Tesis sobre el tema "Art and society – congresses"
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1
Scott, Katherine Anne. "Reining in the State: Civil Society, Congress, and the Movement to Democratize the National Security State, 1970-1978". Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/38730.
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HistoryPh.D.
This dissertation explores the battle to democratize the national security state, 1970-1978. It examines the neo-progressive movement to institutionalize a new domestic policy regime, in an attempt to force government transparency, protect individual privacy from state intrusion, and create new judicial and legislative checks on domestic security operations. It proceeds chronologically, first outlining the state's overwhelming response to the domestic unrest of the 1960s. During this period, the Department of Justice developed new capacities to better predict urban unrest, growing a computerized databank that contained millions of dossiers on dissenting Americans and the Department of Defense greatly expanded existing capacities, applying cold war counterinsurgency and counterintelligence techniques developed abroad to the problems of protests and riots at home. The remainder of the dissertation examines how the state's secret response to unrest and disorder became public in the early 1970s. It traces the development of a loose coalition of reformers who challenged domestic security policy and coordinated legislative and litigative strategies to check executive power.
Temple University--Theses
2
Tingvall, Josefin. "Soft Society". Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5853.
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Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us.Soft society
3
Armfield, Maris Margaret Doris. "Art and society in Ulm 1377-1530". Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3669/.
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The imperial city of Ulm in southwest Germany was one of the largest in the country during the Middle Ages, and one of four important centres in the Swabian region. In the fourteenth and fifteenth centuries the region was characterised by a large number of towns and cities, especially imperial cities, most of which lay south of the Swabian Alps, in Upper Swabia. For their protection the towns formed into the Swabian League of which Ulm had leadership until the latter part of the fifteenth century. The League restrained the ambitions of emperor and the princes, and effectively maintained relatively peaceful conditions in the region for most of the fifteenth century. The cities relied largely on trade, shipping iron, salt, meat and grain from eastern areas into the southwest for distribution. There was also a vast textile industry, producing woollen cloths and fustian, or barchent, with a mixture of cotton and linen. Wool and flax were produced locally, while cotton was brought from Venice, and finished cloth distributed throughout Europe. This led to the rise of family merchant companies that handled import, export, distribution, and in some cases production. Familial networks were key. Such networks were also fundamental for craft communities throughout the region and artisans frequently moved to train or work. As a large centre, Ulm produced much sculpture and painting with production peaking during the second half of the fifteenth century, resulting in an extensive export market. As with all imperial cities, Ulm relied on its relationship with the empire for its ability to function, politically and economically. Largely because of its wealth, it gained a high level of autonomy, which it used to acquire an extensive territorial area, and to secure authority over the parish, its church, and local foundations. Of fundamental importance was the parish church of Our Lady, which was relocated into the heart of the commercial area of the city and rebuilt on a massive scale signalling the might of the town. The renewed importance of Our Lady encouraged endowments and gifts, and helped secure the authority of the patriciate, especially the Krafft family. In the face of guild uprisings during the fourteenth century, the patriciate of Ulm was a particularly closed type and social demarcation was rigorously practised. Inter-marriage with a select group of traders, however, resulted in a ruling body that effectively developed into an oligarchy, despite substantial guild representation on the civic council. A small group held power over many years and most aspects of everyday living were closely regulated and policed. Artistic styles and developments reflected this stable, yet rather restricted climate. Change was adopted with caution. But, arguably, styles also reflected wider regional trends that, to an extent, might be classed as traditionally Swabian. The characteristic regional style might also have been linked to mysticism and pious practices amongst female religious that had filtered into civic life. As vibrant commercial centres, the cities were conscious of a communal responsibility. Ultimately, this somewhat conservative attitude led to a shift in artistic production during the last decade of the fifteenth and into the sixteenth century. Ulm was unable to keep pace with wider political and commercial developments, and in certain ways Ulm did not provide artists with the conditions necessary to fully exploit their talents.
4
Guidas, Karen A. "Image power the role of art in society /". Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Instructions for remote access, 2004. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M. Ed. )--Kutztown University of Pennsylvania, 2004.Source: Masters Abstracts International, Volume: 45-06, page: 2748. Typescript. Abstract precedes thesis as 1 preliminary leaf (iii ). Includes bibliographical references ( leaves 73-76 ).
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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.
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Goodwin, R. "Food, art, and society in Early Modern Spain". Thesis, University of London, 2001. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540098.
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Bosch, Susanne. "Learning for civil society through participatory public art". Thesis, Ulster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591052.
