Dissertations / Theses on the topic 'Painting and installation'
To see the other types of publications on this topic, follow the link: Painting and installation.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Painting and installation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Barbe, Majella. "Songs of silence: painting, phenomenology, aesthetics." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10207.
Full textAbstract:
The aim of my research is to explore the aesthetic potentialities of gestural painting and reductive spatiality in two dimensional and three dimensional forms. I have conducted an investigation into aesthetic experience through the phenomenological framework of the French philosopher, Merleau-Ponty and the foundational thinking of American theorist, Ellen Dissanayake in relation to art. I have addressed gesture and materiality as both a communicative tool and an aesthetic strategy. The work of Katharina Grosse (b. 1961), Fabienne Verdier (b.1962) and Anish Kapoor (b.1954) is investigated, especially in relation to aspects of visual art practice such as large scale works; the use of gesture in painting; spatiality in two and three dimensions; attention to surface and the strategic use of colour. The void and the sublime is also addressed, especially in the works of Anish Kapoor and Fabienne Verdier. My studio work is based on an initial series of mark making experiments in ink/paint on paper. The emphasis was on the phenomenological experience and aesthetic dimensions of verticality, in relation to falling and floating. The gestural marks are improvised, repetitive and experimental in nature; and the spatial activation of the white ground and its surface is also a primary consideration in these experiments. Painting in three dimensional space emerged through the studio practice and its theoretical concerns. This culminated in gestural experimental painting on 4.5m vertically suspended drops of muslin using both viscous and watery paint. The muslin was also sculpted and draped in various ways which evoked a multitude of bodily and experiential associations.
2
Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.
Full textAbstract:
Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand.
3
Strickler, Jason A. "Drift." Claremont Graduate University, 2010. http://ccdl.libraries.claremont.edu/u?/stc,78.
Full text
4
Jones, Rachel. "Evolution: The Progress of a Painter." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/655.
Full textAbstract:
This analysis explores the progression of my work over the past three years of study. My initial pursuits involved ideas that revolved around contemporary feminism, however, with time I expanded upon those ideas by exploring other subjects. I realized the connection in all of my work lies in the use of manipulated found imagery, and the desire to release this imagery from the confines of traditional pictorial space. With this discovery, I became free to utilize any manner of subjects, as the subject matter relied heavily on the finding and re-interpreting of these disparate images into the language of paint. Moreover, specific modes of thought, such as Feminism, were allowed to become single threads in a diverse, complex tapestry.
5
Gu, Chen. "Everyday Rituals." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1441.
Full textAbstract:
This thesis traces the trajectory of Chen Gu’s work over a three year period, looking at major influences such as Bustos and Saville, on her painting and film projects. She explores the concept of childhood, memory, and portraiture.
6
Yap, Kheng Kin. "PROJECT: SPANNING THE SPACE OF DISLOCATION." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1336.
Full textAbstract:
Studio work The Postgraduate Degree Show is held from 6PthP December 2005 to 17PthP December 2005 and my work is installed in the Sculpture Studio (as a gallery space) at Building 29 of Sydney College of the Arts, Sydney. There are three installations of work, each with a series of paintings and object-models. The media I am using are oil on canvas for the paintings and wood for the models. The titles of my exhibition pieces are Project Studio (Stairs), Project Rented Room (Chair), Project Rented Room (Bed), and Project Object. Together they are entitled Project: Spanning the Space of Dislocation. The project explores the perception of space and its representation through painting and installation. The starting point is the image of familiar architectural objects to which I displace the experience of it from one site (my painting studio) to another (the gallery space) through painting as index. I use the technique of ambiguous linear forms in painting and the reflexive reading of orthogonal projective planes in installation to further extend the viewer’s perception of space and objects. The aim is to show that space has a meaningful relationship to objects and bring about a renewed awareness of habitual practice in seeing and representing space. UResearch paperU I have divided my research paper in two chapters. Chapter one explores the issue of spatial representation through ambiguity of simple linear forms and painting as index. My concern is on space being less important to objects in the distinction between space as ground and object as figure. Within this chapter I argue for an extended and a reflexive mode of seeing and representing space and objects instead of for a ground-figure contrast. By mapping my experience on a usual working site and displacing it to another space, I show that my perception of space is extended such that the boundary between the familiar and foreign (that is, space-object distinction) is blurred. Chapter two explores the method of presentation through painting and installation in a gallery and addresses the viewer’s space of perception with the work. I also discuss possible reflexive readings on the projective planes of the work which further extend the perception of it.
