dernières décennies, et continue de la marquerFrom Bauhaus to De Stijl, from Constructivism to the International Style or the Modern Movement, historical modernism has kept more than architecture and design historians busy. In fact, in the last twenty years, it has become a focus of investment in its own right for a large number of artists from all walks of life. At the turn of the century, this phenomenon of references, evocations, displacements, reappropriations, distancing or celebrations took on such a magnitude that many exhibitions in Europe and North America addressed it. However, it was primarily reduced to a ruinist movement, full of nostalgia, which is not discerned by a careful study of the works. Without pretense of being exhaustive, our research has chosen to focus on the works. At the risk of being slightly myopic, where a global consciousness of the historical phenomenon treated might seem lost, we seek to analyze individual practices. The study of the various cases selected leads to different hypotheses and readings, which we hope are novel. If the common thread of all the analyzed works is to refer to modernism, to take it as object through one or other of its achievements, we will see that it is impossible to confer a unitary meaning on such tropism. The indispensable proximity to the works will thus make it possible to take not the exclusive but the plural measures of a phenomenon that will undoubtedly mark the artistic creation of the last decades, and continues to mark it
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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.
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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.
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Cosgrove, Mary. "Paul Henry and Irish modernism." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.
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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.
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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.
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Timmer, Cornelis. "Modernism and fragmentation /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030908.132615/index.html.
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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.
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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.
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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.
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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.
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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.
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Adams, David Alexander. "Mimesis and Modernism: Jacques Maritain's Early Aesthetics." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20849.
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Jacques Maritain’s early secular aesthetic theories have been interpreted too hastily. The goal of this study is to offer a more accurate reading of them than has been formulated previously. It is also to appraise them, as regards their merits as explanations of concrete phenomena—this has not been done before. In order to achieve these aims, Maritain’s principal early work on aesthetics Art et scolastique will be analysed at length, herein. The problematic methods by means of which the scholarly tradition has interpreted this book will be examined, and their influence on its reception will be assessed. Maritain’s elementary philosophy will be described, insofar as it is related to his early aesthetics. A sketch of Art et scolastique will be drawn, in order to clarify the various purposes to which Maritain puts its disparate sections. This is necessary, if confusion is to be avoided. Maritain’s new early secular aesthetic theories will then be identified, and evaluated. Special attention will be paid to his early theory of mimesis, which is quite ingenious. It will be shown that his new early secular aesthetic theories are far more original and far more penetrating than they have been represented to be, even by those scholars who are most under Maritain’s spell. As a result, it will be seen that these theories deserve much closer consideration than they have so far received.
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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.
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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.
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Timmer, Cornelis. "Modernism and fragmentation." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/547.
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The aim of my dissertation, as the title indicates, is to determine the relationship between modernism and fragmentation. The objective, however, is twofold. In addition to the argument through which I explicate the neglected discussion of the connection between modernism and fragmentation, this paper reveals the thought processes and artistic influences crucial to my own development as a painter. The majority of artists I discuss have informed my practice stylistically as well as aesthetically. The thesis therefore serves not only as a theoretical discussion but also as a partial justification of my personal conceptions regarding my work, on which I will elaborate in appendix. This paper demonstrates that the resolution of all things depends upon the collection, selection, arrangement and rearrangement of fragments, including my painting and this paper itself
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2254.
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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)
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Full textAbstract:
Master of PhilosophyGrace 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)
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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.
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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.
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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/.
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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.
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Carpenter, Lisa. "Folk into Art: John Fahey, Modernism and the American Folk Revival." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.
Full textAbstract:
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.
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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.
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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.
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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.
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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.
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Edwards, Deborah Lenore. "LUMINAL–KINETICS AUSTRALIAN MODERNISM: ARTIFICIAL LIGHT IN AUSTRALIAN ART an interpretive history." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23537.
