Dissertations / Theses on the topic 'The search for new world art''
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Berrios-Ayala, Mark. "Brave New World Reloaded: Advocating for Basic Constitutional Search Protections to Apply to Cell Phones from Eavesdropping and Tracking by Government and Corporate Entities." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1547.
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Imagine a world where someone’s personal information is constantly compromised, where federal government entities AKA Big Brother always knows what anyone is Googling, who an individual is texting, and their emoticons on Twitter. Government entities have been doing this for years; they never cared if they were breaking the law or their moral compass of
human dignity. Every day the Federal government blatantly siphons data with programs from the original ECHELON to the new series like PRISM and Xkeyscore so they can keep their tabs on issues that are none of their business; namely, the personal lives of millions. Our allies are taking note; some are learning our bad habits, from Government Communications Headquarters’ (GCHQ) mass shadowing sharing plan to America’s Russian inspiration, SORM. Some countries are following the United States’ poster child pose of a Brave New World like order of global events. Others like Germany are showing their resolve in their disdain for the rise of tyranny. Soon, these new found surveillance troubles will test the resolve of the American Constitution and its nation’s strong love and tradition of liberty. Courts are currently at work to resolve how current concepts of liberty and privacy apply to the current conditions facing the privacy of society. It remains to be determined how liberty will be affected as well; liberty for the United States of America, for the European Union, the Russian Federation and for the people of the World in regards to the extent of privacy in today’s blurred privacy expectations.B.S.
Bachelors
Health and Public Affairs
Legal Studies
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JENKINS, JAMES GILBERT. "NEW WORLD TRADE." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053541827.
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Flores, Pedro. "Transculturation and Hybridization in New World Baroque Art: A Study of a New World Identity as Defined by History and Art." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/54.
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The purpose of this thesis is to analyze New World Baroque art as a medium of syncretism allowing the reconciliation and fusion of discrepant cultures. This study will explore the region of New Spain as defined by the Baroque period by analyzing Mexico as a place whose identity was defined by the transcultural and hybrid components of the Baroque and as a place where a New World Baroque aesthetic first started to appear. Transculturation and hybridization will be analyzed historically and aesthetically as factors for the creation of a New World Identity. The term New World Baroque will be used to define art in the Spanish colonies during the Baroque period, the term New Spain will be used to refer to colonial Mexico, transculturation will refer to the exchange of ideas and intermingling of cultures and hybridization will refer to the outcomes of such. This analysis will begin by providing a definition of Baroque with the purpose of establishing an understanding of the main characteristics of the movement aesthetically and chronologically. Spain will be analyzed to provide evidence of the effects of coming into contact with a multicultural society on the Baroque aesthetic; followed by a historical analysis of the events that would result in the creation of the new world. Then transculturation will be analyzed as an answer to the conquest and as guided by the Catholic Church. Then a timeline will list important events leading up to the Baroque period, and finally an exploration of hybrid art will serve to exemplify a well-established hybrid identity culminating with a brief analysis of some of Frida Kahlo’s work as an embodiment of the New World Baroque aesthetic.
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Freeman, Paul Murphey. "In search of a new aesthetic." Thesis, Virginia Tech, 1995. http://hdl.handle.net/10919/41992.
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The study of ecology is having profound effects on society. It has begun to cause a shift in western culture. People are becoming aware of their impacts on the environment, and are changing their behavior. This shift is now affecting aesthetics in landscape architecture. The validity of the dominant landscape aesthetic in the profession of landscape architecture is being questioned on the grounds of its ecologic impacts. As a result, a new landscape aesthetic is being called for. Five articles published in Landscape Journal between 1986 and 1990 outline the argument for a new aesthetic. These articles provide a theoretical framework that is then applied to a body of artwork. The artwork is the result of a 1992 art exhibit that gathered together many "ecological artists". Just as the study of ecology is affecting change in landscape architecture, it is also affecting change in art. The theories from landscape architecture are applied to the physical forms in art to see if connections can be made between the idea and its implementation. "Art and landscape architecture are related so that they allow for this type of comparison. The results can be used to inform landscape architecture in its search for a new aesthetic.
Master of Landscape Architecture
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Kahne, Bruno. "In search of Max Weber's new prophets." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/72393.