7
Yap, Kheng Kin. "PROJECT: SPANNING THE SPACE OF DISLOCATION." University of Sydney, 2005. http://hdl.handle.net/2123/1336.
Full textAbstract:
Master of Visual ArtsStudio work The Postgraduate Degree Show is held from 6PthP December 2005 to 17PthP December 2005 and my work is installed in the Sculpture Studio (as a gallery space) at Building 29 of Sydney College of the Arts, Sydney. There are three installations of work, each with a series of paintings and object-models. The media I am using are oil on canvas for the paintings and wood for the models. The titles of my exhibition pieces are Project Studio (Stairs), Project Rented Room (Chair), Project Rented Room (Bed), and Project Object. Together they are entitled Project: Spanning the Space of Dislocation. The project explores the perception of space and its representation through painting and installation. The starting point is the image of familiar architectural objects to which I displace the experience of it from one site (my painting studio) to another (the gallery space) through painting as index. I use the technique of ambiguous linear forms in painting and the reflexive reading of orthogonal projective planes in installation to further extend the viewer’s perception of space and objects. The aim is to show that space has a meaningful relationship to objects and bring about a renewed awareness of habitual practice in seeing and representing space. UResearch paperU I have divided my research paper in two chapters. Chapter one explores the issue of spatial representation through ambiguity of simple linear forms and painting as index. My concern is on space being less important to objects in the distinction between space as ground and object as figure. Within this chapter I argue for an extended and a reflexive mode of seeing and representing space and objects instead of for a ground-figure contrast. By mapping my experience on a usual working site and displacing it to another space, I show that my perception of space is extended such that the boundary between the familiar and foreign (that is, space-object distinction) is blurred. Chapter two explores the method of presentation through painting and installation in a gallery and addresses the viewer’s space of perception with the work. I also discuss possible reflexive readings on the projective planes of the work which further extend the perception of it.
8
Kosovac, Ena. "Awkward formalism the role of objects in contemporary painting installation : this exegesis is submitted to Auckland University of Technology in partial fulfilment for the degree of Master of Art and Design, 2009 /." Click here to access this resource online, 2009. http://hdl.handle.net/10292/799.
Full textAbstract:
I am a painter with a huge attachment to objects. In this painting project I aim to make objects whose objecthood is formed by the collision of the different languages of both painting and sculpture – objects that negotiate the boundary line between traditional genre divisions. These objects react to one another, where an aspect of one suggests the next, so that they develop like an epidemic. And therefore this project functions in an accumulative way, where each work or body of work acts as a stepping-stone for the next, so that the objects descend from a common ancestor and have a common origin. The project is primarily installational in nature – in the sense that, although emphasis is put on the individual objects, they are viewed together in installations, not as separate entities. I aim to consider installation in terms of the language of painting, which constitutes the formal underpinning of my practice.
9
McDevitt, Michael David. "The Shooting: A Cautionary Tale." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431008737.
Full text
10
Angel, Marissa. "REMEMBRANCE: drink while the water is clean." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3069.
Full textAbstract:
This thesis paper supports the Artist’s Master of Fine Arts exhibition held at the Tipton Gallery, located in downtown Johnson City TN from November 30, 2015 through January 22, 2016. The works Included in the exhibition consists of a series of mixed media collage paintings, a large scale etching combined with clay and a site specific installation.
The Exhibit features work that delves into the concept of nature as a subject of beauty, as well as a symbol of the resiliency of life. The work in this exhibit exposes the separation that exists between humanity and the natural world. Through an exploration of memory the importance of a connection between human beings and nature is revealed. The following further expands upon on the ideas, influences, techniques, and concepts that led to the formation of this exhibit.
11
Tajpour, Azadeh. "The observer effect." Claremont Graduate University, 2010. http://ccdl.libraries.claremont.edu/u?/stc,77.
Full textAbstract:
My work explores the gray area and the shifting border between "us" and "other." It investigates the helplessness and the submissiveness on both sides of this spectrum and one's passivity that makes the "pain of others" inevitable. Moreover, it examines the individual and collective experiences of guilt and complicity in relation to world events. I am interested in the selective and repressed memories of individuals and nations, the reluctance to look and the ability to forget.
12
Wolfe, Julia J. "Meet me in the sewers at dawn." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6522.
Full textAbstract:
I make installations, objects, paintings, drawings, prints, and arrangements of found words (which some have classified as poetry). I take note of ideas, imagery, and phrases from places that are commonly seen and heard but often go unnoticed. The work combines humor and innocence with an awareness of our culture of mass-production and consumption, resulting in an approachable, whimsical criticism.
