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Lu, Shih-Yun. "Site specific interventions in contemporary art." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/691/.
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Site-specific interventions in contemporary art are still a relatively new area of study. The relevant disciplines include site-specific art, cyberspace, new media art and interdisciplinary art, and installation art. In addition to practical experimentation the work draws upon literature and practice from these disciplines in order to create a theoretical framework. In response to the emerging practical and theoretical framework, site-specific installation works were created in contrasting locations that presented both internal and outdoor spaces. The frameworks created through theoretical investigation have been used to analyse both the creative process and the art work itself in relation to both physical space and cyberspace. An experimental art method approach was used in order to gain a deeper understanding of the issues relating to spatial concepts. The analysis uses a wide range of documentary material such as video and photographic recording, as well as the visual interpretation of the art work through exhibition and creative practices. This investigation explored site-specificity in both physical and virtual space in three distinct parts; projects in physical and virtual site-specificity, projects in physical site specificity, and Net art projects. These projects have been analysed from the perspective of spatial concepts theories and Zen philosophy within the framework provided by the four elements - space, time, media and practice. This research examined the value of site-specificity in both physical and virtual sites through the results of the creation of art work in `interdisciplinary art'. This led to the principal conclusion from this research: namely, that physical sites can be duplicated and documented by using emerging digital technology and then be transmitted as a particular mix of physical and virtual sites using the Internet as a medium. This research is an exploration of the under-examined area of site-specificity within contemporary art.
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Lyons, Shannon Jade. "Challenging Placelessness: Site-Specific Art within the Gallery." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/2172.
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This practice-led research project investigates ways of challenging contemporary notions of placelessness through the production and installation of site-specific artworks within art gallery spaces. By focusing on the material, architectural, atmospheric and institutional conditions specific to art gallery spaces, and producing artworks that may reveal, expose and illuminate these conditions, the project aims to explore alternatives to the production of artwork in one place and its exhibition in another, and to the use of the art gallery as a ‘non-place’.
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Morais, Fabio dos Santos. "Site specific : um romance." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/688.
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The goal of this research has been to encircle the term literarture with a number of possible definitions. The idea was less to coin a new term than to apply in writing what I perceived to surface already in various texts cited in this research in order to produce the literartistic piece Site Specific, a Romance. Its production consisted of delving into pieces I believe to be examples of literarture, and from the cross-referential dialogue established between them within the textual tissue of Site Specific, a Romance, I trust to have insinuated a definition to the term. Site Specific, a Romance is a text that fuses art praxis and academic dissertation in one single body. Always suspicious that the act of defining is foreign to any practice in the field of art especially to an artist the will of defining literarture was nevertheless satisfied in producing a text where I could experiment with it: it is my belief that every work of art (re) defines in itself the genre(s) to which it belongs. As such, Site Specific, a Romance is my experimentation and the only possible means I have to express what I think to be, or feel to be, literarture.
O objetivo desta pesquisa de mestrado foi cercar de possíveis definições o termo ¿literartura¿ - um termo que, mais que querer cunhar, percebo na leitura de vários textos citados na pesquisa - e, a partir dele, produzir a obra literartística Site Specific, um Romance. Para isso, foram pesquisadas obras que creio serem exemplos de literartura e, através desses exemplos, penso ter se insinuado uma definição. Estas obras formam um diálogo entrecruzado no próprio tecido textual de Site Specific, um Romance, texto que funde obra prática e dissertação de mestrado num só corpo. Sempre desconfiando de que definir seja estranho a qualquer prática no campo da arte, sobretudo para um artista, esta vontade de definir o termo ¿literartura¿ me foi satisfeita ao produzir um texto onde pude experimentá-la: é minha crença de que cada obra (re) define em si o(s) gênero(s) a que pertence. Assim, Site Specific, um Romance é minha experimentação e meu único modo possível de expressar o que penso, e sinto, ser literartura.
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Spinks, Tansy. "Associating places : strategies for live, site specific, sound art performance." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8752/.
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Claims for originality in this thesis lie in bringing together many different disciplines in art, music, sound studies and performance. The methodology, contextually indebted to the dialogues of site specific art, performance, and sound improvisation, has emerged as a multi-disciplinary one, informed in part by the study of those artists from the 1960s onwards who actively sought to resist the gallery system. The practice has driven the thesis in developing and continuously testing the requirement to respond uniquely to chosen sites. By using relevant references, instruments, and sonified materials, a compulsion to convey something of the particularity of the site’s associations through sound, is performed on site. In the course of considering the wider implications of a site through both the sound performances and the critical writing, I propose that there are essentially three aspects to identify when working with sound on site. I define these as: the actual the activated the associative The first aspect describes what is essentially inherent to the place, the second what can be encouraged to be ‘sounded’ through physical intervention, and the third outlines and forms what I have coined as the wider material of the site. This term draws on any relevant aspects of the social, physical, historical, anecdotal, and aural associations that a site may proffer. However, it is the notion of the associative that primarily informs the research by providing a methodology for the practice and in proposing a new paradigm of a live, site specific, performed, sound art work. The twenty or so works in the portfolio undertaken hitherto have existed not only as live performances but also in virtual and physical documentation, critical 4 analyses, and in the potential possibilities brought to the form by the response of others. By addressing this new taxonomy of approach in defining the actual, the activated and the associative as a kind of aural ground to the site (borrowing a term from painting), significant live sound art works have been developed to temporarily inhabit a space by exploring this latent material of the site.
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Christouli, Vasiliki. "Site-specific art as an exploration of spatial and temporal limitations." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12037/.
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This practice-based thesis examines the relationship between space, time and the human presence. It is concerned with the dialectic exchanges between my work and the places in which its meaning is defined. Oppositions between space/place, place/non-place, and immobility/movement, articulate the spatial and temporal limitations that delineate my site-specific practice and its experience. The exploration of the relationship between the notion of time and my practice has profoundly affected my research, which has itself endured for an extended period of time. This is described in chronological sequence: 1)initial site-specific installations, 2) site-writing: the thesis and photographic documentation of the installations, 3) installation of the documentation of the initial site-specific installations on the occasion of my viva. My thesis emphasises the role of the viewer’s presence, including the moment in time and the presence of other people in experiencing the site-specific work. The question posed is whether the ‘literality’ of site-specific art can encompass antithetical notions of site as they appear in contemporary life. The hypothesis advanced is that by adjusting the limits between the double experience of the fluidities and continuities of space and time, on the one hand,and their ruptures and disconnections, on the other, site-specific art may allow viewers to think and experience apparent contradictions as sustaining relations. My thesis looks at three works: 'Central Corridor' (2003), 'Seven Windows Divided by Two' (2004) and 'In Site Compression' (2007). Their documentations emphasise the paradox of representing site-specific work on the page. Another set of documentation will be exhibited at the viva, comprising the material of anew situation with its own spatio-temporal relationships (other than those of the initial installations), and will require anew the physical participation of the viewer to be perceived.
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Cohen, Oreen. "Between Myself and the Context: Navigating a Site-Specific Art Practice." Research Showcase @ CMU, 2018. http://repository.cmu.edu/theses/139.
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The culminating work of my thesis, “Between a Stone and a Shrine,” presented in April 2014 at the Miller Gallery at Carnegie Mellon University, is contextualized with two of my prior works, “Between You Me and the Wall,” and “Between Icarus and a Phoenix.” These works are further contextualized with relevant autobiographical information. Inspiration is drawn from Walter De Maria’s ideas of meaningless work, and its contrast with Francis Alÿs and his meaningful gestures in public space. My works are then analyzed and compared to Janine Antoni’s bodily relationship to media through physical labor in site-specific practice. By using storyboarding and editing techniques developed by the film directors Federico Fellini and Yael Bartana, immersive installations are refined to create awareness, acceptance and adaptation to entropy in the built environment.
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Di, Lecce Claudia. "Art et imaginaire des lieux : valorisation symbolique 'site-specific' à Berlin." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST1181.
