Dissertations / Theses on the topic 'Realism in art Australia'
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Martinac, Krunoslav. "Red flags flying: Elements of socialist realism in Australian art." Thesis, Martinac, Krunoslav (2002) Red flags flying: Elements of socialist realism in Australian art. PhD thesis, Murdoch University, 2002. https://researchrepository.murdoch.edu.au/id/eprint/52755/.
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This thesis examines the emergence and development of Socialist Realism in Australia. Among twentieth century cultural narratives a significant position is occupied by the theme of realism in the visual arts as related to the social and particularly to the political or ideological context. The issue of reality transformed into a visual representation of social relations plays an especially important role in Eastern European artistic practices, dominated by the Soviet model of Socialist Realism. Socialist Realism is a worldwide artistic and cultural phenomenon that arose under the influences of the social changes in Russia at the end of the nineteenth and the beginning of the twentieth century.
This already defined aesthetic influenced thereafter the other European communist and non-communist countries, the United States of America and Australia. Historical approaches to the problem of Socialist Realist doctrine have established a number of cliches which should be thoroughly challenged by new interpretations, questioning the fixed definition of historical avant-gardes as supposedly positive and progressive while traditional realistic practices are seen as regressive and totalitarian.
This thesis provides an insight into the artistic practice of Australian painters Noel Counihan. Yosl Bergner and Victor O’Connor, whose work embodies most of the contradictions and conflicts of the early Australian modernist scene. Modem art in Australia reflected the social and cultural situation in Europe in the 1930s and 1940s which shaped the emergence of Modernism in general in Australia. Australian artists in the Contemporary Art Society (1938) drew on European ideas in their attempts to develop a modem artistic practice that was both international and at the same time recognisably Australian. Important amongst these were a number of Socialist Realist artists whose artistic activity was strongly concerned about contemporary social issues, nationalism, national identity, economic depression and war, and the future of Australian society.
This study grows out of some recent interdisciplinary initiatives in language theory and new directions in the study of visual art. The analytical model of systemic-functional semiotics of art, as developed in the work of Michael Halliday and Michael O’Toole is applied to an interpretation of a selection of key works by Australian Socialist Realists. Through a close semiotic analysis internal visual facts and the historical and social context of their work are integrated into a complex structure of signs and their meanings in an endeavour to interpret the appearance and development of the doctrine as a significant practice in Australia in the period of the 1930s and 1940s.
This thesis is written in the conviction that visual representations are realisations of the social semiotic out of which they have grown, but at the same time they are a contribution to that social semiotic, participating in changing the context. My analysis of the Socialist Realist method which attempts to locate the picture within a rational system of perceptual codes suggests that works of art can be a starting point from which most of the aesthetic and social-political concerns of the period can be deduced.
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McKenzie, Vahri. "As the owl discreet essay towards a conversation, and, Carly's dance : a novel /." Connect to thesis, 2008. http://portalapps.ecu.edu.au/adt-public/adt-ECU2008.0015.html.
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Murray, Philippa, and pmurray@swin edu au. "The Floating World - An investigation into illustrative and decorative art practices and theory in print media and animation." RMIT University. Arts and Culture, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080506.143949.
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Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.
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Forrest, David. "Social Realism : a British art cinema." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10351/.
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Since the 1930s, realist cinema has maintained a consistent but ever-diversifying presence within the heart of British film culture. The broad term of social realism has come to represent numerous examples of films that reflect a range of social environments and issues, in a manner that rejects the artifice and escapism of more classically-oriented narrative models. Yet, there has been a tendency to view such films in the context of what they have to tell us about the issues and themes they invoke, rather than what they say about their art. When we think of the New Wave in France, or Neo-Realism in Italy we think of film movements which reflected their subjects with veracity and conviction, but we also see their products as cultural entities which encourage interpretation on the terms of their authorship, and which demand readings on the basis of their form. We are invited to read the films as we would approach a poem or a painting, as artefacts of social and artistic worth. Despite the continued prevalence of social realism in British cinema, there is no comparable compulsion in our own critical culture. This study seeks to address this imbalance. Beginning with the documentary movement of the 1930s and the realist cinema of wartime, I chart the history and progression of social realism in Britain, covering a wide range of directors such as Ken Loach, Mike Leigh, Alan Clarke and Shane Meadows and a number of film cycles, such as Free Cinema and the British New Wave. The key focus of my analysis lies on the aesthetic and formal constitution of the mode. I seek to highlight hitherto unrealised depths within the textual parameters of British social realism in order to propose its deserved status as a genuine and progressive national art cinema.
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Darley, Andrew David. "The computer and contemporary visual culture : realism, post-realism and postmodernist aesthetics." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259729.
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Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.