13
Krallitsch, Theresa. "The weight of the wait." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5540.
Full text
14
Laube, Mary NaRee. "Practical joy." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2925.
Full textAbstract:
I will be presenting my work in two parts. The first section is dedicated to recent paintings that comprise my M.F.A. thesis exhibition: Practical Joy. The second section will investigate Practical Joy as an installation. I will raise questions regarding the relationship between my paintings and the exhibition space in order to situate my work into a contemporary discourse.
15
Collier, Jenniffer C. "Architectonic Gestures: Shadow Structures." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1257803279.
Full text
16
Mumm, Stacey Elizabeth. "Declaration of interdependence." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/4884.
Full textAbstract:
Fundamentally, creative endeavors are affected by the personal philosophy of artists which are greatly concerned with their perception and interpretation of life and death. These two concepts form a reality which consists of this dichotomy. As `unity' has been an underlying goal in the work of many artists, it challenges the polarity conveyed in this viewpoint causing contemplation and conversation around the framing of their own existence through their work.
17
Kintsurashvili, Nino. "Fenced by the red thread." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6783.
Full textAbstract:
As a first-generation Georgian to be born the year after Soviet Union collapsed, I carry the weight of the uncertainty and the shared memory of the years before my birth that is engraved in the minds of the people around me. Through the years of chaos that had to come later, I always thought that me and my country grew up and matured together, as the peers of same age. Transition from a strictly Atheistic society into predominantly fundamental Orthodox Christian nation has been the process that I witnessed while growing up. Being raised by an Orthodox iconographer father, working on frescoes and icons have left the permanent mark on my identity as an artist.
My work, through the range of media, deals with this clash of radical ideologies, while drawing from Orthodox iconography and compositions, I transport the images into a neutral, sterile state where they are re-examined and re-evaluated. Even though my work deals with social issues in Georgia, I see most of it as an autobiographical narrative that addresses the local space that I come from.
18
Massé, Joey. "Jeux et enjeux du regard : entre plaisir et danger : l’œuvre d’art dans le roman de Siri Hustvedt." Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0028/document.
Full textAbstract:
Cette thèse de doctorat a pour but d’analyser les relations entre le texte et l’image dans trois romans de Siri Hustvedt : The Blindfold (1992) What I Loved (2003) et The Blazing World (2014). L'auteur introduit dans ses récits de nombreuses et longues ekphraseis qui saturent visuellement le texte. Les œuvres d'art décrites, majoritairement fictives, font appel à des techniques et des médiums variés (peinture, photographie, installation, vidéo). L'auteur invente des œuvres d'art qui évoluent au fur et à mesure des romans, passant de deux dimensions à trois dimensions et d'images fixes à des images animées. Cette étude s'intéresse à la fonction de l'introduction de l'image dans le roman et interroge l'impact de cet événement de lecture sur le lecteur. Dans chaque roman, la rencontre entre le « narrateur-voyeur » et l'œuvre d'art suscite un plaisir esthétique, voire sensuel. Les jeux de miroirs et de masques auxquels prennent part les personnages les mettent parfois en danger. Aveuglés ou pris au piège de leur propre perception, la confrontation avec l'œuvre d'art entraîne alors une perte de contrôle et une aliénation. Une participation active est demandée au lecteur, qui atteint un paroxysme dans The Blazing WorldThe aim of this thesis is to study the relations between word and image in three of Siri Hustvedt’s novels: The Blindfold (1992) What I Loved (2003) and The Blazing World (2014). Hustvedt’s works of fiction contain many long ekphraseis – the result is the “pictorial” saturation of the literary text. The works of art described are mainly fictitious and make reference to a wide variety of techniques and mediums (painting, photography, installation, video). The author invents works of art that progressively evolve from two-dimensions to three-dimensions and from still image to moving image. This thesis examines the function of the insertion of these images in the literary text and questions the impact of this event on the reader/viewer. In each novel, the encounter between the “narrator-viewer” and the works of art leads to an aesthetic or a sensual pleasure. The characters take part in mirror and mask games that can put them in danger. The confrontation with the work of art results in a loss of control and a form of alienation when the characters are symbolically blind or trapped by their own perceptions. The reader’s active participation reaches a climax in The Blazing World
19
Ambrůz, Kryštof. "BEZ NÁZVU." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2017. http://www.nusl.cz/ntk/nusl-295607.
Full text
20
Carvalho, Danielle Moreira de. "ARS JOKER: o sujeito como representação." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/17712.