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In this PhD by Publication I argue that my art practice serves as a useful contributor towards shaping elements for the activation of civil society. Through consideration of three interrelated examples from my art practice from 1998-2011, which emerged from my Restpfennigaktion (Left-over Penny Campaign) an artistic methodology has emerged that shows links between the artwork as process and product in relation to notions of transformation. Lynn Froggett writes, "The transformative potential is realised when it generates a cultural form for experience that needs the visual or performative register for its fullest expression." I unpick and position the role of my practice using theoretical frameworks of participatory art as life, such as art and social sculpture (Beuys) in relation to the discourse used by theorists such as Claire Bishop, who aligned a socially engaged public art practice with ideas of civil society and democracy. I also use critical pedagogy and conflict resolution to position my work in this realm. Equally important is the role of a selected number of examples of participatory art works by others, such as MA, Park Fiction and Schlingensief, as well as Suzanne Lacy. Innovative strategies in my work are the implementation and cross-sector uses of that knowledge through artistic practice. The three projects under consideration were time-based interventions, which sought to engage people in penny-giving, wish-giving and wish realization in Germany (Left-over Penny Campaign), Italy (lnitizativa Centesimo Avanzato) and Spain (Hucha de Deseos). As a result of undertaking this research, a suite of questions revealed themselves from within the practice. The questioning was specifically focused around the following three areas: the role of aesthetic form in my art practice, different conceptions of my role as artist, and how practitioners working in public or social space are affected by and respond to contexts. These questions arose during the processes of art-making and within the context of this research project. They emerged in response to a broadening of my ideas of participation, and participatory decision-making. It became clear that I was evolving new skills, in order to find appropriate and satisfying responses to these questions. I found myself by necessity seeking answers for the advancement of my art making by moving beyond traditional artistic strategies and into areas of knowledge, such as formalised conflict resolution, pedagogy, gift economy, leadership, self organisation, creative solutions in community development and undertaking a PhD. 1 Froggett, Lynn (ed), New Model Arts Institutions and Public Engagement, Research Study, Headline Findings, uclan, 2011, p. 10. [online] Available at Participatory public art refers to an art practice that features the transformation of individuals and societies for a common good. It aims to contribute to perceived demands for transition processes and is necessarily aware of and responsive to conditions that characterise a democratic civil society, which hopes for non-violent and fruitful transformations. The current global socia-political, ecological and cultural climate, currently dominated by the economic taxonomies, demands transformational processes if future life on earth is to be secured. Hence my art projects highlighted money, its meaning and ways of transformation, through focusing on gift economy more than on exchange economy. My three projects highlighted on the one hand the limits of our existing man-made systems, on the other, they demonstrated how participatory public art can be a mode of transformation.
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Driskel, Michael Paul. "Representing belief : religion, art, and society in nineteenth-century France /". University Park (Pa.) : Pennsylvania State university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716402q.
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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia". Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.
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Jacono, Dianne. "The quest and the woman artist in contemporary society". Thesis, Federation University Australia, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/165008.
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"The project concerns itself with the human condition and the search for meaning, specifically, from the perspective of a woman artist. This search for meaning is expressed as a journey. The journey of a fictional woman protagonist through landscape is the metaphor used to convey these ideas."Master of Education (Visual Arts)
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Leung, Mei-yin y 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.
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Jakubowicz, Rosa. "Art, the self, and society : the human possibilities in John Dewey's Art as experience". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64160.pdf.
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Isager, Jacob Pliny. "Pliny on art and society : the Elder Plinyʼs chapters on the history of art /". London ; New York : Routledge, 1991. http://www.loc.gov/catdir/enhancements/fy0648/92194763-d.html.
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Smith, John Arthur. "An analytic sociology of art : art and society and the origins of modernist painting". Thesis, Goldsmiths College (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286130.
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Ravadrad, Azam. "The social determination of art : a theoretical and empirical investigation /". [Campbelltown, N.S.W. : The Author], 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030701.140851/index.html.
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Waelder, Laso Pau. "Selling and collecting art in the network society: Interactions among contemporary art new media and the art market". Doctoral thesis, Universitat Oberta de Catalunya, 2016. http://hdl.handle.net/10803/399029.