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S'il est désormais acquis que les communautés d'artistes et plus généralement le système de l'art contemporain jouent un rôle majeur dans le changement urbain, il reste encore plusieurs aspects à éclaircir en ce qui concerne la spécificité de cette contribution. Dans le contexte des quartiers en voie de régénération en particulier, les artistes ont un impact sur le capital symbolique qui se transmet des communautés qui y habitent ou y travaillent, à l'espace ; un processus que l'on pourrait qualifier de « spatialisation du capital symbolique ». Ces hypothèses ont été développées à travers l'exploration d'un ensemble d'éléments artistiques ayant agi dans le processus de régénération urbaine, au sein du cadre spécifique du Berlin des années 1990.Afin de donner des réponses nouvelles à ces questions, il a fallu élargir le champ de l'analyse en associant aux dimensions sociologiques, géographiques, économiques et urbaines la considération des activités artistiques qui appartiennent à la sphère plus proprement esthétique. L'hypothèse étant que les œuvres d'art – qui ne sont pas nécessairement des objets – sont des « configurations signifiantes à partir desquelles il est possible d'exercer un jugement rationnel » parce que dans l'expérience esthétique qu'elles engendrent, se produisent des effets d'ordre « normatif, cognitif et pragmatique ». Le rôle crucial de l'espace urbain dans l'évolution de l'art depuis la fin du XIXe siècle étaye l'hypothèse d'un ensemble d'interactions spécifiques, sur le plan esthétique, entre expression artistique et espace urbain. On ne se réfère pas aux recherches artistiques qui trouvent dans la ville un sujet à représenter, mais à des expériences plus radicales qui ont pu choisir l'urbain comme espace d'intervention, substrat des œuvres et lieu où établir des relations plus directes avec le public et le monde réel. La compréhension de l'émergence d'une approche site-specific dans l'art du XXe siècle peut servir à comprendre les racines symboliques du rôle croissant du système artistique dans le changement urbain. Pour aborder une question intrinsèquement transdisciplinaire nous avons dû avoir recours à des instruments variés et hétérogènes. Ainsi cette recherche s'appuie sur une variété de sources : des fonds d'archives concernant les programmes publics et les initiatives institutionnelles ; des recherches anthropologiques visant à reconstruire des histoires de vie et des expériences racontées par leurs protagonistes ; des sources bibliographiques importantes sur le cadre historique et théorique. Le degré d'indépendance des acteurs artistiques dans la détermination de ces changements démontre une profonde ambivalence qu'on ne peut réduire à des formules synthétiques. Les résultats des actions artistiques peuvent être analysés soit comme une exploitation de la valeur symbolique produite par les acteurs institutionnels de la ville, soit au contraire comme la préservation et le développement d'une alternative urbaine et politique. Par rapport aux exemples observés à Berlin, nous avons essayé de retracer les liens qui unissent ces expériences à des phénomènes antérieurs similaires – et à d'autres encore en évolution dans le présent – cela nous a permis de les considérer ceux-ci comme l'expression d'une tradition constamment renouvelée. En ce sens, les acteurs artistiques dont nous nous sommes occupés peuvent être considérés comme les interprètes de besoins et de désirs latents du corps social et urbain qui reviendraient de façon cyclique et qui pourraient jouer un rôle dans le développement de la ville dans le future aussi. L'analyse approfondie des deux cas d'étude, au-delà de leur intérêt individuel, s'offre comme une exploration à l'intérieur d'un champ dans lequel les études sont encore limitées et souvent très circonscrites. Notre recherche se veut comme la tentative de formuler des concepts, des instruments et des stratégies d'analyse qui pourront par la suite être appliqués à d'autres contextesThe key role played in urban change by artist communities, and more generally the art system has been widely recognized, yet the specific characteristics of this contribution are still to be explored. In the context of regenerating neighborhoods in particular, artist communities are able to produce a symbolic value that is subsequently transferred to the space they inhabit and work into, in a process that we could define as a ‘spatialisation of symbolic value'. Our thesis is focused on a series of artistic elements and events that were able to interact with the urban regeneration process that took place in post-wall Berlin in the 1990s.To fully understand such process, it is necessary to broaden the scope of the analysis in order to associate to sociological, geographical, economic and urban aspects the consideration of those artistic activities that belong to the aesthetic sphere. Our hypothesis being that works of art – which are not necessarily objects – may be regarded as significant configurations whose consideration allows a rational judgment as the aesthetic experience they determine encompasses prescriptive, cognitive and pragmatic effects. The crucial role of urban space in the evolution of art since the end of the XIX century supports the hypothesis of the existence of specific interactions between artistic expressions and the urban environment. We are not referring to those art works that find in the city an object to represent, but to more radical researches that choose the urban dimension as a site of intervention, the foundation of the work of art and the place where a more direct relationship with the public and the real world may be established. The consideration of the ‘site-specific' approach that appeared in the art of the XX century has helped us to understand the symbolic nature of the role increasingly played by the art system in urban change. In order to deal with a question that pertains to urban and cultural geography, urbanism, history as well as art history, we had to rely on a set of heterogeneous tools and sources: archival material concerning public programs and institutional initiatives; anthropological enquiries concerned with ‘life histories' and experiences reconstructed through the direct testimony of their protagonists; extensive bibliographic sources used to analyze the broader context of more specific case studies. As a result of our analysis, the degree of independence of artistic actors in the determination of such changes is marked by deep ambiguity that cannot be reduced to synthetic formulas. At times the symbolic value produced may be subsequently commodified and exploited by the institutional players of the city, in other cases art interventions prove as the expression of an alternative vision for urban development and its politics. In the specific context of Post-wall Berlin, we have tried to explore the relationship that connects specific experiences of the time to similar ones occurring in the past – as well as others currently taking place. This effort has brought us to consider the events of the 1990s as the expression of needs and desires periodically reappearing at the surface of the urban and social body, forces that may still play an important role in the future development of the city. Besides its intrinsic interest, in depth analysis of two case studies appears as a further inquiry in a field where research is still lacking and often focused on specific perspectives. Our contribution is intended as an attempt to develop concepts, tools and analytical strategies that may in the future be applied to other contexts
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Rapp, Karen M. ""Not the romantic west" : site-specific art, globalization, and contemporary landscapes /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Mello, Paulo Cezar Barbosa. "Site Specificity na arte contemporânea: Inhotim." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29062015-151300/.
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O estudo a seguir desdobra as questões de site specificity na arte contemporânea e suas modificações nas três últimas décadas. A compreensão do espaço em arte tomou novas formas não só em função dos espaços e dos discursos artísticos, mas também em função dos novos meios e linguagens. Essas mudanças demandaram alguns acompanhamentos por parte dos espaços expositivos, bem como um novo olhar sobre o que se entende por site specific art. Com base, principalmente nas propostas de Miwon Kwon, o presente material compara as obras de arte contemporânea, tecendo diálogos com as mudanças vistas. Espaços institucionalizados, como Inhotim, dialogam com a noção de site specificic arts, demonstrando as observações sobre site specificity. A pesquisa apresenta esta jornada e fornece subsídios para vislumbrar o espaço da arte contemporânea na segunda década do século XXI.The following research unfolds site specificity matters on contemporary art and its changes for the last three decades. The comprehension of the space in art had reached new standards, not only due to artistic spaces and discourses, but also for new media and languages. Theses changes demanded some accomplishments at the exhibition spaces as well as new looks over what one understands as site specific art. Upon Miwon Kown premisses this study compares contemporary art works creating dialogs with the modifications already achieved. Institutionalized spaces, such as Inhotim, converse with site specific arts, what reinforces the need for a site specificity stare. The probe validates the jouney and endorses a fresh look over contemporary art on the second decade of the 21st century
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Goldman, Sasha Bianca. "This Is Not A Joke: Maurizio Cattelan's Site Specific Practice." Master's thesis, Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/261339.
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Art HistoryM.A.