Full textAbstract:
A instalação ARS JOKER é uma obra intermédia interativa, que mescla
Pintura e Arte Digital, configurando um espaço alegórico de exibição, criado para
envolver o visitante, articulando a vivência da temática: o sujeito como
representação. O ambiente tem telas pendentes do teto, inclinadas diagonalmente,
conformando um espaço labiríntico, reunindo pinturas de figuras duplicadas, que
instigam à exploração, inserindo o visitante em um percurso. Uma das telas exibe
imagens projetadas, e, juntamente a outros periféricos, se liga a um programa de
computador, que visa captar a imagem do visitante e propor um jogo interativo com
essa imagem, perpetuando a coleção e fluxo de imagens propostos pela exibição e
permitindo ao visitante construir significados a partir da experiência; ABSTRACT: The ARS JOKER installation is an interative intermedia work that mixes
Painting and Digital Art, setting an allegorical exhibition space, created for engaging
the visitor, articulating the experimentation of the theme: the subject as
representation. The environment has screens hanging from the roof, sloping
diagonally, forming a labyrinthine space, including paintings of duplicate figures, which
lead to curiosity, inserting the visitor into a route. One of the screens displays projected
images, that jointly with other periferics is connected to a computer program which
aims to capture the image of the visitor, proposing an interactive game with this image,
adding to the collection and flow of images proposed by the show, and allowing the
visitor to construct meanings from his own experience.
21
Filipová, Markéta. "Dějinné sebevědomí." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-240505.
Full textAbstract:
Diploma thesis called Historical Self-consciousness works with the topic of personal art history, that is natural to the work of every author. Time is cyclic and different epochs are changing and overlaping. Diploma thesis is result of my very long interest in history and understanting to this term, as it have been changing during my studies.
22
Davies, Eranah Laura Ann. "SKELETON WOMAN: EMBRACING THE UNKNOWNALLOWS FOR SURPRISES." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429968887.
Full text
23
Martyn, Raewyn. "DAY FOLDER." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3039.
Full textAbstract:
Provisional or unfinished images, forms and actions can sustain their status by continuing to change. This can resist programmed experience of their state, and shift their relationship as images within time. The sub-aesthetics of the unfinished and entropic can alter our understanding of where and how images are formed and located within time. My paintings each exist within their own emergent systems of time, structure and productive disorder. This thesis discusses these ideas in relation to DAY FOLDER and other work made during my MFA studies.
24
Molnar, Valerie Anne. "If Your Love Were A Grain Of Sand Mine Would Be A Universe Of Beaches." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/685.
Full textAbstract:
Each stitch is a piece of me that I give, a moment of my life and a unit of my love, meticulously culminated into a universal visual language. The optimist in me knits for the cause, while my formalist counterpart works to make the images that sell my thoughts. I knit for the lovers.I make these objects as a practice and a confirmation of my optimism. I make these images to communicate and persuade as a serious contender while at the same time retaining my own optimism and sanity by promising to never take myself too seriously.
25
Leroy, Jean-François. "Elaborer l'unique à partir du même." Thesis, Paris Sciences et Lettres (ComUE), 2019. https://tel.archives-ouvertes.fr/tel-02631760.
Full textAbstract:
Emprunté à Marion Delage de Luget et, plus précisément au texte pour l’exposition "Et pour matériau, les standards (La Permanence, Clermond-Ferrand, 2013 / commissariat : Kurt forever)", ce titre, « Élaborer l’unique à partir du même », ne constitue pas seulement un sujet mais un principe d’être avec le monde ; il fait directement écho aux formes que je manipule au quotidien. Le même / l’unique : l’objet en série vs l’objet singulier ; l’objet produit vs l’objet expérimenté ; la ressemblance vs la dissemblance. Partir d’une forme commune, d’une forme pauvre de notre temps, se l’approprier, la démembrer, l’associer pour arriver à une forme unique, c’est aussi, d’une certaine manière, refuser l’esprit de système. C’est utiliser le réel pour ne pas le décrire.Aujourd’hui, j’identifie deux grandes catégories de matériaux dans ma pratique : les matériaux industriels qui n’ont pas encore d’histoire(s), de charges qui apparaissent avec fonction de structure, de construction ; les matériaux récupérés qui constituent le fonds d’atelier, des formes a priori sans qualités qui ont perdu leur valeur d’usage, et donc leur rôle économique. J’utilise donc des « éléments précontraints » (Claude Levi-Strauss) afin d’aboutir à une sorte de bricolage de l’industrie. Dans l’atelier, ce lieu où se rencontrent différents registres de formes, j’exploite le potentiel tant sculptural que pictural de ces « éléments précontraints », en procédant par déduction. Je les réactive en tenant compte de leurs spécificités, format, épaisseur, élasticité, couleur… J’assimile d’ailleurs la couleur à un matériau : la peinture. Il y a trois ans, à l’invitation de Yann Owens de Franciscopolis