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One hundred years ago, Max Weber postulated in his seminal work The Protestant Ethic and the Spirit of Capitalism that after a tremendous development, capitalism would either reach a dead end, or would enter a new era of development through the guidance of new prophets (Weber, [1904] 2003:182). The tremendous development foreseen has occurred but have Weber’s new prophets appeared? Through a close analysis of the context in which the word prophet is found in the Bible and through the description that Weber gave to the concept of prophet in The Sociology of Religion (Weber, 1963) a prophet’s ideal type was constructed with fourteen specific characteristics. This ideal type was then used as a grid of analysis to put to the test the nineteen most renowned leadership gurus, potential candidate to the title of prophet.
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Gluibizzi, Amanda. ""The Entire Visual World": Art, Design, and 1960s New York." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342617358.
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Holliday, Cyrus E. "Threat assessment in the new world order." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/30294.
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MacDonald, Margaret. "Elwyn Richardson and The Early World of Art Education in New Zealand." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2010. http://hdl.handle.net/10092/5114.
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This study examines the work of Elwyn Stuart Richardson, director and teacher of Oruaiti School between 1949 and 1962, an experimental school in Northland, New Zealand and places it with the context of the history of art education in New Zealand. After documenting the historical and educational reform contexts of the first half of the twentieth century, Richardson’s philosophy of art education is framed through an analysis of moments of his early life, schooling and teaching experiences.
Richardson (1925-) is best known for his book In the Early World published by the New Zealand Council of Educational Research in 1964. The book describes his work as a teacher at Oruaiti and highlights his pedagogical belief that the most powerful learning arises out of children’s own lives and experiences, that learning through the arts raises students’ potential for self-knowledge, critical discernment, imagination, understanding, awareness and empathy for others, and that the arts have an important role to play in the fostering of community and social reform.
The administration of art and craft education in the New Zealand primary school during Richardson’s years at Oruaiti was shaped by early advances in manual and technical education. The development of these reforms and the varied educational doctrines school officials used to advocate for the inclusion of these subjects in the curriculum are examined from 1885 to 1920. As well, significant educational policies and events in the 1920s provided exposure to progressive education ideology from abroad. These initiatives contributed to the great interest in child art which grew out of the New Education movement of the 1930s. New ideas about the development of artistic ability in children led to innovative policies in art and craft education that transformed teaching practices and the place of art and craft in New Zealand schools during the 1940s and 1950s. The newly formed Art and Craft Branch of the Department of Education in 1946 reorganised the administration of art education to change public perceptions of art, create contexts of art appreciation and develop community education in tandem with primary school art education.
Examining Richardson’s educational biography is another lens used to understand his philosophy and pedagogy. Oruaiti's status as an experimental school is explored through the unique relationship of Oruaiti School to the Art and Craft Branch of the Department of Education. Further, Richardson’s developing educational philosophy, in particular his ideas about artistic ability in children and the growth of aesthetic standards, is explored relative to the teaching practices of his day.
The study also uncovers the critical role that science played in Richardson’s educational pedagogy and curriculum and the profound influence Richardson’s early educative experiences were to have on the development of his educational philosophy. Locating Richardson’s work within its historical context demonstrates both that he worked in an environment which was hospitable to educational experimentation in the field of art and crafts, and that, on many levels, he transcended the educational practices of his times.
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Essen, Jennifer Michelle. "A world elsewhere : art colonies in California and New Mexico, 1900-1940." Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/a-world-elsewhere(e126f861-bef3-44af-a837-345645411be0).html.
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This thesis analyses the distinct form of art colony that flourished in Carmel, California and Santa Fe and Taos, New Mexico, in the opening decades of the twentieth century. The diversity of people, experience and colony-produced art has largely discouraged analysis of western colonies as a group. My argument in this thesis is that new interpretive frameworks are needed to understand the defining and shared qualities of these colonies. Identifying patterns in seemingly disparate practices reveals the kind of colony this was, its features, its appeal and its influence on the artistic work of participants. I begin by charting the art colony tradition as it unfolded in the US and tracing the western art colony’s development out of this established model. Despite shared styles of sociality and retreat from urban America, the western art colony differed from its predecessors in its greater remoteness, particular style of community and opportunities for contact with Native and Spanish-speaking populations. In this they build on an established rhetoric of romantic otherness in these regions. Successive chapters explicate my definition of these colonies as networks of temporary association. Chapter Two explores the ways in which the colony’s community balanced a sense of belonging with opportunities for multi-directional movements, allowing art-colonists to control their engagement with the colony milieu. In Chapter Three I focus on Anglo-American art-colonists’ interactions with Native and Spanish-speaking peoples, specifically their formally experimental but problematic attempts to comprehend cultural difference. Chapter Four moves from intercultural to interpersonal interactions by exploring how these art colonies generated an arena for negotiating the intersections between gender and artistic autonomy. As improvisatory spaces these art colonies accommodated and even thrived on diversity and mutability. This thesis recovers western art colonies as important examples of collaborative artistic endeavour.