Little attention has been given to studying the important nuances and contributions of individual works by the artist Maurizio Cattelan. Since beginning his career as an "art world outsider," the artist has consistently resisted categorization of his work, be it stylistic, nationalistic or ideological. This has made an approach based on examining his social and political context in relation to individual works rather difficult. Instead, the scholarship surrounding his art has most frequently been in the form of a survey, using his earlier conceptual pieces to contextualize later installations and sculptures, an approach that limits a fuller understanding of Cattelan's art. Rather than reading specific works in the context of their individual exhibition history, critics place them in the trajectory of Cattelan's overall practice. Furthermore, much of the existing scholarship has relied on the artist's own discussions of his oeuvre, providing a superficial understanding of both his work and words. Thus, Cattelan has been generally understood and labeled the art-world "joker," and his artwork is seen as a series of "one-liners," limiting the reading of his work. I propose, instead, an in-depth study of specific sculptures, which will lead to a richer understanding of the artist's overall practice within a historical and contextual period. In my opinion, Cattelan's work has been overlooked in relation to notions of site specificity. Through a close reading of Cattelan's most pivotal work, La Nona Ora, I will argue that this artistic paradigm will prove a much more effective lens through which to view his practice.
Temple University--Theses
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Li, Yan-yan Linda. "Media Art for the Mid-Levels Escalator, Central." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2595460x.
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Fratzeskou, Eugenia. "Visualising Boolean set operations : real and virtual boundaries in contemporary site-specific art." Thesis, University of Surrey, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425040.
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Reveler, John Alfred. "The role of the artist and the influences of patronage in site-specific art." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/71917e58-2b88-4eda-b8aa-12bb110327a9.
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This practice-based research examines the developments in site-specific art since 1960's. Its purpose is to critically explore the influence of patronage and the role of the artist on practices within this field and it has been achieved by adopting a binary strategy, which combines "research into art" with "research through art." (Frayling 1993:5). This has involved the construction of an individually tailored methodological framework consisting of a textual examination of historical case-studies conducted in conjunction with the organisation and running of practical projects (the BT/Cellnet Farnham Library Garden & Picnic projects). Devised both as site-specific ventures and as case-studies, these projects broadly encompass three distinctive historical modes of site-specific art - Formal/Object-based, Community-based and Performative - which have successively emerged to predominance over the past fifty years or therabouts. The aim was to produce empirical comparisons in order to reflexively investigate the ways in which patronage, coupled with the role played by the artist impacted on the form and content of site-specific art.
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McCaw, Caroline. "Identifying the Value of the Local Through Site-Specific Contemporary Art Projects in New Zealand." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/367514.
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This research identifies a number of tensions arising from historic and contemporary experiences of living in New Zealand. It engages with creative methodologies that fall within contemporary site-specific and
socially engaged fields of artistic practice to investigate these tensions.
Through writing and participating in three art projects set in Dunedin, New Zealand as case studies, this thesis reflects on ways in which these projects contribute to understandings of a particular experience of the local. Each case has involved specific sites, narratives and mediated experiences. Through undertaking practice-based and practice-led research the thesis argues that these art practices are able to contribute to our understanding of the local through the connections they make between lands, landscapes, sociality and techno-sociality.
The research is predicated on an acceptance of what I have chosen to term a methodological ‘andness’: a neologism coined to highlight the connectivity between different types of information systems as they
operate ecologically and in co-location with landscapes, local cultures, the internet and mobile communication. Throughout the project, metaphors pertaining to land and sea and shore are used to identify and reflect andness as it is experienced when one lives on an unstable island where boundaries are porous and movement between systems is both inevitable and fecund.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Freitas, Marcos Paulo Martins de. "Colhendo com o corpo: ou o sujeito como \'corpo-crítico\' nas práticas artísticas de intervenções urbanas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-19112010-091843/.
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A partir de um olhar e de uma escuta direcionadas à cidade, objetivou-se a experiência do corpo no espaço urbano por meio do caminhar como ação poética capaz de suscitar um corpo-crítico que percebesse na paisagem e na arquitetura dos mobiliários urbanos instalados os ideais de cerceamento que fomentam os desequilíbrios sociais e a segregação urbana. A metodologia utilizada inspirou-se na flanerie na cidade, com um mapeamento do uso de espaços públicos, seguido de levantamento das arquiteturas dos mobiliários urbanos, para que as mesmas fossem Re-projetadas, além da coleta feita da paisagem sonora do lugar. Buscou-se assim revelar as segregações, brechas e vazios produzidos por uma anti-arquitetura que cauteriza a experiência sensorial de imersão do corpo na cidade quando estas revelam, na escala fílmica aqui proposta, a solidão e angústia, frutos da leitura de uma cidade fragmentada pelo desenho urbano de onde os vazios, as ausências e o caos engolfam a vida, anulando a experiência do corpo na cidade.From a direct observation and an attentive listening to the city, this research emphasizes the experience of the body in the urban space taking the act of walking as poetical action as a means to excite a critical-body that could perceive in the landscape and in the architecture of the urban furniture installed the method of clipping ideals that foment social unbalance and urban segregation. The methodology used was inspired in flanerie in the city, with a mapping of the use of public spaces, followed by a survey of the architectures of the urban furniture, so that the same ones were re-projected, beyond the collection of the sonorous landscape of the place. One thus searched to disclose to the segregations, breaches and emptinesses produced by an anti-architecture that cauterizes the sensorial experience of immersion of the body in the city when these polarize on the filmic scale disclosing to the solitude and anguish, fruits of the reading of a city broken up for the urban drawing from where the emptinesses, the absences and the chaos engulf life, annulling the experience of the body in the city.
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Abdelrahman, Akmal H. H. "Compositional structures in mural design : towards a site-specific deconstructive mural methodology." Thesis, University of Bedfordshire, 2009. http://hdl.handle.net/10547/133549.
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Murals have been the formal visual interpretation of the cultural, social and political life of all ages. Throughout they have been consistently combined with their architectural setting, for example, in ancient Egyptian tombs, in Renaissance churches and on the external walls of buildings in Mexico in the twentieth century. This is a central feature of mural painting. However many contemporary murals do not integrate with their architectural settings, in other words, do not fulfil the site-specificity of the architectural spaces for which they were made. This means that the most important aspect that distinguishes murals from other types of painting is absent. I studied and analysed a number of murals produced in the Italian Renaissance, Baroque and Rococo as this particular period is considered to be not only one of the most significant in the history of art but also a period in which painting and architecture were very closely allied as practices. In particular the radical developments in painting of pictorial space took place along side the developments in architecture. I argue that Renaissance murals could be described, using the terminology of contemporary art, as site-specific art. By identifying the relationship between pictorial space, architectural space and compositional structure I was able to test, through my own practice, the importance of these relationships in understanding the site-specificity of the compositional structure of murals. To address the issue of sitespecificity in murals, I investigated and developed a set of compositional structures through my mural practice that could be applied in the design, execution, and teaching of contemporary mural design. I have developed the notion of a deconstructive method of mural design in which the illusory space of the mural derives its compositional structure from the architectural space in which it sited. I have applied it, tested it and refined it through the execution of a number of hypothetical and live mural commissions. I believe that the approach to the study and practice of mural design I have developed from the perspective of a practice lead researcher contributes to the furtherance of mural design as both a profession and field of study. In particular the identification of compositional structures in mural design and the proposal of a deconstructive method contributes to our understanding of what a mural is as well as current notions of site-specificity in contemporary art.
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Sonzogni, Annalisa. "Reconfigurations of interior spaces : an investigation through photography, architecture and site-specific installation." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/37869/.