Edition, j’ai engagé la série All comes from a plan, qui consiste en une tentative de mise à plat de mon travail par le filtre de la sérigraphie. Par la sérigraphie, je tente de synthétiser l’expérience sensible que l’on peut avoir lors de l’appréhension réelle du travail. À aucun moment il n’est question de reproduire les pièces mais plutôt d’en comprendre la généalogie. Une manière de retrouver le pourquoi initial. Dans ce processus d’appropriation, de déplacement, de transformation et de composition, il y a la volonté de créer des objets qui souligneraient à quel point toute forme porte en elle son propre discours, sa propre métaforme. J’ai pensé cette thèse comme une succession d’indices en pratique sur ma pratique. Elle relève donc de l’objet plastique - qui renvoie de manière directe à, plus encore, qui est ma façon de travailler. Cette thèse n’a jamais été envisagée comme pouvant venir compléter la pratique (pire : l’éclairer) ; car elle est elle aussi cette pratique. Elle est pièce, fait pièce, tout comme les pièces sont des objets de recherche.L’édition (présente) relève entièrement de mon processus de travail, elle est constituée de 3 objets imprimés : A. Des notes, mes notes. Arrangées ? Réarrangées ? Ne pas expliquer : ni cela, ni le travail. Refuser la narration, accepter peut-être le récit : celui des matériaux à l’atelier. B. Une documentation non-exhaustive de mon travail depuis 2007, pièce par pièce. C. 59 éléments faisant circuler – les articulant entre eux, et parfois les désarticulant volontairement – 4 registres de formes différents : 39 formats 22,5 x 28 cm, prélevés par recadrage dans la série All comes from a plan ; 20 prises de notes photographiques dont 12 de situations d’atelier et 8 d’espaces publics ; 12 collages et dessins ; 15 sources textuelles provenant d’écrits d’artistes, de critiques, d’historien-ne-s d’art, de philosophes, d’anthropologues, d’écrivain-e-sBorrowed from Marion Delage de Luget, and more precisely from the text for the exhibition "Et pour matériau, les standards (La Permanence, Clermont-Ferrand, 2013 / curator: Kurt-forever)", the title "Deriving the Unique from Sameness" is not only a subject, but also a principle for being with the world; a direct echo of the forms I handle on an everyday basis. Sameness/the Unique: the mass-produced object v. the singular object; the produced object v. the lived object; similarity v. dissimilarity. Starting out with a common form, a cheap form of our time, appropriating it, dismembering it, associating it to obtain a unique form, is also, so to speak, a rejection of the spirit of system. Using reality so as not to describe it. At present I can identify two main categories of materials in my practice: the mass-produced materials which do not yet have any history and are not freighted with any structural or constructional function; the salvaged materials that make up the studio's assets: forms in theory with no status, forms that have lost their use value and with it their economic role. So I use what Claude Levi-Strauss calls "prestressed elements" to achieve a kind of industrial bricolage. In the studio, this place where different registers of forms meet, working by deduction I exploit the equally sculptural and painterly potential of these "prestressed elements". I reactivate them, taking into account their specific features: format, thickness, elasticity, colour and so on. Three years ago, at the invitation of Yann Owens at Franciscopolis Edition, I embarked on the series All Comes from a Plan, an attempt at an overview of my work through the prism of silkscreening. Reflecting on the specifics of the medium, I try to encapsulate the sensory experience one can have when you really grasp what your work is about by trying to understand its genealogy. A way of returning to the initial why. This method of reinterpretation led me from screenprinted publishing to screenprinted sculpture: from sameness to the unique (think the exhibition En double aveugle [Double Blind] at Instants Chavirés). In a circularity that's important to me.In this process of appropriation, displacement, transformation and composition, there is an urge to create objects that emphasise the extent to which every form bears within itself its own discourse, its own metaform. This thesis has never been envisaged as able to round off the practice (or, even worse, clarify it); for it too is the practice. It is an integral part of it, a piece, just as pieces are subjects for research. Thus it has to do with the plastic object - which relates directly to, and in addition, which is my way of workingThe (present) publication has to do entirely with my work process and comprises 3 printed objects: A. Notes: my notes. Arranged? Rearranged? No explanation: of that or the work. Reject narrative, maybe accept a story: the story of the materials in the studio; B. Non-exhaustive documentation of my work since 2007, piece by piece; C. 59 items requiring movement - interconnecting them and sometimes deliberately disconnecting them - 4 different registers of forms; 39 formats 22,5 x 28 cm, selected by cropping from the series All Comes from a Plan; 20 photographic notes: 12 of studio situations, 8 of public spaces; 12 collages and drawings; 15 text sources from writings by artists, critics, art historians, philosophers, anthropologists, writers
26
Škrovinová, Eva. "Na a čum." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232392.