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Merlyn, Teri, and n/a. "Writing Revolution: The British Radical Literary Tradition as the Seminal Force in the Development of Adult Education, its Australian Context, and the Life and Work of Eric Lambert." Griffith University. School of Vocational, Technology and Arts Education, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040616.131738.
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This thesis tells the story of an historical tradition of radical literacy and literature that is defined as the British radical literary tradition. It takes the meaning of literature at its broadest understanding and identifies the literary and educational relations of what E.P. Thompson terms 'the making of the English working class' through its struggle for literacy and freedom. The study traces the developing dialectic of literary radicalism and the emergent hegemony of capitalism through the dissemination of radical ideas in literature and a groundswell of public literacy. The proposed radical tradition is defined by the oppositional stance of its participants, from the radical intellectual's critical texts to the striving for literacy and access to literature by working class people. This oppositional discourse emerged in the fourteenth century concomitant with nascent capitalism and has its literary origins in utopian vision. This nascent utopian imagination conceived a democratic socialism that underpinned the character of much of the following oppositional discourse. The thesis establishes the nexus of the oppositional discourse as a radical literary tradition and the earliest instances of adult education in autodidacticism and informal adult education. The ascent of middle class power through the industrial revolution is shadowed by the corresponding descent of the working class into poverty. Concomitant with this social polarisation is the phenomena of working class literary agency as the means to political and economic agency. While Protestant dissenting groups such as the Diggers and Levellers were revolutionary activists, it was Methodism that formed a bulwark against revolution. Yet it was their emphasis on self-improvement that contributed to an increasingly literate populace. Radical texts produced and disseminated by individuals and organisations and read by autodidactics and informal reading groups are seminal in the formation of a working class identity. Spearheaded by the Chartist movement, education became a central ethic of working class politics and the civil struggle for economic and political justice throughout the nineteenth and well into the twentieth centuries. The avant garde movements of the early twentieth century are analysed as a strand of this tradition. The narrative of the thesis then moves to the penal colony of Australia and explores the radical literary tradition's development there. Early colonial culture is seen as having a strong impetus towards a developing a native literary expression of the new land. Where conservative colonial literature struggled to differentiate itself from formal British literary models, the radical heritage and its utopian vision of a working man's paradise gave definitive expression to the Australian experience. This expression was strongly influenced by Chartist ideals. The British radical literary tradition is thus seen to have had a dominant influence in the development of a native radical literary tradition that strove to identify the national character. Socialist thought developed in Australia in concert with that in the parent culture, and anarchist and libertarian trends found a ready home amongst independent minded colonials. Yet, in preventing the formation of a native aristocracy the small radical population made a compromise with liberalism that saw a decidedly conservative streak develop in the early labour movement. There were little in the way of sophisticated radical literary offerings at first, but from the mid-nineteenth century a vanguard of radicals produced a thriving native press and other fugitive text forms. At the turn of the century the native radical literary tradition was vibrantly diverse, with a definitive style that claimed literary ownership of the Australian character. However, exhausted by the battles over WWI conscription and isolated by censorship, the Communist Party of the Soviet Union was able to subsume the vanguard position from the socialists. The Party laid claim to the Australian radical literary tradition, at once both strengthening it with the discipline of a Marxist ideology and diminishing its independence and diversity. Party literary theory centred upon the issue of class, developing a doctrine of socialist realism that communist writers were expected to practice. How well a writer adhered to socialist realist principles became a measure of their class position and loyalty. Drawing more from primary sources, the thesis develops an analysis of the intellectual development of the Australian post-WWII writer Eric Lambert through his experience of class instability during Depression and war. The study examines Lambert's decision to join the Party and his literary response to his experiences of war, the Party, the turmoil of 1956 and life after the Party. Lambert's body of work is then analysed as the unintentional memoir of a writer working as an adult educator in the radical literary tradition. Lambert's struggles, for artistic independence within the narrow precepts of Party dogma and with class tensions, were common amongst intellectuals committed to the communist cause. Like many of his peers, Lambert resigned from the Party at the end of 1956 and suffered a period of ideological vacuum. However, he continued to write as a Marxian educator, seeking to reveal that which makes us human in the humanity of ordinary people. It is concluded that, while the Party did much to foster disciplined cohesion, the mutual distrust it generated amongst its intellectuals suppressed the independent thought that had kept the radical literary tradition alive. Although the Party developed an ideological strength within the radical literary tradition, its dominance over thirty years and subsequent fall from grace acted to fragment and discredit that centuries-old tradition which it subsumed. An argument is made for a reinvestment of the centrality of the radical literary tradition in the education of adults for the maintenance of social justice and the democratic project.
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Qian, Zifan. "Enhanced realism in the development of my painting." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3919.
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It is a basic truth that the artist must have independent experience and personality in order to create art from life. Combining a traditional realistic style with some elements of abstract composition fits my personality. My paintings represent a pursuit of this idea that is the enhanced realism in the development of my painting.