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This thesis examines the mechanisms of site-specific installation in photography, drawing on contemporary architectural debates around relationships between image and space, as well as debates in fine art around participatory practices involving installation. The project has involved a synthesis of practical research, through the production of artwork, throughout the research period. I consider the outcomes of writing, photographing and photographic installation to be at parity with one another, in the spirit of what Jane Rendell calls 'critical spatial practice'. The focus and physical context for this inquiry is the former Lilian Baylis School, built in 1964 by the Architects' Co-Partnership (ACP) for the London County Council in the Borough of Lambeth. It served its function as a school up until 2005 after which it was used for community programmes. In 2011 the site, by then Grade II listed, was restored and converted into new flats. The concept of visual memory serves as a theoretical basis of my project. I take up architect Aldo Rossi's idea of acting as a way of tracing a process of transformation, and also using these traces as a form of site-specific intervention, as an action in relation to this transformation. These aspects of transformation inform the work of making visible the memory of a place through photography and its spatial installation, engaging viewers in this process.
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Lucas, Renata de Almeida. "Visto de dentro, visto de fora." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-20052009-161950/.
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O núcleo desta tese é o conjunto da minha produção artística entre os anos de 2004 e 2008, período em que se deu este doutorado. O texto que acompanha as imagens dos trabalhos descreve cronologicamente cada experiência, desde sua elaboração até a execução, como um evento concatenado a experiências anteriores e posteriores, desdobradas no tempo. Esses trabalhos não apenas partem de indagações a respeito do lugar em que estão inseridos, o que poderia identificá-los com a prática do site-specific, mas têm uma vontade de confundir-se com o próprio lugar, têm a intenção de sê-lo. Nesse sentido, talvez o ânimo da obra aqui relatada não venha de um intrincamento com um lugar específico, mas de intrincamento específico com qualquer lugar. A questão oscila entre dois lados no conjunto do trabalho, e mantém-se em suspenso um julgamento conclusivo sobre a dualidade que nomeia esta tese, que a rigor parece não existir: visto de dentro, visto de fora.The core of this thesis is the ensemble of my artistic production between the years 2004 and 2008, which was the period when I was undertaking my PhD course. The text accompanying the images chronologically describes each experience, from its inception to its execution, as an event connected to previous and subsequent experiences, unfolded in time. These point of departure of these works go beyond issues apropos of the place in which they are inserted and that might have identified them with the practice of site-specific. The works aim at integrating themselves with each place, they aim at being that very place. In this sense, the moving force behind the works here presented may stem not so much from a relationship of entanglement with a specific place, but with a specific relation of entanglement with any place. Within the ensemble of the work, this issue oscillates between two sides and keeps a conclusive judgement about the duality that names this thesis in suspension. Rigorously speaking, this duality may even seem not to exist: viewed from the inside, viewed from the outside.
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Sanchez-Camus, Roberto. "Applied live art : co-authorship in socially engaged and site-responsive performance practice." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6027.
Full textAbstract:
This thesis looks at the ways in which performance can integrate participants and local context into the development of new devised work. This practice-led research is based on a methodology that grew out of three performance case studies completed in diverse international settings with a varied range of participants. The case studies are: Napoli Scorticata completed in 2007 in Naples, Italy; Youth Visions, completed in 2008 in Northeastern Ghana, West Africa; Triangulated City, completed in 2009 in Beirut, Lebanon. Within these diverse contexts the research questions the role of authorship when working in socially engaged practice, focusing on how practitioners can shift the focus from the artist to the body politic. Merging social engagement with a site-responsive approach, the research proposes that the artistic medium is the social system and as such argues that the modes of employment require a focus of appreciation on the generative process, context and product combined. The research is presented in two parts. Part I is an interactive DVD with images of the development process and final presentations as well as a video of each performance work. Part II is a written thesis that explores the modes of engagement, outlines the methods of development and structures a general working methodology that can be referenced by other performance practitioners. The thesis proposes Applied Live Art as a term to describe practices that include a hybrid of time-based media options, which include a social component as their primary focus. The research outcomes conclude with an analysis of place making and its importance when working with both site and society.
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Loureiro, João Eduardo. "Projeto para a ocupação de uma casa: revisão crítica." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-22072009-181727/.
Full textAbstract:
Esta dissertação tem por objetivo analisar o trabalho artís tico Projeto para a Ocupação de uma Casa, realizado dentro do programa de mestrado em Poéticas Visuais entre 2004 e 2005. Através desse trabalho pretendeu-se compreender e aprofundar o interesse no ambiente doméstico presente na produção que o antecedeu. Para isso, foi feita uma revisão crítica dessa produção, onde foram identificados os principais assuntos, recursos e problemas que formaram o interesse no ambiente doméstico. Essa revisão constitui a primeira parte desta dissertação. Na segunda parte, é analisado o Projeto. Partindo de um conjunto de referências prioritariamente literárias, uma série de objetos foi elaborada para ocupar cada um dos cômodos de uma casa escolhida, de modo que, ao percorrê-la, uma narrativa de caráter ficcional se formava. No texto, verificam-se as intenções e resultados de cada peça e ambiente; se elas cumpriram a meta de aprofundamento e entendimento da questão doméstica, as suas soluções formais, os sentidos que engendraram e o papel que desempenharam na constituição da narrativa.The objective of this thesis is to analyze the art work Project for the Occupation of a House, which was developed within the masters program in Visual Poetics, between 2004 and 2005. The thesis has aimed at understanding and deepening the interest in the domestic environment that was present in the production that preceded it. In order to achieve this, a critical review of the production was carried out, in which the main subjects, resources and problems involved in the interest in the domestic environment were identified. This review constitutes the first part of the thesis. In the second part, the Project is analyzed. With the background of a number of primarily literary references, a series of objects was elaborated to occupy each of the rooms of a chosen house, in a way that as the house was visited, a narrative of fictional character was formed. In the text, the intentions and results of each piece and surrounding are checked: whether or not they have achieved the result of deepening the understanding of the domestic question, their formal solutions, the meanings that were generated, and the role they played in the cons titution of the narrative.
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Barber, James. "Installation art and memory : a practice-as-research exploration." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/900.
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This practice-as-research project investigates how a piece of site-responsive Installation Art, titled Triple Point Dunnage (exhibited in Royal William Yard, June 2009), can be used to generate knowledge about memory work through experience of site. Working in dialogue with the ideas of Daniel C. Dennett, Lucy Lippard and Gaston Bachelard, I attempted to create a permeable and fluctuating creative setting for the memory work of participants. An approach that used site as a stimulant within a process which also incorporated theoretical themes. During the period of design and construction, I interacted with and recorded interviews with people who had a personal connection with the site or with an interest in how memory works. The final installation presented layers of spoken fragmented content in a dialectic relationship within the installation’s spatial construction. The responses of the installation’s visitors and participants were collated through a response book and interviews. These were analysed in order to discover to what extent, if at all, the properties I had developed and designed into the work had shaped the engagements of the participants. The multi-valented properties of the work generated an array of responses that suggested that the viewers had fashioned their experience by blending the fragmented stories of others with their own personal histories. This engagement resembles Dennett’s concept of “self-narrator” and resonates with Bachelard’s concept of the fusion of physical and psychological space and Lippard’s understanding of place. By exploring memory through site Triple Point Dunnage generated a sense of place that was a fusion of the participants’ responses to the external physical environment and their associative memories stimulated by the affective fragmented properties of the work.
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Janečková, Zuzana. "ID-IDENTITA (NE) ZNÁMA (time specific in-cognito in-stantná id-entita)." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-234280.
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This dissertation focuses on va-rious strategies of presenting identity in contemporary art and the current trend of forming its mutations and mystifications. It deals with approaches such as when the name of an artist is absent from his performance, various forms of concealment, and the subsequent detection of an artist. The term “anonymity” is not examined as its mere literal definition, but it subsequently forks into other related meanings. The introduction points at our daily meetings with anonymity, the condensation of information stemming from all spheres including the sphere of visual arts. The subject of the dissertation is explored though the influence of media operating at a given time (time-specific) and a given place (site-specific): here and now. The text primarily deals with the phenomenon of being “anonymous”. While examining this topic, the period starting with the 1990s is discussed and supplemented by examples from the history of Slovak, Czech, and international visual art with extensions to literature, music and film. It closely focuses on the following four bi-polar forms of anonymity: celebrity / anonymous artist, art groups / collective exhibitions, street art / net art, signature art / untitled art. These terms are defined and organized into dictionary entries (containing both names of artists and definitions of terms). Comprising of over two hundred words, a hybrid thematic dictionary has been produced. It consists of already existing definitions taken from the Slovak and Czech mutations of Wikipedia which are quoted with consistence with each entry. The collaboration with Wikipedia is based on subsequent addition of the author’s definitions and thus supplements it with missing information from the sphere of visual arts. The text also deals with a current trend of renaming as a symbol of a hegemonic tool of power. The terms a.k.a., name, monogram, nick, and pseudonym are explored.