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Hou, Fang-Lin. "Borders and objects : representing the geopolitical in new world art histories, 1990-2010." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1607.
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Several contemporary art historians have been interested in exploring how their discipline could respond to the increasing globalisation of knowledge and information by encompassing global perspectives into the methodologies that underpin their approaches to art historiography. This dissertation aims to explore how, in developing their new approaches to world art history, they have drawn on a range of natural and social sciences, thus enabling their work to be placed in a wider social, political and indeed global context. While their individual approaches are many and varied it is important to identify commonalities between them so as to highlight unifying approaches across such diversity. The dissertation begins with literature review of the key concepts I want to explore. The work of the 19th century historian, Aby Warburg is highlighted to draw attention to his early pioneering attempts to provide an intercultural perspective to art history. Recent attempts to develop new approaches to world art history are then analysed. These include works by David Carrier, Ben-Ami Scharfstein, David Summers, Esther Pasztory and John Onians. The thesis concludes with a discussion on the recent exhibition at the British Museum entitled A History of the World in 100 Objects. The dissertation will show that despite the diverse methodologies used by all of these writers and the challenges of the different media employed, all utilise concepts of borders and objects in an explicitly geopolitical context.
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Hyun, Jae Min. "A search for a new paradigm in Korean contemporary art : a proposal for an exhibition 'Beyond surface culture: the new grammar of Korean contemporary art'." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539878.
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Ju, Yang Soon Ms. "Designing for Divorce: New Rituls and Artifacts for an Evolving World." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4787.
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Our interactions with objects build cultural codes, reflecting lifestyles, values, and identities beyond functional expectations. With open connectivity in the contemporary consumer environments, we have access to homogenized material cultures not only for daily activities but also for ceremonies and rituals to mark important events, such as birth, marriage, and death. What will happen to our cultural codes and diverse traditions when various cultural norms meet, exchange, clash, hybridize, and evolve?
In this research, globalized material cultures were investigated to discover metaphoric comparisons, to formulate conceptual frameworks, and to develop informed design, which can address evolving cultural conditions appropriately, in comparison with commercialized goods.
Considering we often ritualize sequential stages of life course or challenging events, but rarely divorce, I explored the socio-cultural norms of marriage and divorce in the current social construct to anticipate globally evolving divorce phenomena.
My thesis focused on relatively unknown material cultures in ritualizing divorce by combining speculative design with semiotic, hybrid, idiosyncratic approaches to communicate desirable future scenarios for the emerging multi-cultural context. This research aims to explore how artifacts and rituals can help people cope with transitional events and how design practices can provide meaningful and reflective material cultures.
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McCurnin, Mary. "From the Old to the New World: The Transformation of Kongo Minkisi in African American Art." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/78.
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Minkisi (sing. nkisi) were sacred objects that housed ancestral spirits and were used for divination, healing and social justice by the Kongo people of Central Africa. When the Kongo were brought as slaves to the New World, they contributed significantly to the development of African American artistic and spiritual culture. In the Caribbean, aspects of minkisi have been retained in the creolized spiritual beliefs of Haitian Vodou, Cuban Palo Monte Mayombe and Brazilian Candomble. In North America, evidence of Kongo influence is apparent in examples of folk art and culture, including quilts, mojo hands, Afro-Carolinian face vessels, memory jugs and burial sites. In the twentieth and twenty-first centuries, artists appear to have recontextualized elements of minkisi within their work, among these James “Son Ford” Thomas, James Van Der Zee, Betye and Alison Saar, Willie Cole and Renee Stout, creating a link between the Kongo past and the American present.
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Mills, Scott DuPre. "Old World, New Media: Cross-cultural Explorations with Camera and Analytic Text in Cusco, Peru." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3454.