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Reason, Akela M. "Beyond realism history in the art of Thomas Eakins /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2195.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Zhu-Nowell, Xiaorui. "Capitalist realism : making art for sale in Shanghai, 1999." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111501.
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Thesis: S.M. in Architecture Studies, Massachusetts Institute of Technology, Department of Architecture, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 103-105).
The artist-instigated exhibition Art for Sale (1999), which partially operated as a fully functioning 'art supermarket' inside a large shopping mall, was one of the most important exhibitions that took place during the development of Shanghai's experimental art-scene in the 1990s, a time when the influx of consumer capitalism was becoming a key mechanism of life in the city. Organized by the artist-curators Xu Zhen, Yang Zhenzhong and Alexander Brandt, the exhibition was divided into two sections, a supermarket and an exhibition space, and included 33 artists who were prompted to create a pair of works, one for each section. The supermarket section consisted of works that were at once art objects and commercial goods, many of them bizarre amalgamations of familiar household items, and visitors were able to self-select "merchandise" to purchase; therefore, becoming "art consumers" for the first time in post-revolutionary China. Post-1989 China was a uniquely volatile social and political environment; the failure of the 1989 democracy movement incentivized the rise of state-directed capitalism, and Deng Xiaoping was championing a new official ideology of the Communist Party of China- "Socialism with Chinese characteristics", which doubled as a strategy to thwart the democratic movement of the time. Necessarily, the Shanghai art scene of the 1990s must be seen in the context of these pro-consumerist state policies, as almost overnight, the state attempted to turn a nation of workers into a nation of consumers. This transition was rife with tension. An emerging ideology of consumerism had to be cleverly negotiated with and against a strong residual ideology of Mao-era policies and values. It was a historical moment of incredible flux and ideological hybridity in which the necessary contradiction of "socialist capitalism" could take root. The Art for Sale exhibition was deftly self-reflexive about these permutable conditions of the late 1990s, and this thesis argues that it functioned as a way to worry the question of consumerism in China through making consumption into an aesthetic act; considering, challenging and often subverting the contingent future of capitalism that the state was trying to enact. Through the introduction of Capitalist Realism, an art historical movement begun by East German artists in 1960s West Germany, this thesis links Art for Sale with previous examples of artists using consumerism as an aesthetic strategy, arguing that Capitalist Realism can be used as an interpretive heuristic for understanding how conceptual art practices emerged in 1990s China as a critique of Western consumerism.
by Xiaorui Zhu-Nowell.
S.M. in Architecture Studies
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Flavell, Helen. "Writing-between : Australian and Canadian ficto-criticism /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.
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Graham, Jennifer Frances. "Van Eyck's realism and the British art world 1760-1880." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408988.
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Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
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Crist, Tessa J. "Vladimir Makovsky| The politics of nineteenth-century Russian realism." Thesis, Northern Illinois University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590999.
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This thesis examines the political work produced by a little-known Russian Realist, Vladimir Makovsky (1846-1920), while he was a member of the nineteenth-century art collective Peredvizhniki. Increasingly recognized for subtle yet insistent opposition to the tsarist regime and the depiction of class distinctions, the work of the Peredvizhniki was for decades ignored by modernist art history as the result of an influential article, "Avant-Garde and Kitsch," written by American art critic Clement Greenberg in 1939. In this article, Greenberg suggests the work of Ilya Repin, the most renowned member of the Peredvizhniki, should be regarded not as art, but as "kitsch"--the industrialized mass culture of an urban working class. Even now, scholars who study the Peredvizhniki concern themselves with the social history of the group as a whole, rather than with the merits of specific artworks. Taking a different approach to analyzing the significance of the Peredvizhniki and of Makovsky specifically this thesis harnesses the powerful methodologies devised in the 1970s by art historians T.J. Clark and Michael Fried, two scholars who are largely responsible for reopening the dialogue on the meaning and significance of Realism in the history of modern art.
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Schilo, Ann. "Folk art in Australia: A discursive analysis." Thesis, Schilo, Ann (1993) Folk art in Australia: A discursive analysis. PhD thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/52760/.
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Informed by the writings of Michel Foucault, this thesis investigates the discourse on folk art in Australia. Emphasis is placed on exploring the recent emergence of a body of statements that contribute to its Australian specificity.
This thesis considers the various discursive strategies that construct the domain of folk art in this country, including the contribution played by overseas folkloric studies in establishing the field. By using a framework operating under the principle of distance and immediacy, the processes of production and dissemination of cultural goods are examined to reveal how material folk culture is located as a peripheral artistic practice. In this regard, the systems of exclusion that operate within high art discourses to define and marginalise women's artistic practice are surveyed as a concomitant discursive domain.