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Vlček, Martin. "Člověk, místo, paměť." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-390115.
Full textAbstract:
Since its origin scenography has been situated among two arts (the visual art
and the performing art). Also the visual art itself has been since the 60's
of the 20th century in a similar position: experiences of living through as a part
of installation (environment since 50's) or focusing more on the action itself
(happening, event, performance). In my thesis I mention such examples, when
both of these creative worlds cross each other on borders. The themes
memory and place included in their works may consist at least of one of these
two main levels:
1.) art work with place and its specifics
2.) art work established on personal stories or sharing the experience
The most important for me are phenomenon of authenticity and personal
experience, (co)fealing and contextuality of the place. The buildings and
installations become scenes and scenographies at the same time. The happenings,
events, performances become the story. But these art approaches are
just shortly mentioned in my thesis, working more like roots, context with the
past in contemporary works. I prefer projects intensively close to life to the
artificial works. Whether it is about high experience level continuing to the
intimate dialogue or sharing the big stories, memory and places, it is done in the
context of time-based media, mental maps, site specific, memory, space/site,
path, memories and someone who reads (in) it and (re)interpretates that.
In my author diploma art project I work with a phenomenon of Being on
a visit. Which are the differences and when does it come to coherence among
the two key moments — being (still) on a visit and to (already) feel like
at home? I´m searching for way how to reflect the place/site, using memory
not only of that place/site, but also of the people who knew it — and transforming
their interpretations from different personal stories or deformations of the
reality (propaganda, idealisation). I focus to make a new environment/landscape,
transported to another context. In my art work I am trying to use almost all tools
for portraiting the reality. Painting, photography, video, installation, sound,
environment, drawing, projection, text, food, performance, dance, ritual and me
as the main creator of the dialogue with the visitors.
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Afonso, Chissangue Rebelo de Sant' Ana. "Ninhos, um sítio específico de criação e diálogo entre arte, teatro e ecologia." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29130.
Full textAbstract:
Este relatório analisa e discute o projeto em epígrafe, desenvolvido em duas fases
distintas: um exercício exploratório e a apresentação de uma performance sumário de
residências artísticas, que suscitaram a pesquisa sobre a relação do site-specific, no
processo de criação artística, performática, integrando as opções e ferramentas aplicáveis
à interpretação e direção. Estabelece diálogos simultâneos entre pressupostos da arte na
paisagem, que permitiram construir materialidades, um corpo plástico, numa ótica
sustentável, abordando novas manifestações de ecologia e processo antrópico, numa
poética ambiental e cénica. Impôs-se, por isso uma investigação transversal, que resultou
numa apresentação teatral fora do espaço convencional, complementada por uma
instalação imersiva, multidisciplinar, inserida numa paisagem sonora, física, visual onde
o processo de criação plástico e dramático são visíveis, assumidos como parte integrante
da obra e ilustrados por uma exposição fotográfica; Abstract:
This report analyses and discusses the project in question, developed in two distinct
phases: an exploratory exercise and the presentation of a summary performance of
artistic residencies, which gave rise to research on the site-specific relationship, in the
process of artistic creation, performatics integrating the options and tools applicable to
interpretation and direction. It establishes simultaneous dialogues between
presuppositions of art in the landscape, which allowed building materialities, a plastic
body, in a sustainable perspective, approaching new manifestations of ecology and
anthropic process, in an environmental and scenic poetics. Therefore, a transversal
investigation was imposed, which resulted in a theatrical presentation outside the
conventional space, complemented by an immersive, multidisciplinary installation,
inserted in a sound, physical, visual landscape where the process of plastic and dramatic
creation are visible, assumed as an integral part of the work and illustrated by a
photographic exhibition.
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Pizzi, Valentina <1993>. "Arte, ambiente e pubblico in dialogo: installazioni site-specific progettate per collezioni, festival, ed esposizioni sul territorio italiano." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12661.
Full textAbstract:
Questa tesi ha l’obiettivo di delineare il panorama contemporaneo dell’arte site specific in Italia.
Col supporto di testi critici, si ricerca la nascita e lo sviluppo di questa forma d’arte, partendo dal Minimalismo e proseguendo attraverso altri movimenti artistici quali Arte ambientata, Arte pubblica e Arte urbana. Si definiscono poi i caratteri fondamentali delle installazioni site specific: il legame dell’opera con lo spazio, la relazione con il tempo e l’interazione con il pubblico.
Questi aspetti sono studiati e sviluppati dall’artista secondo il contesto in cui l’opera è inserita; si è quindi deciso di presentare diversi casi studio, organizzati in modo da distinguere gli sviluppi e le problematiche relative alle installazioni site specific: progetti permanenti, festival e mostre temporanee.
I progetti italiani permanenti – All’Aperto della Fondazione Zegna a Trivero, Castello di Ama a Gaiole e Fiumara d’Arte a Tusa – evidenziano il legame con le aziende che li finanziano e con il paese ospitante.
I festival di arte pubblica – Seminaria a Manarola, Tusciaelecta nel Chianti e Intersezioni a Scolacium – mostrano un forte legame con i cittadini e la loro volontà a valorizzare il proprio territorio.
Con le mostre temporanee nasce, invece, una nuova problematica: l’artista deve realizzare un’opera site specific con la consapevolezza che sarà rimossa dal suo site entro pochi mesi. Di conseguenza le mostre ospitano spesso opere già esistenti che vengono ricontestualizzate.
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Šišková, Daniela. "LETNÍ PROJEKT DIVADLA CONTINUO Ve sklepě." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202772.
Full textAbstract:
The diploma thesis The summer project In the cellar of the Theater Continuo is about my experience at the summer workshop organized by the Continuo Theatre concretely on site-specific project In the cellar. At first I write in a style of diary and later on I describe particular approaches of work, exercises and creating of the performance itself. The final section is devoted to the author's own project Coco.on, which was created as part of a school project Left on my own. This creation was based on the experience gained from the summer workshop.
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Mark-Ng, Elsa. "Public Art in Outdoor Space: How Environmental Art Can Influence Notions of Place." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1559347543553644.
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McGrath, Wendy J. "Digging deep: Material investigations into the intangible aspects of landscape sites towards a holistic representation of place within creative practice." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116349/2/Wendy_McGrath_Thesis.pdf.
Full textAbstract:
This body of creative practice research extends investigation into the tangible and intangible aspects of landscape sites, where the artist navigates contemporary theories and hypotheses around energy, matter, embedded memory and vital materialism of landscapes and associated artefacts as process. The research addresses the ways in which artists investigate attributes of the theories through practical research in the context of making site-specific art.
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Bradley, Simon. "Archaeology of the voice : exploring oral history, locative media, audio walks, and sound art as site-specific displacement activities." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/28316/.