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The work of Australian artists who have incorporated artificial light into their works, (in ‘luminal-kinetics’), is the subject of this thesis. The term does not refer to the ‘technological spaces’ of light, as elaborated in photography or electronic screen devices, but to artists who have dealt with ‘embodied light’ by incorporating artificial light (and in one instance, natural light), into artworks, under the belief that illumination and motion are central themes of modern life. And in the twenty-first century, Indigenous artist Jonathan Jones has claimed the territories of (Western) modernism and light under an Indigenous politic to re-present bi-cultural encounters and histories. This constitutes a radically under-analysed area of Australian artistic practice, with thematics that both traverse expansive terrains, and include commonalities - such as a concern with utopian ideals, with synaesthesia, and with interdisciplinarity. Nonetheless the thesis does not mount an argument for luminal-kinetics as constituting a movement, style, or credo within Australian art. The claim it does make however, is that the medium of light, as a material, energy and a concept, has been a generative agent for the artists studied: that in light they recognised intrinsic qualities or some affective agency which enabled them to move into larger artistic arenas. I will argue that this phenomenon rests on the particular capacity of light to ‘seep’ between categories, media, artforms, and between cultural and social formations. This capacity, along with light’s symbolic potency, has amplified artistic practices, and enabled Jonathan Jones to position light as a central element in his de-colonising and Indigenising of Western visualisations, in order to re-configure the relationship which has existed between modernism and colonialism. The thesis argues that luminal-kinetics is an artistic form in which concepts concerning the material and immaterial, technological and metaphysical, and static and kinetic, take precedence over modernism’s traditional binaries, and thus it calls for alternative frameworks through which to analyse and theorise Australian modernism.
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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.
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Virava, Thiago Gil de Oliveira. "Uma brecha para o surrealismo : percepções do movimento surrealista no Brasil entre as décadas de 1920 e 1940." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-14112012-223853/.
Full textAbstract:
O objetivo deste trabalho é avaliar os diversos modos pelos quais o movimento surrealista foi percebido por artistas e escritores modernistas, entre as décadas de 1920 e 1940. Parte-se inicialmente da apresentação e discussão de documentos e bibliografia a respeito do discurso surrealista sobre arte e sua importância no contexto do movimento. Em seguida, com base em uma seleção de obras de artistas nacionais (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima e Flávio de Carvalho), assim como de um conjunto de documentos (artigos, cartas, manifestos) produzidos no Brasil no período abordado, são analisadas as aproximações e distanciamentos entre os movimentos brasileiro e francês. Procurando evitar tanto um cotejamento mecânico, quanto a rotulação das obras analisadas como \"surrealistas\", empreende-se essa análise sem deixar de se discutir a inserção de cada artista no contexto dos debates artísticos e intelectuais nacionais do período. A partir dessa perspectiva metodológica, é possível observar como o eventual interesse de cada um pelo surrealismo surge mediado por outros, ligados àqueles debates. Desse modo, busca-se salientar a singularidade desse interesse e da forma objetiva que assumiu na produção de cada artista.This work intends to survey the different ways by which the surrealist movement was perceived by Brazilian modernist artists and writers, between the 1920s and 1940s. It starts with a presentation and discussion of documents and bibliography about the surrealist discourse on art and its relevance in the context of the movement. Afterwards, based on a selection of works by five Brazilian artists (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima and Flávio de Carvalho) together with a set of documents (articles, letters, manifestoes) produced in Brazil during the period studied, it analyses the approaches and detachments between the Brazilian and French movements. In order to avoid either a simplistic confrontation or labeling the works discussed \"surrealists\", the analysis is made without putting aside a discussion about the insertion of each artist in the context of artistic and intellectual local debates in the period. From this methodological perspective, it is possible to observe how the potential interest in the surrealism expressed by each artist appears mediated by other interests, affined to those debates. Thereby it underlines the singularity of that interest and the objective form it has assumed in the production of each artist
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Millward, William. "Abstract painting the development and analysis of innovative processes." Saarbrücken VDM Verlag Dr. Müller, 2003. http://d-nb.info/990055116/04.
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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.
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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.
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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.
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Anasor. "O essencialismo na história de Ismael Nery /." São Paulo, 2017. http://hdl.handle.net/11449/151253.
Full textAbstract:
Orientador: José Leonardo do NascimentoBanca: Omar Khouri
Banca: Fabíola Cristina Alves
Resumo: Essa pesquisa analisa as relações existentes entre a série História de Ismael Nery e seu sistema filosófico, nomeado Essencialismo. Na série executada em 1932, e composta por cerca de dezesseis desenhos à nanquim, nota-se uma aproximação à estética do surrealismo, no entanto, suas produções desde 1926 parecem estar coadunadas ao seu sistema filosófico, e, evidenciar a estruturação de seu projeto estético. Através da iconologia foi analisada a ocorrência desse binômio: estética e filosofia; por meio da revisão bibliográfica foram atualizados seus dados biográficos a fim de elucidar incongruências historiográficas. Além das composições, foram também analisadas as poesias de Ismael Nery, as quais da mesma forma comprovam o pensamento filosófico do artista e refletem as pinturas como um espelho da representação artística. A fim de, compreender e comprovar o essencialismo na história de Ismael Nery, e, sua importância na construção do imaginário artístico no modernismo brasileiro. Como suporte teórico-metodológico utilizado para as análises contamos com os pressupostos de E. Panofsky.