A study of makeshift furniture is undertaken to elucidate how these strategies combined with processes of connoisseurship are involved in constructing the domain of Australian folk art and the appraisal of its cultural value. In the final analysis, attention is given to the subject of aesthetics and the appreciation of folk art.
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Delong, Marek. "Cluster World." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2015. http://www.nusl.cz/ntk/nusl-232466.
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In my thesis I focus mainly on omnipresence of the internet and technology. Additionally on colapse of physical environment in online culture and infinite reproduction ability and transformability of digital matter. However, I’m also concerned about their feedback application into exhibition areas. The thesis deals with change of authorship – after an art piece gets documented, it becomes a circulating material. Authorship of an artwork is almost impossible to track down, same as the initial context. Artistic outcome switches from auratic object into a file which is a subject to the network architecture. In the last two decades the relationship between image, text, language, meaning, body, space, subject and object changed radically. The task is no longer to create unique and original art but to observe existing supplies of images and spaces as de-subjectivized.
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Eisenbrey, Peter. "Sculpting Fantasy Realism Creatures of the Desert." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/466.
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Creature design and sculpture is about representing life with three dimensions. To begin designing a creature, the process begins by looking at real life. Studies of existing wildlife and anatomy reference provided the foundation for the creation process. The goal of this project was to study creature design and attempt creating feasible results. The background and location origin of these creatures are based on the environmental location of Arizona. The goal was creating and rendering four creatures with the attempt of achieving fantasy realism.
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Bundy, Dallin J. "Magical Realism and the Space Between Spaces." DigitalCommons@USU, 2012. https://digitalcommons.usu.edu/etd/1309.
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Magical realism comes from Franz Roh, a german art historian and critic, who first used the term to describe the Post-Expressionism movement in visual art. His seminal writings and definitions on Post-Expressionism, then known as magical realism, were translated into Spanish and made available to Latin America in the mid twentieth century. Authors like Jorge Luis Borges and Gabriel Garcia Marquez adopted Roh's writings and re-appropriated magical realism into literary art, and from there the new genre proliferated through the Latin American Boom and magical realism in literary fiction reached global recognition, inspiring authors across the world to take it up and continue the tradition into the present.
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Bemrose, Anna. "A servant of art : Robert Helpmann in Australia /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17332.pdf.
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Andrus, Timothy G. "Stuart Davis's Early Theoretical Writing, 1918–1923: Realism, Cubism, and Dada." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4589.
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This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.
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Hawker, Rosemary. "Blur : Gerhard Richter and the photographic in painting /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe20106.pdf.
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Elhag, Ahmed Hasaballa. "The medium and the message : Edward Bond and the politicization of art." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253130.
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Bush, Melissa Ann. "Art from the Macchiaioli to the Futurists: Idealized Masculinity in the Art of Signorini and Balla." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5655.
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Beginning around 1850, Italians found themselves in the midst of an identity crisis. Europeans in France and England had surpassed Italians in terms of political, economic, and social progress. Italians seemed trapped in the past, clinging to their magnificent artistic heritage. However, new cultural and social movements were on the rise in Italy that attempted to throw off the domination of other European entities and forge a promising future for Italy. The Macchiaioli, a group of Italian modern artists who painted from 1853 to 1908, were the first group to address contemporary social issues such as class struggle and national weakness. Their art called for progressive change and arguably influenced how the later Italian Futurist movement would address similar concerns beginning in 1909. One of the Macchiaioli, Telemaco Signorini, advocated the development of new technologies and industries—dominated by men—in realist paintings from 1853 to 1901. Futurist artist Giacomo Balla gained recognition for promoting similar ideas in a more radical fashion. Most art historians believe that the Futurists were influenced by trends originating in Western Europe, specifically the French avant-garde. This thesis argues that the Futurists were significantly influenced by an Italian tradition that originated with the Macchiaioli. The Macchiaioli were animated by a nationalistic fervor and a desire to create a strong and unified Italian state. They used art and literature to advance progressive ideals based on masculine acts. The Futurists responded to similar stimuli in their day. In the absence of a powerful national identity, Signorini and Balla employed modern artistic styles to idealize masculine solutions to social problems. Both ultimately foresaw a world in which technology, mastered by men, would elevate Italian society.
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Baker, Suzanne Lynda. "Clowning seriously: The political force of magic realism in postcolonial fiction from Australia and Canada." Thesis, Baker, Suzanne Lynda (1997) Clowning seriously: The political force of magic realism in postcolonial fiction from Australia and Canada. PhD thesis, Murdoch University, 1997. https://researchrepository.murdoch.edu.au/id/eprint/52961/.