Full textAbstract:
This thesis develops a notion of an archaeology of the voice that is situated between three principal areas of research and practice: oral history, locative media, and sound art. The research takes place in the context of contested urban space in Holbeck, Leeds one of the most deprived neighbourhoods in the U.K. Through a reiterative and reflexive process of extensive interviewing, soundwalking and field recording the area is deep mapped and material gathered in order to produce a percipient led sitespecific presentation of oral history I term 'phonoscape'. Although the technology exists to connect oral history to place via locative media within a database aesthetic, a practical and conceptual gap is identified between these technologies for those working with audio interview material. In this context a purpose-built app is developed to enable oral history audio archives to be distributed geospatially, becoming navigable aurally on foot. In order to distribute a polyvocal sampling of an archive in time-space, techniques and principles from contemporary sound art are introduced, in particular a form of field composition involving an understanding of constitutive silence, soundscape, and voice editing techniques. Research into contemporary audio walk and memoryscape practice confirms that non-linear, fragmented narrative forms are used the construction of polyvocal understandings of place, and this is taken forward within a conception of the embodied hypertextual affordance of locative technology. The findings are then brought together in a transdisciplinary manoeuvre that introduces Displacement Activities, a translocational form of site-specific participatory performance art, providing a public vehicle that draws attention to phonoscape, its oral history content, and the archive itself. As an open work that is generative and reflexive, Displacement Activities extend the notion of site-specificity, finding global analogues before returning to the original site to begin the work again.
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Dutil, Daniel. "L'in situ trans-site, selon une perspective de l'interactionnisme symbolique." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
Full textAbstract:
Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994.Cette communication a été réalisée 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
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Leitch, Fran. "10 Bowen St." Click here to access this resource online, 2008. http://hdl.handle.net/10292/475.
Full textAbstract:
This project is a site specific based exploration into the boundaries between the domestic home and the navigation of the anxious corporeal body which dwells in the space. These connections open up ways of mapping anxiety brought on through intrusive thoughts surrounding contamination (in relation to Obsessive Compulsive Disorder). The corporal navigation of the domestic is fuelled by the thoughts and their control over the notions of fear and anxiety surrounding the transferring of contaminated material from the external temporal world (dust and organic matter) into the internal sterile environment through movement or fissures in the fabric of the dwelling. The project explores the notions of the domestic space being formed into a container for the intrusive thoughts through physical acts of decontaminating, containment, sealing and expelling the elements of dirt; the body and the home become a hybrid entity alluding to the extreme control which forms and takes over the domestic space.
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Boudreault, Nathalie. "Quatre dispositifs in situ pour une meilleure compréhension de l'oeuvre du peintre Arthur Villeneuve /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2001. http://theses.uqac.ca.
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Crum, Susanna Garts. "The heart of the park." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2847.
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The Heart of the Park works to expose, preserve, and interpret the many layers of social history, fact, and fiction within Iowa City's City Park. This exhibition is a result of archival research, interviews, and on-site investigation. As a guide, I followed the path of Enoch Emery, a park-haunting voyeur featured in Flannery O'Connor's first novel, Wise Blood, which she wrote after graduating from the Iowa Writers' Workshop. Details of O'Connor's fictional version of City Park, in Chapter 5 of Wise Blood, as well as Enoch's relationship with the park, led to further discoveries regarding the park's history, and ultimately, a reinterpretation of these seemingly disparate layers of fact and fiction. While the contemporary archive claims depoliticized and anonymous reasons and methods for preservation, my hybrid practice creates a role for the subjective, idiosyncratic archivist, who suffuses factual research with myth-making. The Heart of the Park is one glimpse into an ongoing collection of interpreted sites, in which I attempt to prevent the loss of local histories, and enact the inevitable chain of reinterpretations of site.
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Weaver, Suzanne M. (Suzanne Markette). "Hans Haacke: an investigation of four site-specific works that incorporate painting as a means of revealing interrelated cultural, economic, and political systems in society, 1982-1984." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc798463/.
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Four site-specific works produced between 1982 and 1984 in which Hans Haacke utilized the traditional medium of oil on canvas were examined in conjunction with an overview of the underlying and interrelated principles and concepts that have guided his approach to art from 1958-1988.
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Wheeler, Eleanor Teresa. "The role of architectural ceramics in contemporary site-specific art : an analysis from the perspective of the art practitioner through four case studies of commissioned artworks." Thesis, Northumbria University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266180.
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Barreto, Jorge Mascarenhas Menna. "Lugares moles." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-05072009-204120/.
Full textAbstract:
O objeto de pesquisa desta dissertação compreende as especificidades do termo site-specific, palavra da língua inglesa usada internacionalmente em arte para caracterizar obras para as quais o contexto tem um papel determinante. A meta da pesquisa é dobrar o conceito implicado pelo termo sobre a própria palavra, ou seja, defender a idéia de que a expressão site-specific é em si site-specific e que, portanto, a sua utilização em outros contextos e línguas, que não o seu de origem, deve sofrer algum tipo de elaboração, ou tradução. O site-specific não é entendido somente como um assunto, mas como um método de abordagem da própria dissertação como um espaço específico, onde é possível propor uma operação artística. A tradução é abordada como uma operação poética, mais do que uma tentativa de gerar um termo em português que fizesse equivalência à palavra site-specific. Entende-se por operação poética a construção de um lugar relacional e colaborativo de diversos autores, línguas, idéias, conceitos e imagens; incluindo, a partir de estratégias conceituais, o leitor como um elemento constitutivo do jogo proposto.The object of this research comprehends a critical investigation of the specificities of the term site-specific, which has been appropriated from the English language and used internationally to describe works of art which find in their context a defining role. The goal of the research is to fold the implied concept over the word itself, or, to defend the idea that the expression sitespecific is a site-specific in itself. Its use in other contexts and languages should therefore undergo some sort of elaboration, or translation. Site-specificity is understood not solely as a subject, but also as a method to constitute the dissertation itself as a specific site, where it is possible to propose an artistic operation. Translation is understood as a poetic operation, more than an attempt to create a word in Portuguese which would be equivalent to site-specific in English. What is understood by a poetic operation is the creation of a relational and collaborative field of several authors, languages, ideas, concepts and images; including, through conceptual strategies, the reader as a constitutive element of the game proposed.
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Rylands, Frances Elisabeth. "The Creative Conundrum : a site-specific approach to the policy and practice of heritage and change on the Jurassic Coast." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/28004.
Full textAbstract:
Since being designated in 2001 as a natural World Heritage Site the Jurassic Coast managers have worked for it to be recognised as the Creative Coast. This thesis explores and challenges the entanglements of policy and practice in the process of the site becoming creative. Through archival research, interviewing and ethnographic methodologies this project has sought to develop a site-specific approach to creative arts policy. Research has integrated investigation of the embodied and quotidian geographies of decision-making with policy discourse analysis. Following formal and informal, public and private artistic practices, this research has traced how the Jurassic Coast is constructed by the creative activities of those who inhabit it. In this research, relationships between the arts, creativity and geological heritage become complicated due to a paradox inherent within the site’s policy. The geological heritage preserved through the Jurassic Coast’s designation is acknowledged to be under continual processes of change. In response, this research illustrates how creativity can be used as a tool to illuminate tensions between the need to preserve natural processes of erosion and retreat and the desire to provide access and promote engagement with the site. Furthermore, it is argued that using a site-specific and critical approach to everyday creativity allows geographers to understand how people engage with place in a multitude of ways. This is especially significant as the heritage value of this site lies in the ways in which different communities engage with it. It is through these day-to-day creative encounters that the Jurassic Coast is culturally constructed.
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Thouvenin, Sandra Rose. "To Stop and Look: Richard Serra's Icelandic Sculpture Afangar and Related Notebook Drawings." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437651095.
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White, Eve. "This Must Be the Place." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5873.
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This publication is the companion piece to “This Must Be the Place,” a 3D realization of my conceptual photography work exhibited in the Anderson Courtyard at VCU's 2019 School of the Arts MFA Show. I photograph scenes from nature and reproduce these images onto flattened plexiglass planes, arranging them in new, natural environments and photographing them again. The outcome is a scenic collage in which two unfamiliar locations become superimposed. It is my hope that as people experience the work they become a part of the texture of it.
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李欣欣 and Yan-yan Linda Li. "Media Art for the Mid-Levels Escalator, Central." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986651.
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Skálová, Alena. "Tady všude žijeme." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-251438.