Full textAbstract:
I deal with the production process of the painting base. I created a custom folding system already stretched canvas, which can reduce its size. On the other hand, this folding formed procesual abstract paintings on the surface of the canvas. Finally I created installation (5 white canvases, of which only one can be folded, but this one is indistinguishable from the others), which I complete with the documented research in previous paintings.
27
Paine, Ashley I. "Ocular occupations : painting and other spatio-visual strategies for making and inhabiting architecture." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/19222/1/Ashley_Paine_Thesis.pdf.
Full textAbstract:
Many writers have suggested that our capacity to occupy space meaningfully has been undermined by our contemporary ocular-centric culture, which distances us from reality and corrupts our physical and embodied experience of the world. This study challenges these claims within an architectural context, by examining the fundamentally visual nature of architecture and inhabitation as well as the spatio-visual practices, acts and strategies that we use to occupy space. Drawing on theory and practice-based methods from outside the professional limits of architectural practice, the study implements visual acts of occupation to establish a new and expanded conception of architecture as a performative spatio-visual practice – a conception that engages and connects its practice with the purportedly ocular-centric spatial conditions in which it is made and occupied.
28
Paine, Ashley I. "Ocular occupations : painting and other spatio-visual strategies for making and inhabiting architecture." Queensland University of Technology, 2008. http://eprints.qut.edu.au/19222/.
Full textAbstract:
Many writers have suggested that our capacity to occupy space meaningfully has been undermined by our contemporary ocular-centric culture, which distances us from reality and corrupts our physical and embodied experience of the world. This study challenges these claims within an architectural context, by examining the fundamentally visual nature of architecture and inhabitation as well as the spatio-visual practices, acts and strategies that we use to occupy space. Drawing on theory and practice-based methods from outside the professional limits of architectural practice, the study implements visual acts of occupation to establish a new and expanded conception of architecture as a performative spatio-visual practice – a conception that engages and connects its practice with the purportedly ocular-centric spatial conditions in which it is made and occupied.
29
Maliňáková, Kamila. "Život 2." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-240530.
Full textAbstract:
Diploma thesis called Life 2 is a „representation“of common situations, stories of everyday life, which essence is not entirely clear on the first view. It used to be common that the appearance of our life is not consistent with the reality. Sometimes it differs dramatically. Life 2 represents this reality, truth, which is often hidden. Disertation studie is installation, which combines painting on canvas and gingerbread stage.
30
Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16631/1/Maria_Adriana_Verdaasdonk_Thesis.pdf.
Full textAbstract:
Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.
31
Verdaasdonk, Maria Adriana. "Living lens: exploring interdependencies between performing bodies, visual and sonic media in immersive installation." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16631/.
Full textAbstract:
Living Lens is a practice-led study that explores interdependencies between performing bodies, visual images and sonic elements through two main areas of investigation: the propensity for the visual mode to be dominant in an interdisciplinary performance environment; and, a compositional structure to integrate performing bodies, visual and sonic elements. To address these concerns, the study necessitated a collaborative team comprising performers, visual artists, sound designers and computer programmers. The poetic title, Living Lens, became an important interpretative device and organising principle in this study, which is weighted 70% for the creative work and 30% for the written component. Working from an experiential and emergent methodology, the research employed two iterative cycles of development. Drawing on a previous work, Patchwork in Motion (2005), the extraction of one fragment entitled Living Lens (2005-6) was selected for further development, specifically to balance the relationship between performers and visual media with a deeper focus on the sonic component. The initial creative development (June-July 2005) addressed the area of interdependencies through the concepts of "poetic felt space" and "living painting", whilst the final stage of the study (June-July 2006) adopted the concept of "worlds within worlds" to facilitate greater contrast and connectivity in the piece. The final performance made partial progress towards shifting visual dominance and the development of an integrative structure, the digital media serving to enhance tangible connections between aural, visual and kinesthetic senses. As an immersive performance installation, the study thus adapts and extends painterly and sculptural sensibilities into a contemporary and interactive arts setting. Presenting a case for the personalised position of the practitioner voice, the study also offers practical and conceptual insights and solutions, to be adopted, adapted or applied tangentially, by other practitioners and researchers working in the domains of body movement practices, visual and sonic arts and human communication technologies.