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The primary objective of this thesis is to demonstrate that the discursive mode of magic realism can contribute to the political force of postcolonial texts. This is achieved through detailed readings of contemporary works of fiction, written in English, from Australia and Canada. While the term ‘magic realism’ has been in use for more than seventy years, in recent times it has gained increasing currency in the critical discourses of Western literature. Commonly associated with the literature of the Latin American region, with Gabriel Garcia Marquez’s novel One Hundred Years of Solitude generally considered the paradigmatic example of literary magic realism, the term is now being applied to writing emerging from countries as diverse as Canada, Australia, Greece, and Norway. This thesis will argue that because of its inherent ambivalence and hybridity, the mode of magic realism represents a challenge to the authority of colonial discourses and hence its current popularity in the context of postcolonial writing.
This thesis works on two fronts. The first part examines the historical evolution of the concept of magic realism, from its origins in the art world to its appearance in the literatures of the Latin American region. Existing definitions of the term will be evaluated in order to delineate the most important characteristics of magic realist writing. By exploring the concept in this way, the thesis aims to demonstrate the relevance of the term for contemporary literary theory.
The second part of the thesis specifically addresses magic realism in the context of postcolonial writing from Canada and Australia. These nations have been chosen because of their similar postcolonial literary histories. This thesis represents the first extended study of magic realism in the context of postcolonial writing. The central claim of this thesis is that magic realism is an important politicising agent in that it challenges dominant and coercive ideologies and belief-systems at the same time as it challenges the conventions of the realist genre through which these ideologies are often perpetuated. It is argued here that the transgression of boundaries inherent in magic realism enables writers to move beyond the constrictions of commonly-accepted hierarchies. At the same time, however, by maintaining links with the discourse of realism, magic realism anchors the narrative to a ‘real’ world and thus creates a space where such hierarchies can be challenged and perhaps overturned. The thesis substantiates this claim by presenting readings of selected texts from the postcolonial settler cultures of Canada and Australia in which specific instances of magic realism add political force to the postcolonial themes and concerns which the texts explore. While magic realism has occupied a prominent position in Canadian literary theory for some time, this thesis is the first critical survey of magic realism in Australian fiction.
The special contribution which this thesis makes to postcolonial studies is its bringing together of Australian and Canadian texts to explore their use of magic realism in the context of postcolonial writing. Also, included as a part of this thesis is the first annotated critical bibliography of magic realism which, it is anticipated, will be of considerable value for other researchers in the field.
There is no doubt that we live in a world where rapid developments in technology and vast increases in scientific knowledge have meant that the limits of the ‘possible’ are constantly being challenged and redefined. This thesis will conclude by arguing that in spite of the fact that everyday ‘reality’ is becoming more and more ‘incredible’ as the borders of the possible and the impossible are subject to constant expansion and change, magic realism will continue to be an important and relevant discursive mode for exposing and critically challenging the ideologies behind the current status quo.
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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.
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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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McEvansoneya, Philip Daniel. ""Dismal Art" or "strong, realistic pictures"? : Luke Fildes, Frank Holl and 'social realism'." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35697.
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Archambault, Pauline. "Foregrounding a Contemporary Mode of Realism: The Work of Santiago Sierra." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397477607.
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Wang, Xuning. "Realist painting and its relationship to my creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.
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This thesis examines the realist art movement from its origins in France in the 1840s to its development in China in the 20th century and its impact on the author as an artist. The thesis reviews the development of realism in France, and traces its impact on Chinese conceptions of realism in the 20th century. The contemporary debates surrounding realism in China are examined and contextualised within the recent history of realism in China. Finally the thesis looks at the impact of realism on the author’s creative practice and a case is argued for the development of realist ideas in a globalised culture and its value as a cross- cultural visual language.
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Johnson, Perry Walter. "And This, Our Measure: Figurative Realism and Workaday Culture." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2151.
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Man has created vast and powerful systems. These systems and their associated protocols, dogmas, and conventions tend to limit rather than liberate. Evaluation based on homogeneity threatens the devaluation of our humanity. This paper and the artwork it supports examine contemporary culture and its failings in the stewardship of the humanist ideal.
My paintings referenced herein are satirical narratives. The story told is one of alienation and evisceration. The visual subject matter is the human figure and environments dominated by architectural geometry. The male figures are conspicuously turned from view, a visual cue to their estrangement. Parallel and subordinate thoughts from the fields of psychoanalysis, economics, religion, and political science will be discussed.
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Garnons-Williams, Victoria. "Art teacher pre-service education : a survey of the attitudes of Queensland secondary, and tertiary art educators." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26115.
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This study compares the views of three groups of art educators - secondary, tertiary pre-service lecturers, and scholars - about the content and structure considered important in art teacher pre-service education.
Items of program content and structure, as well as issues in art-teacher preparation were gleaned from the writings of selected scholars and incorporated into a survey questionnaire. The survey was distributed to secondary art educators throughout Queensland and to art pre-service lecturers throughout Australia. An analysis of the results identifies areas and degrees of agreement and difference on items both within and between groups. The study can assist the development of art teacher pre-service programmes that reflect the values of both theoreticians and practitioners of art education.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.