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Abstract OLD WORLD, NEW MEDIA: CROSS-CULTURAL EXPLORATIONS WITH CAMERA AND ANALYTIC TEXT IN CUSCO, PERU By Scott DuPre Mills, PhD. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. Virginia Commonwealth University, 2014 Major Director: Dr. Nicholas A Sharp, Assistant Professor, Department of English This dissertation draws on my field research in Cusco, Peru, documenting Old World methods of making Andean musical instruments. The cross-cultural interactions I engaged in are concretized and documented in the ethnographic film I shot at the time and in my experimentation with original music recorded with these handmade instruments. I have revisited the family that produces these instruments each summer from 2003-2013 and built a relationship that has provided me with an in-depth perspective on the centuries-old tradition of making musical instruments. These instruments afford an exceptionally high quality sound and are created specifically for local professional musicians. My search for an authentic Andean charango occasioned complex association with local artisans, enabling me to perform various roles as a participant in this cross-cultural interaction, from musician and documentary filmmaker to teacher in the summer study program in Peru. Both the fact that VCU students and faculty expressed interest in buying these instruments, and our group expenditures in Peru, enhanced the instrument-making family economically, providing them with the means to expand their production of instruments. Each year after my return back to the United States, I studied closely the documentary footage I had recorded and found that the camera can function as a writing device. In order to explore further and understand conceptually my intuitions, I researched newer theories about camera consciousness and developed my own concepts that are articulated in this dissertation. In the process, I have drawn interdisciplinary connections between Ethnography, Media theory and Anthropological concepts as they relate to human activities in the area of media, art, text. A central theoretical argument in my dissertation underscores the fact that the new media have altered the definition of literacy. In exploring the elements of (traditional and digital) photography, moving image, audio and written text as they define the new intermediatic context, it became apparent that New Media requires an ability to “read” beyond the medium of the written word. This is relevant also for my study of traditional instrument-making in Peru. Because many of the “Old world” methods of creating instruments and music existed outside of a literary (verbal) account or explanation, these methods often became lost or forgotten as new modes of mass production took over. The type of multimedia approach that I am illustrating in this dissertation, mixing traditional with New Media methodologies, has the potential to reconnect us to “Old World” forms via the visual and audio elements that are not directly present in verbal texts. A significant portion of my dissertation explores the introduction and development of the New Media and the devices that connect human beings to the digital domain. My examination foregrounds both the positive and negative implications of the New Media. The inclusion of an anthropological perspective in this discussion provides a broader view of human behavior in relation to the development of communication technology and multimedia.
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Williams, Carolyn. "Drawing from voice an exploration of sound in search of representational codes of the unseen : an exegesis submitted to Auckland University of Technology, Master of Arts (Art & Design), 2007 /." AUT University, 2007. http://hdl.handle.net/10292/136.
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This project explores the unseen (that which is not considered) in relation to the idea of the existence of another dimension of language. It considers the possibility that, in regard to language, some essential component may have been omitted or unperceived. Through works of art this project explores possibilities for the visual signification of this information. My interest is in exploring ways in which these qualities can be recovered by creating representational codes of the unseen, which evoke a potential for an inclusive language. My enquiry focuses on sound with particular emphasis on 'voice' as a way in which to explore these concepts through visual means. Voice is considered as something which projects or articulates or otherwise could be described as 'speaking'. For example voice is considered in relation to thought, and also the human experience of sound in space. This includes sound generated by self, intrinsic and extrinsic to the body. Voice plays two roles - one as a space from which to retrieve the unseen, and the other as a drawing tool - a way in which to represent what seems unrepresentable.
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Soukhakian, Fazilat. "The Private Revealed: A Search for a New Modernity Through the Lens of the Shah and Contemporary Photographers in Iran." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522057558134736.
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Cook, Sarah. "The search for a third way of curating new media art : balancing content and context in and out of the institution." Thesis, University of Sunderland, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400949.
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Popescu, Diana. "Perceptions of Holocaust memory : a comparative study of public reactions to art about the Holocaust at the Jewish Museum in New York and the Israel Museum in Jerusalem (1990s-2000s)." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/367397/.
