Dissertations / Theses on the topic 'Women artists Australia Biography'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 19 dissertations / theses for your research on the topic 'Women artists Australia Biography.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Dalgleish, S. H. R. "'Utopia' redefined : Aboriginal women artists in the Central Desert of Australia." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365051.
Full textFernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
Full textBrien, Donna Lee. "The case of Mary Dean : sex, poisoning and gender relations in Australia." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16340/.
Full textBrien, Donna L. "The case of Mary Dean: Sex, poisoning and gender relations in Australia." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/117977/1/T%20%28CI%29%2094%20-%20THE%20CASE%20OF%20MARY%20DEAN.pdf.
Full textClarke, Patricia, and n/a. "Life Lines to Life Stories: Some Publications About Women in Nineteenth-Century Australia." Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040719.150756.
Full textMcDonald, Michelle. "Selling Utopia marketing the art of the women of Utopia /." Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.
Full textIncludes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
265, [48] p
Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.
Full textRoss, Susan Imrie. "The inner image: an examination of the life of Helen Elizabeth Martins leading to her creation The Owl House and A Camel Yard as outsider art." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002227.
Full textPhillips, Dimity. "Impressions of distance : a study of women printmakers practising in regional Australia 1993-2003." Phd thesis, 2005. http://hdl.handle.net/1885/150792.
Full textTopliss, Helen. "Australian female artists and modernism, 1900-1940." Phd thesis, 1992. http://hdl.handle.net/1885/133859.
Full text"Differencing men's modern art, historical review of Pan Yuliang's xiesheng and the theme of women's culture." 2012. http://library.cuhk.edu.hk/record=b5894903.
Full text"December 2011."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references.
Abstracts in English and Chinese.
Introduction --- p.1
Chapter Chapter 1 --- Who's Pan Yuliang? Whose Pan Yuliang? --- p.7
Who's Pan Yuliang? --- p.7
Life and Art of Pan Yuliang: Existing Account --- p.12
Whose Pan Yuliang? --- p.22
"Summary of Existing Accounts: Biography, Oedipus complex and Narcissism" --- p.30
Chapter Chapter 2 --- Reconsidering Pan Yuliang --- p.33
Academic works in Mainland China and Taiwan since 2000 --- p.33
Theorizing the Woman Painter --- p.42
Background I: Modern Art in Republican China --- p.54
Background II: Paris Modernism --- p.60
Chapter Chapter 3 --- Expanding Biography into History --- p.63
Chapter Chapter 4 --- The Political Xiesheng and its Gender Politics --- p.82
"Pan Yuliang: from Shanghai (1928-32, 36-37) to Nanjing (1933-35)" --- p.83
The Mission ofNanjang: National Administering of Modernism --- p.86
Pan Yuliang and the Chinese Arts Association --- p.97
Xiesheng and a New Woman/painter Subject --- p.113
Conclusion: a Different Modern for a Woman Painter --- p.123
Chapter Chapter 5 --- Differencing the Modern and Women's Culture --- p.127
Theorizing Women's Culture --- p.130
Pan Yuliang and Women's Community --- p.134
Contextualizing Women's Community: Republican Modernity and Post-war
Pacifism --- p.137
Conclusion: Women's Art and Modernism --- p.145
Conclusion Rethinking Republican and Women's Art --- p.146
Appendix --- p.150
Glossary --- p.158
Graphical Materials --- p.165
Bibliography --- p.251
McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/1048161.
Full textBeginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. The development of the Newcastle Technical College Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show Group artists first as students of this new art school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and promising future of the fine arts in Newcastle.
Walsh, Kerry Patricia, University of Western Sydney, and of Arts Education and Social Sciences College. "Potions and painting." 2003. http://handle.uws.edu.au:8081/1959.7/27666.
Full textMaster of Arts (Hons) (Creative Arts)
Pillay, Thavamani. "The artistic practices of contemporary South African Indian women artists : how race, class and gender affect the making of visual art." Diss., 2014. http://hdl.handle.net/10500/18736.
Full textArt History, Visual Arts & Musicology
M.A. (Art History)
Smith, Avis Carol. "Changing fortunes: the history of China Painting in South Australia." 2009. http://hdl.handle.net/2440/59391.
Full texthttp://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281
Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009
Graham, Jillian. "Composing biographies of four Australian women: feminism, motherhood and music." 2009. http://repository.unimelb.edu.au/10187/7402.
Full textAspects of the biographies of each of these women are explored, and I situate their narratives within the cultural and musical contexts of their eras, in order to achieve heightened understanding of the ideologies and external influences that have contributed to their choices and experiences. Methodologies derived from feminist biography and oral history/ethnography underpin this study. Theorists who inform this work include Marcia Citron, Daphne de Marneffe, Sherna Gluck, Carolyn Heilbrun, Anne Manne, Ann Oakley, Alessandro Portelli, Adrienne Rich and Robert Stake, along with many others.
The demands traditionally placed on women through motherhood and domesticity have led to a lack of time and creative space being available to develop their careers. Thus they have faced significant challenges in gaining public recognition as serious composers. There is a need for biographical analysis of these women’s lives, in order to consider their experiences and the encumbrances they have faced through attempting to combine their creative and mothering roles. Previous scholarship has concentrated more on their compositions than on the women who created them, and the impact of private lives on public lives has not been considered worthy of consideration.
Three broad themes are investigated. First, the ways in which each composer’s family background, upbringing and education have impacted on their decision to enter the traditionally male field of composition are explored. The positive influence from family and other mentors, and opportunities for a sound musical education, are factors particularly necessary for aspiring female composers. I argue that all four women have benefited from upbringings in families where education and artistic endeavour have been valued highly.
The second theme concerns the extent to which the feminist movement has influenced the women’s lives as composers and mothers, and the levels of frustration, and/or satisfaction or pleasure each has felt in blending motherhood with composition. I contend that all four composers have led feminist lives in the sense that they have exercised agency and a sense of entitlement in choices regarding their domestic and work lives. The three living composers have reaped the benefits of second-wave feminism, but have eschewed complete engagement with its agenda, especially its repudiation of motherhood. They can more readily be identified with the currently evolving third wave of feminism, which advocates women’s freedom to choose how to balance the equally-valued roles of motherhood and the public world of work. I assert that Sutherland was a third-wave prototype, a position that was atypical of her era.
The third and final theme comprises an investigation of the ways in which historical and enduring negative attitudes towards women as musical creators have played out in the musical careers in these composers. It is contested that Sutherland experienced greater challenges than her successors in the areas of dissemination, composition for larger forces, and critical reception, but appears to have been more comfortable in promoting her work. The exploration of their careers demonstrates that all four of these creative mothers are well-respected and recognised composers. They are ‘third-wave’ women who have considerably enriched Australia’s musical landscape.
Northfield, Sally. "Canvassing the emotions : women, creativity and mental health in context." Thesis, 2014. https://vuir.vu.edu.au/29985/.
Full textBurston, Mary Ann. "Looking for home in all the wrong places: nineteenth-century Australian-Irish women writers and the problem of home-making." Thesis, 2009. https://vuir.vu.edu.au/30089/.
Full textBilbrough, Paola. "Givers, takers, framers : the ethics of auto/biographical documentary." Thesis, 2015. https://vuir.vu.edu.au/26229/.
Full text