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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.
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Kwok, Yin-ning. "Concepts of realism and the reception of John Constable's landscape paintings." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39707301.
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Pennings, Mark W. "Charles Wheeler and the nude in Australia." Connect to thesis, 1991. http://repository.unimelb.edu.au/10187/1432.
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The place for Charles Wheeler’s nudes in Australian art history has not been adequately gauged by art historians. He was one of Australia’s most notable painters of the nude, not perhaps because his vision was particularly inventive or original, but rather because he was an important, conservative conduit of that European tradition. Wheeler was very popular with the buying public over many decades, but success with his nudes was fundamentally a critical one. The positive response to Wheeler’s nudes, paintings which combined elements of the academic tradition and more fashionable conventions, presents an intriguing reflection on the nature of art criticism in Australia. The style of Wheeler’s discourse is indebted not only to late nineteenth century British models, as it was represented in the writings of critics such as R.A.M. Stevenson, who was primarily concerned with technique, but also to current debates about art and morality. One of the determining characteristics of this discourse was an interest in defining the limits between naked and nude. Critics were particularly concerned to protect the nude as a genre against moral attack by refusing to engage in a discussion of its sensual aspects. While the public was keen to debate the moral problems associated with the nude, the critics were anxious to avoid these issues. They felt that questions of morality were not central to artistic merit, and sensed that by engaging in discussion of this kind, the nude was on danger of being brought into disrepute.
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Povoledo, Elisabetta Angela. "Caravaggio's early works and the tradition of Lombard realism." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64068.
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Dernbach, Rafael Karl. "Anticipatory realism : constructions of futures and regimes of prediction in contemporary post-cinematic art." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289021.
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This thesis examines strategies of anticipation in contemporary post-cinematic art. In the Introduction and the first chapter, I make the case for anticipation as a cultural technique for the construction of and adjustment to future scenarios. This framing allows analysis of constructions of futures as culturally and media-historically specific operations. Via anticipation, constructions of futures become addressable as embedded in specific performative and material economies: as regimes of prediction. The hypothesis is that cultural techniques of anticipation do not only serve to construct particular future scenarios, but also futurity, the very condition for the construction of futures. Drawing upon the philosophical works of, in particular, Vilem Flusser, Jacques Derrida and Elena Esposito, and the theory of cultural techniques, I conceptualize anticipation through the analysis of post-cinematic strategies. I argue that post-cinematic art is particularly apt for the conceptualization of anticipation. The self-reflexive multi-media interventions of post-cinematic art can expose the realisms that govern regimes of prediction. Three cultural techniques of anticipation and their use as artistic strategies in post-cinematic art are theorized: enactment, soft montage and rendering. Each of these techniques is examined in its construction of futures through performative and material operations in art gallery spaces. The second chapter examines strategies of enactment in post-cinematic installations by Neïl Beloufa. My readings of Kempinski (2007), The Analyst, the Researcher, the Screenwriter, the CGI tech and the Lawyer (2011), World Domination (2012) and Data for Desire (2014) propose that enactment allows for an engagement with futures beyond extrapolation. With Karen Barad's theory of agential realism, the construction of futures becomes graspable as a political process in opposition to a mere prolonging of the present into the future. The third chapter focuses on the strategy of soft montage in works by Harun Farocki. I interpret Farocki's application of soft montage in the exhibition Serious Games I-IV (2009-2010) as a critical engagement with anticipatory forms of organizing power and distributing precarity. His work series Parallel I-IV (2012-2014) is then analyzed as a speculation on the future of image production technologies and their role in constructing futures. The final chapter analyses the self-referential use of computer-generated renderings in works by Hito Steyerl. The installations How Not To Be Seen (2013), Liquidity Inc. (2014), The Tower (2015) and ExtraSpaceCraft (2016) are read as interventions in the performative economies of contemporary image production. I argue that these works allow us to grasp the reality-producing and futurity-producing effects of rendering as anticipatory cultural technique. My thesis aims to contribute to the discussions on a 'turn towards the future' in contemporary philosophy and cultural criticism. My research thus focuses on the following set of questions. What can we learn about the operations of future construction through encounters with post-cinematic art? How are futures and future construction framed in such art? What realisms do future constructions rely on? And how can anticipation as a cultural technique be politicized and democratized?
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Medley, Stuart. "Less realism : more meaning : evaluating imagery for the graphic designer." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2008. https://ro.ecu.edu.au/theses/232.