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This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. Created by the inheritors of Holocaust memory, second and third-generation Jews in Israel and America, the artworks titled Your Colouring Book (1997) and Live and Die as Eva Braun (1998), and the group exhibition Mirroring Evil. Nazi Imagery/Recent Art (2002) were hosted at art institutions emblematic of Jewish culture, namely the Israel Museum in Jerusalem, and the Jewish Museum in New York. Unlike artistic representation by first generation, which tends to adopt an empathetic approach by scrutinizing experiences of Jewish victimhood, these artworks foreground images of the Nazi perpetrators, and thus represent a distancing and defamiliarizing approach which triggered intense media discussions in each case. The public debates triggered by these exhibitions shall constitute the domain for analyzing the emergent counter-positions on Holocaust memory of post-war generations of Jews and for delineating their ideological views and divergent identity stances vis-à-vis Holocaust memory. This thesis proposes a critical discourse analysis of public debates carried out by leading Jewish intellectuals, politicians and public figures in Israel and in America. It suggests that younger generations developed a global discourse which challenges a dominant meta-narrative of Jewish identity that holds victimization and a sacred dimension of the Holocaust as its fundamental tenets.
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MELLO, LUIZA LARANGEIRA DA SILVA. "NATURE AND ART: SÉRGIO BUARQUE DE HOLANDA AND THE PORTUGUESE AND SPANISH`S FORMAE ME NTIS IN THE NEW WORLD`S DISCOVERY AND COLONIZATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8063@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOREm Visão do Paraíso, Sérgio Buarque de Holanda compara as formae mentis portuguesa e espanhola, na época da conquista e colonização do Novo Mundo. Estas formae mentis podem ser relacionadas a distintas modalidades de crença e a diferentes tipos de racionalidade que caracterizaram as mais diversas manifestações da subjetividade renascentista. Ambos os colonizadores, em seu primeiro contato com as terras descobertas, acreditaram poder encontrar nelas o Paraíso Terrestre e os motivos a ele associados, descritos nos textos clássicos e medievais. Os portugueses, plásticos e realistas, depuraram o mito dos elementos mais fantásticos e sobrenaturais, mantidos nas versões espanholas dos motivos edênicos. O argumento central da dissertação se desenvolve em torno da idéia de que as diferenças e semelhanças entres as formae mentis de portugueses e espanhóis estão relacionadas à ambigüidade dos elementos arcaicos e modernos que marcaram a cultura do Renascimento.
In Visão do Paraíso, Sérgio Buarque de Holanda compares the Portuguese forma mentis with the Spanish`s, during the time of the discovery and colonisation of the New World. These formae mentis can be related to the distinct modes of belief and the different kinds of rationalism that distinguished the various expressions of the Renaissance self. Both the Portuguese and the Spanish, in their early contact with the new lands, believed they would find the Earthly Paradise described in the classic and medieval texts. The Portuguese, who were more plastic and realistic, removed the fantastic and supernatural traits from the myth. The Spanish, on the other hand, not only kept but also intensified these traits. The dissertation`s main discussion is about the idea that the differences and the similarities between the Portuguese and the Spanish`s formae mentis are related with the ambiguity present in the archaic and modern traits that characterize Renaissance culture.
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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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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Öhrner, Annika. "Barbro Östlihn och New York : Konstens rum och möjligheter." Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-111260.
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The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.
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Douillet, Géraldine. "Esthétique de la destruction : voir, prévoir, revoir le 11 septembre 2001 à New-York." Paris 7, 2012. http://www.theses.fr/2012PA070068.