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Community theatre, site-specific theatre, and their plausible contribution
to drama in education and children's or youth theatre are in the main focus of
the thesis. It summarizes the roots and background of both of these fringe
theatre paths, introduces their main objectives and representatives. A more
detailed description of several community theatre groups and site-specific
projects is also included. Apart from the theoretical introduction, the paper
follows the individual principles and complex ideas within these two alternative
theatre approaches from a practical perspective; it includes a structured project
plan based on connection and mutual inspiration of community theatre, sitespecific
and drama in education principles. The thesis also aims at capturing
wider potential of fusion of these attitudes to theatre and the society, and
suggests its contribution not only in the field of drama in education, but also
within contemporary performing arts and community life in general.
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Fessé, Susanne. "Att skriva om känslor: en studie av hur teori om affekt kan tillämpas i skärningspunkten mellan plats och verk." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-403489.
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This study analyzes The Influence Machine by Tony Oursler, Delay by Santiago Mostyn and An Imagined City by Jonas Dahlberg as public site-specific temporary artworks in Sweden. In particular, the intersection of the artworks and the site is analyzed, to see how emotions can be written about in an analysis. The questions are: How can these artworks be described? How can sites be described? What is the relationship between the sites and the artworks? How can emotions that exist in the space between the artworks and the sites be written about in an analys? My methodological framework is based on multimodal analysis of Carey Jewitt and Gunter Kress research. In the model, various media such as sound, light, installation, image, text and site have given individual space, to later be compared to each other and to clarify similarities, differences and relationships between each other. The model in the survey is shaped after each selected object, a so-called method reflectivity, to adapt the purpose of the survey. The model incorporates concepts derived from previous research on emotions and affect. Rosalyn Deutsch's work uses the concepts of harmonise and disruptive (sv. assimilativ, söndrande), Annika Wik's concepts of convergence, participant culture and world-making (sv. konvergens, deltagarkultur, världskapande) and Christian Norberg-Schulz's concepts of space and character (sv. rum, karaktär). In the survey, to show the relation between work and place, I coined the concept of affective relationship (sv. affektiv relation), which is close to Sara Ahmed's description of Happy Objects. This study shows that it is possible to rewrite emotions in a model that is adapted to concepts related to emotions and affect. The study further suggests that the relation between work and site can be described with the concept of affective relation, which can be elucidated by looking at the character of work and character of space. The model can be used for further research and analysis of work and place which contributes to a broader view within the discipline of art science around analytical models to open up and write about emotions.
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Trouton, Lycia Danielle. "An intimate monument (re)-narrating 'the troubles' in Northern Ireland the Irish Linen Memorial 2001-2005 /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060517.113223/index.html.
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Sopoušková, Petra. "Naše ulice Křížová." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-240598.
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The topic of my diploma thesis is connected to my previous studies at faculty of architecture. My intention is to explore very undesignable organic development of urban spaces, but for an architect it is difficult and unusual to work with because of standardized planning process of public spaces. Using art based research I am trying to find, define, and prove existence of mental space that complements material shape of urbanized areas. As a locality for experiment I chose a street I live in for five years, and simultaneously had a wretched destiny – the Křížová Street of Old Brno district. As a piece of diploma project I present a lecture and lecture noteshowing – results of abstract contemplation gained by research in the locality. The aim of lecture is to encourage audience in ability to percieve and trust in existence of mental space in a way I described it.
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Carvalho, Ana Maria Albani de. "Instalação como problemática artística contemporânea : os modos de espacialização e a especificidade do sítio." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/10864.
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O objetivo deste trabalho consiste em identificar e compreender a problemática artística constituída pela instalação procurando enfatizar as contribuições deste segmento da produção para o debate crítico contemporâneo. A pesquisa foi desenvolvida através da análise crítica de um conjunto de obras recentes produzidas por artistas brasileiros e estrangeiros – entre os quais citamos Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos – e vinculadas às noções de “instalação”, “site specific”, “in situ” e “intervenção”, procurando perceber diferenças e similaridades quanto ao modo como operam com o espaço do recinto de exposição, como se espacializam e no que concerne às condutas que preconizam ao espectador. Como fundamento teórico – mas também como objeto de discussão – considerou-se o debate em torno da definição da arte, com especial atenção aos aportes oriundo da sociologia da arte (Pierre Bourdieu; Nathalie Heinich), da filosofia (Artur Danto, Jean-Marie Schaeffer) e da bibliografia recente e especializada no tema da instalação (Archer et. al. , Krauss, Kwon, Reiss, Rosenthal). A partir deste trabalho analítico e conceitual evidenciou-se o caráter contextual, relacional e situado no tempo e no espaço das obras que se configuram como instalação em confronto às noções convencionais de unicidade da obra de arte e de autonomia em relação à localização da obra e às condutas do espectador.The goal of this thesis is to identify the artistic problematic raised by installation art and to understand the contribution of this segment of artistic production to the contemporary critical debate. The work was developed through the critical analysis of a body of recent work by both foreign and Brazilian artists, among which are Artur Barrio, Cildo Meireles, Christian Boltanski, Jenny Holzer, Jochen Gerz, Regina Silveira, Tunga, Vera Chaves Barcellos. All of these artists are associated to the notions of 'installation', 'site specific', 'in situ' and 'intervention'. We analyse the differencesand similarities with respect to the way they use the exhibition space and how they deal with the expectations of the spectator's behaviour. As a theoretical foundation and also as a topic of discussion we consider the debate concerning the definition of art with special attention to the contributions of sociology of art (Pierre Bourdieu; Nathalie Heinich), philosophy (Artur Danto, Jean-Marie Schaeffer) and the recent specialized literature on the theme of installation art (Archer et. al., Krauss, Kwon, Reiss, Rosenthal). Departing from this analytical and conceptual work we discuss the contextual and relational character of works configured as installations situated in time and space, in opposition to the conventional notions of the art work as a unique object, as autonomous with respect to the its exhibition site and as independent of the spectator's behaviour.
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Buzz, Lu La. "The states and status of clay : material, metamorphic and metaphorical values." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11639.
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This doctoral project combines a performance-led practice with contextual research in order to demonstrate how arts practice can challenge historical perceptions of clay and enhance its material status. The core knowledge deduced from this research is that embodied performance transforms connectivity between artist and clay and produces a unified incarnation of both elements. Through the use of immersive research methods I gained insights which could not have been predicted - particularly that my experiential performances were a process of ‘clay becoming’ in which I ultimately became the clay. In terms of locality, the practice, comprising eight performance-led works and related documentation, focuses on the China Clay and Ball Clay of South West England. Traditionally in the arts, these materials are associated with ceramics, where through heating, clay becomes rigid and fixed. In contrast, my research investigates the textural fluidity and metamorphic potential of these clays in their raw state. The practice encompasses two interrelated groups of work; the In-breath and Out-breath. These terms are significant in three respects. Firstly they define two different modes and moments of practice. Secondly they refer to myself as a living component of these practices. Thirdly they reflect the cultural associations of clay as a metaphor for life. During the initial exploratory ‘In-breath’ phase of my practice, comprising four site-specific pieces, I engaged with clay at sites of historical relevance, building an expansive knowledge of my material. During the later ‘Out-breath’ phase, identification with site was relinquished. These works took place within neutral spaces, allowing the clay to be explored in relation to my body. The introduction of layering, where photographic elements of private clay rituals were situated within the context of a live performance, allowed a texturally dynamic and immersive experience to be created for both artist and viewer. By collecting and preserving clay traces from these live performances (e.g. foot and body prints) additional value was given to the embedded significance of the clay.
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Genioli, Ana Amélia Corazza. "Identidade como Territorialidade em trabalhos de Arte Contemporânea." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/4245.