Abstract: This research investigate the existing relations between the series Ismael Nery's History and his philosophical system, named Essentialism. In this 1932 series, constituted of about sixteen drawings in Indian ink, it can be noted a closeness to the aesthetics of surrealism, however, his productions since 1926 seemed to be connected to his philosophical system and they seem to indicate an structure of his aesthetic project. Through the iconology it was analyzed both his aesthetic and his philosophy; through the bibliographical revision his biographical dates were update aiming at revealing some historiographic inconsistencies. Besides the compositions, Ismael Nery's poetry were also analyzed, which on the same way prove the philosophical thoughts of the artist and they reflect the paintings, as a mirror of the artistic representation. The essentialism in the history of Ismael Nery could be better understood and comprehended and, above all, his importance in the artistic imagery in the Brazilian Movement. As theoretical-methodological framework for the analyses it was used the concepts of E. Panofsky.
Mestre
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Duarte-Feitoza, Paulo Henrique. "Modernidad y colonialidad en el modernismo brasileño: Tarsila do Amaral y Emiliano Di Cavalcanti." Doctoral thesis, Universitat de Girona, 2017. http://hdl.handle.net/10803/672250.
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The present study tries to analyze the artistic production of the painters Tarsila do Amaral (1886-1973) and Emiliano Di Cavalcanti (1897-1976) through the concepts of modernity, coloniality and nation. The Brazilian modernism of 1922 was a heterogeneous cultural movement that tried to articulate a proposal of «national» culture from the incorporation of the subaltern cultures of the country, mainly black and indigenous. Through an interdisciplinary methodology that integrates the feminist, Marxist and postcolonial theories, we will think about the conflicts, complexities and historical misalignments that these artists reveal when they try to represent the subaltern subjects. We understand coloniality as a constituent part of modernity. For this reason, we want to analyze how artists create a dialogue between the popular and the national to highlight the conflicts between gender, social classes and ethnic groupsEl present estudi pretén pensar la producció artística dels pintors Tarsila do Amaral (1886-1973) i Emiliano Di Cavalcanti (1897-1976) des dels conceptes de modernitat, colonialitat i nació. El modernisme brasiler de 1922 fou un moviment cultural heterogeni que intentà articular una proposta de cultura «nacional» a partir de la incorporació de les cultures subalternes del país, sobretot negra i indígena. A través d’una metodologia interdisciplinària que integra les teories feminista, marxista i postcolonial, pensarem els conflictes, complexitats i desajustos històrics que aquests artistes revelen quan pretenen representar els subjectes subalterns. Entenem la colonialitat com a part constitutiva de la modernitat i volem pensar com els artistes «situats» a la perifèria, i com a «mediadors» simbòlics que foren, estableixen diàleg entre allò popular i allò nacional evidenciant els conflictes entre gènere, classes socials i grups ètnics
El presente estudio pretende pensar la producción artística de los pintores Tarsila do Amaral (1886-1973) y Emiliano Di Cavalcanti (1897-1976) desde los conceptos de modernidad, colonialidad y nación. El modernismo brasileño de 1922 fue un movimiento cultural heterogéneo que intentó articular una propuesta de cultura «nacional» a partir de la incorporación de las culturas subalternas del país, sobre todo negra e indígena. A través de una metodología interdisciplinaria que integra las teorías feminista, marxista y poscolonial, pensaremos los conflictos, complejidades y desajustes históricos que estos artistas revelan cuando pretenden representar los sujetos subalternos. Entendemos la colonialidad como parte constitutiva de la modernidad y queremos pensar como los artistas «situados» en la periferia, y como «mediadores» simbólicos que fueron, establecen diálogo entre lo popular y lo nacional evidenciando los conflictos entre género, clases sociales y grupos étnicos
Programa de Doctorat en Ciències Humanes i de la Cultura
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Blair, Sean. "Permanent novelty." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5125.
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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).
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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.
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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.
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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.
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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.
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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.
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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.
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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).
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Grassel, Robert. "Between Modernism and Postmodernism: Examining Epochal Markers." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/758.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfB.A.
Bachelors
Arts and Sciences
Art History
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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.
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Doss, Joy M. "Aesthetic revolutionaries : Picasso and Joyce." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=379.
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Thesis (M.A.)--Marshall University, 2003.Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.