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Typography' as a defining term has become interchangcable with 'graphic design'. and while font choice and application is seen as of paramount importance. image choice, virtually half , . of the communication design equation, is neglected in the theory and in pratice is left to the instinct of the designer. In this thesis I try to find approaches for graphic designers to understand image to the degree that they understand type. These approaches are tested through assignments for graphic design students and the results recorded and analysed. I seek to address the paradox that we are able to communicate more accurately through less accurately rendered images. I will explain how the human visual system. evolved over time by looking only upon the natural world in all its reality. can look upon a stick-figure and make an emotional and intellectual connection. I examine the design implications of this strange faculty of the visual system. Gombrich. Arnheim and others have explored realism in, and applied psychology to, art in order to become better art historians. I explore the implications in the more pragmatic. economically imperative field of design of moving away from realism in the visual aspects of communication.
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Brooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.
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"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
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Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.
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"This research project explores the possibility of a relationship between Abstract art and Aboriginal art in Australia from the mid twentieth century to present. [...] The investigation commences with background information on the history and origins of Abstraction, including the influence of 'primitive art' upon leading practitioners in this field during the movement's formation, before moving to Australia and focussing on two Australian painters. [...] The text also reflects on the rise of the perception of Aboriginal art from being seen as cultural curios in the mid 20th century to its current status as an internationally recognised art movement."--p. 2.Master of Arts (Visual Arts)
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Walters, Anne E. "Making art-the child's perspective." Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/36630/1/36630_Digitised%20Thesis.pdf.
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Current research into the status of art in primary school education suggests that there is overwhelming support for a more vigorous approach to the artistic and creative development of children in Australian education. A recent Australian Council Report (Costantoura, 2000) into the arts in Australia found that as many as 85% of Australian adolescents and adults felt that involvement in the arts "should be an important part of the education" (p. 86) of every child.
Despite such support however, there is a lack of emphasis on the creative arts in the curriculum of many Australian primary schools and there are few schools which would consider themselves particularly well-equipped with either the teaching or practical resources to facilitate a dynamic and progressive arts program. Art education is predominantly the responsibility of classroom teachers in primary schools in Australia and, while many teachers manage to provide their students with outstanding experiences in visual art, the priority assigned to the subject can vary according to the interests and skills of individual teachers and/ or school principals.
How then do young recipients of a visual arts education view their involvement in the subject? Is it an important part of their education and can they explain in what ways they are able to see value (or not) in further participation in artmaking? While adults present the bulk of research, discussion, planning, and evaluation on the subject of art in education, this study considers the perspectives of a group of children aged between eight and ten years from three schools, who have elaborated broadly upon their thoughts and feelings on the subject.
Although the intention of the study was to consider children's perspectives as artmakers, and the interview questions guided the information collected, pre-determined outcomes and predicted responses were not set. Collection of data was based upon (1) informal discussion and semi-structured interviews with children, (2) collection of artwork and photographic material, (3) participant observation in the classroom during art classes. Using Strauss and Corbin's (1990) approach to grounded theory, collected material was decoded and analysed, and the triangulated material was used to isolate a number of possible key issues or categories. These related to the importance of the teacher's approach to artmaking classes and the subsequent effect of this upon children's individual and general attitude to artmaking, the ramifications of using art to broaden cultural appreciation and association, and the need for increased understanding of the cognitive aspects of artmaking.
The overarching outcomes emerging from the study concentrate on the value which can be attributed to the children's perspectives. What the children had to say about artmaking requires further investigation and this study provides a glimpse into what children think about art and artmaking. The key finding, and that which has formed the basis for theory building is that the children's perspectives contain significant insight and understanding that is both important and useful to educators working with them - as well as educators and researchers investigating the value and development of art in education.
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McCarthy, Bridie Clare, and bridiecmccarthy@yahoo com au. "At the limits: Postcolonial & Hyperreal Translations of Australian Poetry." Deakin University. School of Communication and Creative Arts, 2006. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070329.093702.
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This dissertation employs the methodologies of postcolonial theory and hyperreal theory (following Baudrillard), in order to investigate articulations of identity, nation and representation in contemporary Australian poetry. Informed by a comparative analysis of contemporary Latin American poetry and cultural theory (in translation), as a means of re-examining the Australian context, this dissertation develops a new transnational model of Australian poetics.
The central thesis of this dissertation is that contemporary Australian poetry engages with the postcolonial at its limits. That is, at those sites of postcoloniality that are already mapped by theory, but also at those that occur beyond postcolonial theory. The hyperreal is understood as one such limit, traceable within the poetry but silenced in conventional postcolonial theory. As another limit to the postcolonial, this dissertation reads Latin American poetry and theory, in whose texts postcolonial theory is actively resisted, but where postcolonial and hyperreal poetics nevertheless intersect.
The original critical context constructed by this dissertation enables a new set of readings of Australian identity through its poetry. Within this new interpretative context, the readings of contemporary Australian poetry articulate a psycho-social postcoloniality; offer a template for future transactions between national poetry and global politics; and develop a model of the postcolonial hyperreal.