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Previous issue date: 2005-09-01Through the reading of theoretical texts and contemporary works of art this research examines three aspects of the concept of frontiers or borders: frontiers between individuals and territory between individuals and communities and frontiers inside the art system itself The methodology used did not focus on one specific area of knowledge instead it covered several areas under the auspices of the theory of communication (Sodré 2002 Greiner e Katz 2005 e Sebeok 1991) artistic research (Miwon Kwon 2002) and some topics discussed under the aegis of cognitive science (Lakoff e Johnson 1987) as well as the theory of culture (Bhabha 1998 Shohat e Stam 1998) The first chapter investigates the concept of space transformed into place through the mediation of the individual and how in artwork determinate elements can designate categories The works themselves inform through signs which are the product of the artist s expression in a certain ambient that will be understood by the spectator or participant through the mechanisms that organize communicational systems It also analyses situations where the media itself is transformed into ambience The two following chapters concern situations outside the individual focus and also contextualize situations of frontiers from the point of view of individuals in communities It presents strategies of resistance to discourses given a priori based on narratives of in-between places and the comprehension of plural and partial identities The third chapter also analyses artwork and theory concerning the relativisation of systems and the fouth chapter concerns the work of three artists that consider the limits set by the art system itself The focus of this work has been developed from the tensions conflicts and ambiguities referring to the notion of frontier established by cultural constructs From the undestanding of the process of construction of these senses emerges the necessity for new options that will propose alternative concepts including concepts concerning curatorial work as disscussed at the end of this dissertation The questioning of cultural frontiers affects the curatorial experience as it highlights the relational nature of a group of work their signifying components and their context as open sense a continuum that gravitates between political posture and artist creation
Através de leituras de textos teóricos e trabalhos de arte contemporânea esta pesquisa aborda o sentido de bordas ou fronteiras acerca de três focos específicos: as fronteiras entre indivíduo e território entre indivíduos e comunidades e por fim as fronteiras do próprio sistema de arte Para tanto foi utilizada uma metodologia que não se restringiu a uma determinada área de conhecimento recorrendo a fontes diversas a partir de teorias da comunicação (Sodré 2002 Greiner e Katz 2005 e Sebeok 1991) pesquisas artísticas (Miwon Kwon 2002) e alguns tópicos discutidos no âmbito das ciências cognitivas (Lakoff e Johnson 1987) e das teorias da cultura (Bhabha 1998 Shohat e Stam 1998) O primeiro capítulo trata do espaço que se transforma em lugar pela mediação do sujeito Observa-se em trabalhos de arte como determinados elementos podem designar categorias e como a obra, ela mesma informa através de sinais que são produtos da expressão do artista em trânsito com o ambiente e que serão compreendidos pelo espectador ou participante através de mecanismos que organizam os sistemas de comunicação São abordadas ainda algumas situações em que a própria mídia se transforma em ambiência Os dois capítulos seguintes abordam situações fora do foco individual mas que também contextualizam uma situação de fronteiras a partir da reflexão acerca de indivíduos em comunidades São apresentadas estratégias de resistência a discursos dados a priori a partir de narrativas de entre-lugares e a compreensão da existência de identidades plurais e parciais No terceiro capítulo são ainda analisadas obras de arte e teorias concernentes à relativização dos sistemas e o quarto capítulo gira finalmente em torno de três artistas que problematizam através de seus trabalhos de arte os limites que o sistema de arte propõe A problemática deste trabalho desenvolve-se portanto a partir das tensões conflitos e ambigüidades referentes à própria noção de fronteira estabelecida pelos constructos culturais A partir da compreensão do processo de construção destes sentidos parece surgir a necessidade de novas opções que tragam conceitos alternativos inclusive no que diz respeito às experiências curatoriais O sentido de questionamento das fronteiras culturais projeta-se para a experiência curatorial na medida em que evidencia a natureza relacional das obras seus componentes sígnicos e o seu contexto como algo que tenha um sentido aberto um continuum entre vida política e criação artística
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Spaziani, Luis Fernando. "O artista contemporâneo e o site specific numa instituição cultural: Tunga e Regina Silveira no Centro Cultural Banco do Brasil de São Paulo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-13052012-180834/.
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Esta dissertação tem por objetivo analisar artística e historicamente as exposições dos artistas Tunga e Regina Silveira concebidas especialmente para o Centro Cultural Banco do Brasil (CCBB) de São Paulo. Buscamos confrontar/comparar duas obras de Tunga e de Regina Silveira analisando-as criticamente a partir de documentos e projetos pertencentes aos arquivos do CCBB, que permitiram uma avaliação dos resultados pretendidos e alcançados pelos artistas. De maneira mais ampla, buscamos contribuir para o debate e a reflexão acerca da produção artística atual nas artes visuais brasileiras, especialmente no caso do Centro Cultural Banco do Brasil de São Paulo com as exposições de Tunga e Regina Silveira, de forma a provocar a discussão do papel do artista e da atuação das instituições culturais na sociedade contemporânea.This dissertation aims to examine artistically and historically the exhibitions of artists Tunga and Regina Silveira designed specifically for the Centro Cultural Banco do Brasil (CCBB) in São Paulo. We seek to confront/compare two art works of Tunga and Regina Silveira critically analyzing them from project documents and files belonging to the CCBB, which allowed an evaluation of the results intended and achieved by the artists. More broadly, we seek to contribute to the debate and reflection on the current artistic production in the visual arts in Brazil, especially in the case of Centro Cultural Banco do Brasil in Sao Paulo with the exhibitions of Tunga and Regina Silveira, in order to provoke discussions about the artists role and the activities of cultural institutions in contemporary society.
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Phillips, Perdita. "Fieldwork/fieldwalking: Art, sauntering and science in the "walking country"." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/257.
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fieldwork/fieldwalking is a contemporary art project exploring practices of walking and science in the field. 11 explores the themes of walking and-fieldwork in art, and as art. Whilst the. sociology of science in the laboratory has been well theorised, less has been said about the field in the natural sciences. And, equally, the most recent and provocative walking art is found in urban areas, in a fabric dominated by the patterns of human settlement. How could new walking art be made in non-urban places? The project set out to investigate how these two, fieldwork and walking, could be combined in artwork. The research question was: in the common ground shared between art and science, what are the connections between fieldwork and walking in the field? The project explored this and five sub-questions through photography, video, and the creation of installations and sound art walks. Much of the research revolved around one field location, the walkingcountry in the Kimberley of Western Australia that was visited six times over different seasons from 2004 to 2006. Activities included walking and general immersion in the place, scientific and artistic 'fieldwork' and the observation and documentation of the work of scientists at the site and in the Kimberley. Non-urban areas can offer intense and specific experiences with heightened materiality and direct engagement with nonhuman agents. This was borne out in the fieldwork undertaken in the project. However the artworks created are also set in contrast to the work of other walking artists such as Hamish Fulton and Richard Long that are often based on sublime wilderness experiences. Based on my experiences I formulated and applied the concept of 'ordinary wilderness': much of one's time in the field is involved in pragmatic and bodily encounters. Some of the aesthetic experiences are local and ephemeral. Wildness and the delight of wonder are more appropriate than the fear and awe of the sublime. fieldwork/fieldwalking draws together threads from sources as diverse as recent scientific ecology, Ric Spencer's (2004) conversational aesthetics and nonrepresentational theory in human geography to make art that questioned representational strategies and explored an expanded model of artworks where the relationships between the artist, the audience, the environment and the material art object are of equal importance. A significant issue was how to creatively transform the experience of elsewhere (the field) into artworks in a gallery. In the sound art walk To Meander and back (strange strolls, Moores Building Contemporary Art Gallery (MBCAG), 2005} the strategy was to fold and imbricate the walkingcountry, the gallery in Fremantle, and the space in-between together. This artwork also sought to reconcile the 'emptiness' of Euro-Australian belonging by encouraging via sound and silence an understanding of place that is more living, changing and performative. Other artworks included Zoo for the Species at the National Review of Life Art (Midland, 2003) , and works in the solo exhibitions Four Tales from Natural History (Perth Institute of Contemporary Art, 2004), Semi (Spectrum Project Space/Kurb Gallery, 2004} and fieldwork/fieldwalking (MBCAG, 2006).
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Hooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.
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DancePh.D.
For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service.
Temple University--Theses