32
clark, jared lindsay. "One Million Paintings 2005-2007: A Thesis." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/935.
Full textAbstract:
I assist discarded collectives of objects to volunteer themselves for inclusion into the privileged legacy of flatness – assuring them they can be transformed into Painting. Reducing my interventions - often to mere arrangement - respects the possibility of this transformation while frankly retaining the objects' original functional identities. Every surface of any object is a readymade painting – especially flat ones. By stacking objects and aligning their surfaces on one privileged side into a flat mega-surface, I am composing and collaging – even building – a painting. With my amateur interest in German I latch upon the double meaning of "Bild" to title my objects, describing my continued interest in the space between painting and sculpture. All my projects transform found objects into ambiguous objects described by Donald Judd as "neither painting nor sculpture". In addition to the Bilds projects such as the Cutllages, the Kitsch Paintings, Soap Drawings, Text Tubes, and List Drawings investigate different ways to transform the found object into painting.While my work is formalist it is decidedly post-modernist in its embodiment of the qualities described by Craig Owens in The Allegorical Impulse: Toward a Theory of Postmodernism.
33
Lee, Michelle. "Te whatu o poutini a visual art exploration of new media storytelling, 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/419.
Full textAbstract:
This visual art project has explored the ancient Maori pukorero (oral tradition) of Te Whatu o Poutini (The Eye of Poutini) that articulates the journey of Poutini Taniwha, Waitaiki and Tamaahua from Tuhua (Mayor Island) in the Bay of Plenty, to the Arahura River. An oral geological map, the pukorero also expresses through cultural values, the intimate spiritual relationship Ngati Waewae have with our tupuna, the Arahura River, pounamu stone and each other. Exploring the genres of digital storytelling and video art installation, this project combines them as new media storytelling. The current experience of colonisation and urbanisation emotionally parallel the abduction, transformation and multiple places of belonging experienced by the tupuna Waitaiki at the hand of Poutini Taniwha. The project explores and acknowledges this connection. The survival, restoration and celebration of Ngati Waewae culture and the need to assert control of our own destinies has infused every component of the project.
34
Klingenstein, Joanna. "Mobilizing Motifs: An Installation Articulating and Visualizing Relationships between the U.S. Healthcare System, the Chronically Ill Patient, and the Healthcare Chaplain." Case Western Reserve University School of Graduate Studies / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=case1620742386332207.
Full text
35
Hammond, Bryce. "Transient Motel." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5640.
Full textAbstract:
“Transient Motel” is an exhibition that investigates the interactions of people and physical environments in low-income areas of Daytona Beach, Florida. The purpose of the exhibition is to raise social awareness of low-income communities among the public through visual art. Interactions between motel guests were documented as first-hand sound recordings of conversations, interviews and other activities. These recordings are projected through speakers within a constructed life-sized replica of the motel rooms in which they were recorded. Found and appropriated furniture and fixtures from the actual rooms are arranged within the replica as objects of art to familiarize the public with conditions of poverty. During my exhibition, the public is encouraged to participate by entering and exploring the replica of the motel room. The participant experiences authentic objects, sounds and smells of Daytona Beach motel rooms that have been inhabited by victims of transient poverty.?M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
36
Martiníková, Zuzana. "Nepříliš známý malíř." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232411.
Full textAbstract:
Master's thesis called Not too well-known painter reacts on art of regional painter Jaromír Martiník. It is an exhibition of the work of this painter. Thanks to the intervention of author of this exhibition brings up his work into unusual context of artist from Beskydy, who is influenced by oriental philosophy.
37
Leal, Mariana Katona. "Pele como tinta: o corpo entre gesto e vinco." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3317.