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Wang, Shu-Chin. "Realist agency in the art field of twentieth-century China : realism in the art and writing of Xu Beihong (1895-1953)." Thesis, SOAS, University of London, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547458.
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Dickerson, Brendhan Bailie. "Magical realism and subjective reality : an investigation of poetic symbolism and the development of related sculptures." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/13862.
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Bibliography: leaves 58-62.To meet the requirements for the Master of Fine Art degree at the University of Cape Town my intention was to develop a series of sculptural assemblages which address a sense of subjective or poetic reality, using symbolically resonant found and fabricated objects. The body of work is to be understood as a sculptural parallel to (but not illustrative of) Magical Realist literature, in which arcane phenomena are incorporated into a narrative in order to achieve just such a sense of subjective reality.
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Trueblood, Jeffrey Allen. "Polar night." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2649.
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For my thesis I plan on exploring the concepts and reasons that I make my art. I will talk about how I explore the night as my subject and the emotional response I hope to evoke with my work, and my influences and inspirations while exploring this topic. I will talk about how I try to show how in the modern world we try to take that darkness and drive it back with artificial lights intending to duplicate the world of daylight, but instead we create stages of normalcy in between the depths of the night allowing the individual imaginations of the viewer to dream into the darkness bringing their own experiences and emotions to the images and making an interactive viewing experience. By trying to recreate the mental state where our minds revert to the most primal instincts of fight or flight in the face of the unknown, despite our knowledge of what exists in the daylight, I try to reach a more primal work of art that goes beyond my early influences of the western Romantic art and show how these instincts still deeply affect us in our modern world.
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Kwok, Yin-ning, and 郭燕寧. "Concepts of realism and the reception of John Constable's landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39707301.
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Song, Sheau Ming. "To what extent is realism in painting a relevant and vital force in contemporary art?" Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527148.
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Sefer, Ibrahim. "Newly arrived children's art / story book 2004." [Adelaide]: Migrant Health Service, 2004. http://www.health.sa.gov.au/library/Portals/0/drawings-and-dreams-newly-arrived-childrens-art-story-book.pdf.
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This project was funded by the Department for Families and Communities A collaboration between Ibrahim Sefer, newly arrived boys and girls aged between 4 and 14 years from Culturally and Linguistically Diverse Backgrounds and the Migrant Health Service (Adelaide Central Community Health Service).
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Young, Amanda M., University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Several interpretations of the Blue Mountains : a juxtaposition of ideas over two hundred years." THESIS_FPFAD_SD_Young_A.xml, 1997. http://handle.uws.edu.au:8081/1959.7/607.
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In 1815 the Blue Mountains were first identified as a unique landscape when Governor Macquarie took a tour over them and located the nineteenth century principles of the Sublime and Picturesque within its' landscape. Until this time the Blue Mountains were considered to be a hostile impenetrable barrier to the West. This paper examines some of the ways the Blue Mountains has been represented in the past, and has been identified as a tourist destination through interpretations imposed on the landscape by the tourist industry since that time. The areas covered deal with the heritage of British Colonialism as a way of forming opinions about the Australian landscape. Then, the theories of the Picturesque and Sublime are examined when applied to the Blue Mountains landscape. The final chapters in this paper deal with contemporary issues that have shaped the way the tourist industry is encouraged to encounter the Blue Mountains landscapeMaster of Arts (Hons)
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Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.
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Zammit, Carmen. "The art of healing : A journey through cancer : Implications for art therapy." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1224.
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This thesis is designed to investigate how art assisted in the healing process of a person suffering from a life threatening illness. The research method used is a clinical case study. This study is a form of evaluative research, a systematic data-based inquiry concerning the participant's engagement with art in her healing process, a process which unfolds as being both life affirming and spiritually enriching. This case study takes a qualitative approach, with its emphasis on the participant's own account of her behaviour. The participant is a fifty-three year old woman, a psychiatrist and psychotherapist, who was diagnosed with multiple myeloma seven years ago. Multiple myeloma is cancer of the bone marrow and blood, a medically incurable form of cancer (Mayo Clinic, 1996; Macpherson, 1995). The principles of Holistic Medicine and Arts Medicine provide the theoretical framework. Data was accumulated from multiple sources: in-depth, open-ended interviews; direct observation; video-tapes; audio-tapes; written documentation and artwork. Art therapy literature reveals a scarcity of formal evaluative research in the area of how art assists people in their healing of a life-threatening illness (Malchiodi, 1993a, l993b). This research project follows the tradition of existing studies and formally documents one person's journey. The aim is to assist in efforts to develop art interventions that will promote healing for people suffering from serious illnesses, and in many cases, those facing imminent death.
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Denholm, Michael. "Art magazines in Australia, 1963-1990 : a study of values, influence and patronage." Thesis, Canberra, ACT : The Australian National University, 1994. http://hdl.handle.net/1885/139448.
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