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Le 11 septembre 2001, les Etats-Unis sont victimes d'attentats terroristes d'une ampleur inégalée. Deux des quatre avions détournés percutent de plein fouet les tours du World Trade Center de New-York, qui s'écroulent peu après, devant le regard médusé de millions de téléspectateurs. Cet événement sans précédent est à ce jour l'événement le plus photographié de l'histoire. L'objet de cette thèse est l'étude de la multiplication des réponses artistiques à l'événement 11 septembre 2001 à New York. Ce travail dresse un état des lieux des productions artistiques permettant d'obtenir une vue d'ensemble des productions iconographiques nées du 11 septembre et d'en dégager les motifs récurrents, et ainsi comparer ces motifs aux images de presse. Le défi à relever pour les artistes étant de réunir à la fois la force du témoignage et la puissance esthétique, seront-ils capables de dépasser, voire de surpasser les images médiatiques ? Cette thèse tente de dégager quelles peuvent être les fonctions de l'art dans ce contexte peu favorable : l'art comme forme de catharsis, témoignage, expérience, l'art comme forme de deuil puis de guérison, l'art comme moyen de donner un sens à la réalité et se relever du trauma, l'art comme véhicule d'accès à l'émotion ou à la vision tragique etc. Ce travail ne pouvant en aucun cas être exhaustif en raison de la profusion des créations, il est une sorte de catalogue raisonnable à défaut d'un catalogue raisonné des productions artistiques inspirées par les événements de New YorkOn September 11, 2001, the United States was the victim of unprecedented terrorist attacks. Two of the four hijacked planes crashed into the Twin Towers of the World Trade Center, which eventually collapsed before the eyes of millions of incredulous spectators. That event has been the most photographed ever. This thesis studies the multiple artistic answers to the events of 9/11 in New York and is an overview of artistic productions born after that day. Focused on presenting images, it aims at showing the different motives of 9/11's imagery, the challenge for artists being to gather the force of testimonies as well as the aesthetic power of the press images. This thesis aims at underlining the different functions of art in an unfavorable context : art as a form of catharsis, testimony, experience ; art as a form of mourning and healing ; art as a means of giving sense to reality and recovering from trauma ; or as a means of giving access to emotions or tragic visions. It is also an extensive inventory of artistic productions inspired by 9/11 in New York
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Desjardins, Olivier. "A BRAVE NEW BUILDING. Réédition expérimentale et design d'information." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27118/27118.pdf.
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McGrath, Shane Michael. "Making as a tool of self-examination and search for meaning : sifting through remaining residue as the tide of faith ebbs away : an exegesis presented with exhibition as fulfilment of the requirements for thesis Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1311.
Full textAbstract:
At the commencement of this thesis I saw myself standing at the outer limits of my knowledge with my nose pressed against a wall of demarcation. This wall was built from my willingness to tolerate systems of control in silence and from my unwillingness to make my beliefs and personal convictions known. I set out at the start of this journey with two intentions. I want to raise my voice because I didn’t want to pretend about my faith anymore. And for the first time use my art practice as a mouthpiece to tell these truths.
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Dempsey, Adrienne M. "To Market: Representations of the Marketplace by New Zealand Expatriate Artists 1900-1939." Thesis, University of Canterbury. Centre for Fine Arts, Music and Theatre, 2012. http://hdl.handle.net/10092/7277.
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New Zealand expatriate artists working in England, Europe and North Africa in the early twentieth century painted a wide variety of market scenes. The subject features in the oeuvre of Frances Hodgkins, Maud Sherwood, Sydney Lough Thompson, Maude Burge, Owen Merton, Robert Procter and John Weeks and made a significant contribution to their artistic development. Like their contemporaries in the artists’ colonies and sketching grounds of England and Europe, New Zealand artists were often drawn to traditional rural and fishing villages and sought to capture the nostalgia of the ‘old world.’
Early exploratory works by New Zealand expatriates have often been dismissed merely as nostalgic visions of colonials, without any real artistic merit. This research offers a re-evaluation of these works, recognising their value as transitional works which illustrate New Zealand expatriate artists experimenting with early modernist trends, as well as revealing prevalent contemporary tastes among the New Zealand public. This study offers a comprehensive examination of the market theme and highlights the aspirations and achievements of New Zealand expatriate artists. This is reflected in both their choice of subjects and in the way in which these were depicted. A key finding of this research is that New Zealand expatriate artists developed a distinctive response towards the market subject.
The vibrant atmosphere and activity of the market and colourful views of canvas booths, awnings and costume provided the perfect means of expression for these artists to explore a variety of painterly concerns and techniques, among them plein-air and impressionist painting, watercolour techniques and a modern treatment of colour and light. The hypothesis of a ‘female gaze’ is explored with specific reference to depiction of the market subjects by Frances Hodgkins and Maud Sherwood. Placed within a wider art historical context of images of female market vendors, their market works offer an original interpretation of the female milieu of the European market. Finally, the expatriates’ vision of the exotic and colourful markets in North Africa and Egypt is investigated. They offered an alternative response to more traditional Orientalist interpretations and their Maghrebian explorations were the catalyst for key stylistic developments in colour and form.
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Charrieras, Damien. "Trajectoires, circulation, assemblages : des modes hétérogènes de la constitution de la pratique en arts numériques à Montréal." Thèse, Paris 3, 2010. http://hdl.handle.net/1866/4293.