Full textAbstract:
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorPele como tinta: o corpo entre gesto e vinco discute o gesto como meio sem finalidade, dentro da ideia de processo artístico, diante da relação envolvendo a prática artística do vídeo e da intervenção com experiências desenvolvidas durante o mestrado na linha de Processos Artísticos Contemporâneos, em trabalhos como Auto-retrato, Tarja, Peles institucionais e Onde fica o Galpão? Dentre os gestos trabalhados está o gesto desterritorializante, no qual a instituição de ensino é convocada como espaço onde suas fronteiras são tratadas como forma de se pensar o fazer artístico, assim como o conceito de instituição. Além desse, outro trabalho proposto é o que relaciona o vídeo e o frame em texturas temporais dinâmicas. O gesto de tinta registrado em vídeo é condicionado a uma volta da pintura fixa da tela. Em Peles a estrutura do vinco é requisitada para compor os afetos e as construções que norteiam a escrita do e no corpo
Skin as ink: the body between crease and gesture discusses the gesture as a purposeless means within the concept of the artistic process, given the relationship of artistic practice involving video and intervention experiments carried out during the author's Masters course in Contemporary Art in works such as Auto-retrato, Tarja,Peles institucionais e Onde fica o Galpão? Among the gestures discussed here is the deterritorializing gesture in which the educationall institution is evoked as a space whose borders are treated as a way of thinking about the artistic process as well as the institution as a concept. Furthermore, the other work proposed here correlates video and frame in dynamic temporal textures. The ink gesture recorded on video is conditioned to a return of the fixed painting on the screen. In Skins, the structure of the crease is required to compose the affects and constructions that guide the writing on and of the body
38
Lee, Eunji (Jubee). "After the big wind stops I see gentle waves." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5367.
Full textAbstract:
This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.
39
Andersson, Louise. "Ylva Oglands socialrealism : Att göra det osynliga synligt." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-445.
Full textAbstract:
The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.
40
Inman, Brooke Ann. "SAY YES TO WHO YOU ARE." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1014.
Full text
41
Nicolaisen, Lelani. "Immersed in paint : Understanding painting installations through art practice." Mini-Dissertation, University of Pretoria, 2017. http://hdl.handle.net/2263/65593.
Full text
42
Leggett, MI. "Official Rebrand and the Importance of Queer Adornment." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1513361488674258.
Full text
43
Goller, Whitney. "DollHouse." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3065.
Full textAbstract:
The artist discusses the work in DollHouse, her Master of Fine Arts exhibition on display at Tipton Gallery, Johnson City, Tennessee from January 25 to February 5, 2016. The exhibition was an installation consisting of five sets, each containing furniture - both 2D and 3D - and a mask with instructions relating to a room found within a dollhouse.
The sets and supporting thesis explore the ideas of social norms, feminism, and identity, and how submission to ideologies can create emptiness, while engagement can prompt social change. Topics include the process and evolution of the work and the artists who influenced it, ideas of identity and society, and the impacts of social norms on young women’s lives. Included is a catalogue of the exhibition.
44
Greated, Marianne. "Painting in a sonic environment." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9480.
Full textAbstract:
The thesis explores how painting is affected by its sonic environment. The research stems from an artistic response to noise in the environment and how this can be explored through artistic practice. The boundaries of art have and continue to be challenged as visual art has embraced an increasing range of approaches. This research explores the visual experience of viewing a painting alongside the all-encompassing time based nature of a sonic experience and readdresses the way painting operates within its own sound environment. It asks how these different elements can affect the reading of one another and in particular focuses on installations in extreme acoustic spaces, such as anechoic and reverberation chambers. It investigates how introducing sound to the painting arena can affect the reading and also transform the parameters of the painting. The research is practice-based and takes the form of a series of exhibitions, latterly in the form of site-specific installations, which have been evaluated, interpreted and responded to. This has led to a fundamental investigation, both practical and theoretical, into the way that sound and vision work together and how they relate within the context of art. Through the research the format of the painting developed in tandem with the temporal and audio considerations, resulting in all-encompassing installations bringing together panoramic paintings and 3D soundscapes.
45
Fortin-Desbiens, Patrick. "Pour un art universel : le défi de Babel /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.
Full text
46
Brault, Dan. "The fragmentation of painting or the art of associations." Master's thesis, Université Laval, 2006. http://hdl.handle.net/20.500.11794/18486.
Full text
47
Purcell, Marisa. "Ancestral spaces time, memory and the liminal experience of painting /." Connect to full text, 2007. http://hdl.handle.net/2123/2763.
Full textAbstract:
Thesis (M.V.A.)--University of Sydney, 2008.Title from title screen (viewed 11 September, 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references.
48
van, Wagtendonk Martijn. "A striving flirtation in spliced coordinates." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1102448295.
Full text
49
Gagnon, Jean-Pierre. "L'intensif du regard, pour un partage du visible." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.
Full textAbstract:
Mémoire (M.A.)--Université du Québec à Chicoutimi, 1996.Ce mémoire a été réalisé à l'Université du Québec à chicoutimi dans le cadre du programme de maîtrise en arts plastiques de l'Université du Québec à Montréal extensionné à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU
50
Pinkham, Todd Alan. "Brazen idols /." Online version of thesis, 1993. http://hdl.handle.net/1850/11902.
Full text