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Cette thèse se penche sur les parcours et les pratiques d'artistes numériques naviguant au sein des secteurs multimédias de Montréal. L'étude des parcours de onze artistes numériques montréalais nous a permis de constater que leurs pratiques de production en arts numériques ne sont pas réductibles aux logiques de production propres à un seul lieu, que ce soit une entreprise privée, un centre d'art numérique ou encore l'université.
La question du maintien de ces pratiques amène à prêter attention aux pluralités des éléments qui informent leurs (re)constitutions perpétuelles, ce qui appelle de nouveaux modes de théorisation des parcours d'artistes numériques et de leurs pratiques. Nous proposons une nouvelle manière de penser ces parcours - en tant que trajectoires - pour mettre en valeur la pluralité des modes d'articulation de ces pratiques. Elles sont ainsi considérées du point de vue de leurs médiations coconstitutives avec différents éléments. Nous avons isolé trois ensembles d'éléments pour rendre compte du maintien des pratiques en arts numériques et au travers desquels ces dernières déploient leurs multiples effectivités. Le premier ensemble recouvre les technologies intervenant dans la pratique en arts numériques. Le deuxième ensemble a trait au milieu des arts numériques et aux modes de l'organisé afférents. Enfin, le troisième ensemble traite du rapport entre les mondes de l'entreprise et la pratique en arts numériques. Ces trois ensembles d'éléments participent de diverses manières à la constitution, au maintien et à la singularisation de pratiques en arts numériques qui déploient leurs effectivités largement au-delà d'un espace social circonscrit ou spécialisé.This thesis examines the paths and practices of digital artists navigating within the multimedia sectors of Montreal. Through the study of the paths of eleven digital artists based in Montreal we found that production practices in digital arts cannot be reduced to the logic of production specific to a single place, whether a private company, a digital arts center or a university. The issue of maintaining these practices leads one to pay attention to the plurality of elements that inform their perpetual (re)constitutions. This requires new ways of theorizing digital artists' paths and practices. We propose a new way of conceptualizing these paths - as trajectories - to highlight the plurality of ways the digital art practices are articulated. They are thus considered in terms of their co-constitutive mediations with different elements. We have identified three sets of elements to account for the maintenance of the practices in digital arts and through which these unfold their multiple effectivities. The first set covers the technologies involved in digital art practices. The second set relates to the digital arts community and the organizational modes characteristic of those locales. Finally, the third set deals with the relationship between the worlds of business and practices in digital arts. These three sets of elements contribute in various ways to the establishment, maintenance and singularity of digital arts practices that deploy their effectivities far beyond a circumscribed or specialized social space.
Réalisée en cotutelle avec l'université Sorbonne Nouvelle - Paris 3
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Lupold, Eva Marie. "Literary Laboratories: A Cautious Celebration of the Child-Cyborg from Romanticism to Modernism." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339976082.
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Hýl, Petr. "Slovinské národní divadlo v Lublani." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.
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Knox, Page Stevens. "Scribner's Monthly 1870-1881: Illustrating a New American Art World." Thesis, 2012. https://doi.org/10.7916/D8VT2035.
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This dissertation examines the illustrations and text of Scribner's Monthly, arguably the most prominent monthly magazine during the 1870s. Initiating improvements in reproduction technology and art criticism, Scribner's played a major role in the development of the nation's art world in the Gilded Age, transforming the reception, perception and consumption of images by the American public.
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"New world of visual space: Hong Kong Photographic Center." 2000. http://library.cuhk.edu.hk/record=b5890582.
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Chow Wai Keung Barry."Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1999-2000, design report."
Includes bibliographical references (leaf 54).
Chapter 1. --- Introduction and Background
Chapter 1.1 --- Prologue --- p.P.1
Chapter 1.2 --- Project Issues & Goals --- p.P.2
Chapter 1.3 --- Research and Programming (Symmary) --- p.P.3
Chapter 1.4 --- Site Analysis --- p.P.9
Chapter 2. --- The Project Brief
Chapter 2.1 --- Opportunities and Constraints --- p.P.16
Chapter 2.2 --- Space Program --- p.P.17
Chapter 2.3 --- Design Guidelines --- p.P.18
Chapter 3. --- The Design
Chapter 3.1 --- Schematic Proposal --- p.P.20
Chapter 3.2 --- Design Development --- p.P.22
Chapter 3 3 --- Final Scheme --- p.P.27
Chapter 3.4 --- Special Study --- p.P.38
Chapter 4. --- Appendices
Chapter 4.1 --- Precedents --- p.P.43
Chapter 4.2 --- Schedule of Accommodations --- p.P.49
Chapter 4.3 --- Site Photos --- p.P.50
Chapter 4.4 --- Code Comp1iance --- p.P.52
Chapter 4.5 --- Bibliography --- p.P.54
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Gilbert, Courtney. ""The (New) World in the time of the surrealists" : European surrealists and their Mexican contemporaries /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3006499.
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Klimentieva, Victoria. "Nicholas Roerich: in search of Shambhala." Thesis, 2009. http://hdl.handle.net/2152/ETD-UT-2009-08-358.
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Nicholas Roerich, the well-known Russian artist, writer and mystic from the early twentieth century is best known in the West for his theatrical design work, above all for the sets of the celebrated ballet The Rite of Springs. The goal of this thesis is to provide a fuller understanding of Roerich’s art and literary works within the historical context of his time. In particular, I have sought to illuminate Roerich’s focus on depiction of nature, especially mountains, in relation to his fascination with the mythical Shambhala.
In the first chapter of this thesis I analyze Roerich’s early career, as well as his personal and professional relationship with the World of Art, the leading art group at the turn of the twentieth century in Russia. Roerich’s early interest in the history of ancient Russia, archeology and geology, which I discuss, was central to the meaning of his landscape depictions in both his stage designs and paintings. The second chapter of this work investigates how these interests evolved into the artist’s quest for Eastern wisdom and mystical revelations. Although Roerich is often treated as an oddity, his concerns with occult ideas were not unique in his time. The third chapter focuses on Roerich’s activities abroad and his international success as a promoter of ancient wisdom. I discuss the Russian émigré art scene in New York in the 1920s and Roerich’s place within it. I also offer an examination of the artist’s correspondence with his family and colleagues, which sheds light on Roerich’s beliefs in his mysterious “Teachers” and their role in leading him to the East.text
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Timms, Wendy. "The post World War Two colonial project and Australian planters in Papua New Guinea : the search for relevance in the colonial twighlight i.e. [twilight]." Phd thesis, 1996. http://hdl.handle.net/1885/145719.
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Hof, Carsten [Verfasser]. "Implementation of a model-independent search for new physics with the CMS detector exploiting the world-wide LHC Computing Grid / vorgelegt von Carsten Hof." 2009. http://d-nb.info/1000126374/34.
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Kouyoumdjian, Mary. "Creating with Ghosts: Identity and Artistic Purpose in Armenian Diaspora." Thesis, 2021. https://doi.org/10.7916/d8-4fqv-ch76.
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The creative submission for my dissertation includes two of my documentary works: They Will Take My Island, a thirty-minute multimedia collaboration with filmmaker Atom Egoyan for amplified string octet, electronic track, and film, commissioned by the Metropolitan Museum of Art; and Paper Pianos, a ninety-minute staged collaboration with director Nigel Maister and projection artist Kevork Mourad. The written submission for my dissertation is an examination of the ways in which experiences around transgenerational trauma inform and manifest in my creative practice. I offer a summary of my own family history of survivors of the Armenian Genocide and Lebanese Civil War, as well as a survey of displacement amongst the Armenian community in the past century. Furthermore, I discuss identity processing as diaspora and the act of cultural preservation, as inspired by genocide survivor, composer, priest, writer, and musicologist, Komitas Vardapet. I later examine these ideas in the context of creating They Will Take My Island and Paper Pianos, both of which were constructively motivated by transgenerational survivor’s guilt and draw from extra-musical documentary and horror genre practices.
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Harvey, Amber. "On making the immeasurable measurable : a search for spirituality in painting practice : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." 2009. http://hdl.handle.net/10179/1019.
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Cornew, Clive. "The battle of changing times : picaresque parodies from Bruegel to Grosz." Thesis, 1999. http://hdl.handle.net/10500/17931.
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This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on
visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction
between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of
human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships
between the above themes are chronologically traced in various disguises in pictures by representative
picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and
Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the
high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes
at work within an ever changing context-bound rhetoricity.Art History, Visual Arts & Musicology
Thesis (D.Litt. et Phil.)