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Aquesta tesi explora i analitza les interaccions actuals entre art, nous mitjans i el mercat de l'art, i també les transformacions que es produeixen en el reconeixement de l'art digital, l'estructura del mercat de l'art i els rols de l'espectador i el col·leccionista. La tesi es divideix en tres parts. La primera part analitza les maneres en què l'art de nous mitjans s'ha definit ell mateix com un món de l'art específic, i les polèmiques que exemplifiquen la seva separació del món de l'art contemporani. La segona part analitza les motivacions i les expectatives dels artistes que treballen amb tecnologies emergents, per mitjà d'una enquesta feta per l'autor entre més de cinc-cents artistes de cinquanta països. La tercera part analitza les maneres en què l'art digital ha estat comercialitzat i els canvis recents en el mercat de l'art contemporani a internet.La presente tesis explora y analiza las interacciones actuales entre arte, nuevos medios y el mercado del arte, así como las transformaciones que se están produciendo en el reconocimiento del arte digital, la estructura del mercado del arte y los roles del espectador y el coleccionista. La tesis se divide en tres partes. La primera parte analiza las formas en que el arte de nuevos medios se ha definido a sí mismo como un mundo del arte específico, y las polémicas que ejemplifican su separación del mundo del arte contemporáneo. La segunda parte analiza las motivaciones y las expectativas de los artistas que trabajan con tecnologías emergentes, por medio de una encuesta realizada por el autor entre más de quinientos artistas de cincuenta países. La tercera parte analiza las maneras en que el arte digital ha sido comercializado y los cambios recientes en el mercado del arte contemporáneo en internet.
The present dissertation explores and analyzes the current interactions among art, new media and the art market, as well as the ongoing transformations in the recognition of digital art, the structure of the market, and the role of the viewer and collector. It is divided into three parts. The first part analyzes the ways in which new media art has defined itself as a distinct art world, as well as the controversies that exemplify its separation from the mainstream contemporary art world. The second part exposes the motivations and expectations of artists working with emerging technologies by means of a survey carried out by the author among more than 500 artists from 50 countries. The third part discusses the ways in which digital art has been commercialized as well as the recent developments in the online contemporary art market.
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Steele, Nancy Joanne. "Etched images of the human form in relation to society and environment". Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941715.
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The vitality of the human figure has been an unending source of curiosity for artists from the beginning to now. Although many artists have focused their creativity to searching for the perfect, in fact, beautiful, human form, others have striven to convey the human experience within the spirit of their own era. The latter is true of this creative project, which has addressed the following problem: hog: could large-scale intaglio printmaking be used to 02arify the negative impact our rigid contemporary notion of beauty can have on individual women? The project was inspired by the work of Kaethe Kollwitz, German artist of the early 20th century whc used her technical drawing skills to translate her knowledge of war and famine shattered women into forceful lithographs and etchings. The insight she Portrayed vividly combined her intensely personal vision the Vicious events of her times: social commentary at its finest.The significance of the project has been, first of all, its benefit to myself, the artist. The journey which I undertook through historical research on Kollwitz; conceptual investigation of women and rigid norms for beauty; and extension of my technical expertise as an etcher-has produced insights about creating art that are invaluable to the mature artist. The second significance involves the viewer, whom I hope reconsiders the images of women displayed in contemporary society.The project’s five large-scale etchings of the female figure portray in a series my ideas about roles women are expected to assume in contemporary American society. These ideas unfolded especially during the creation of the first and second etchings.The report of the project deals extensively with the drawing and etching techniques used for each print; a description of each of the works; the ideas which inspired the content of the works; how these ideas were transformed into visual images; and the technical competencies that I acquired while working through each plate.Department of Art
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Landis, Tamra R. "How a Successful Collecting Society Can Transform an Art Museum: A History of The Georgia Welles Apollo Society at the Toledo Museum of Art". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522759729069838.
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Ravadrad, Azam. "The social determination of art: a theoretical and empirical investigation". Thesis, [Campbelltown, N.S.W. : The Author], 1996. http://handle.uws.edu.au:8081/1959.7/28857.
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This study sets out to develop a sociological approach to art and literature which views art as a socially situated knowledge and which at the same time preserves an independent and unique sphere of activity for art that enables it to offer life opportunities of a different nature from those of the established social order. To fulfill this task two complementary studies were carried out; a theoretical investigation and an empirical research. First, this critically examines existing theories in the sociology of knowledge and art and focuses on the problem of the 'social determination of art and literature.' This examination is based in the consideration of art as an element in the knowledge sphere and the sociology of art as a branch of the sociology of knowledge. A critique of the notion of the 'social determination of art' leads to a set of hypotheses which are tested in the field. The question of great art problematises the 'social determination' hypotheses. Secondly, an empirical study of Australian playwrights is carried out which examines the hypotheses derived from the theoretical investigation. The empirical methods of this study is a survey, using a mail questionnaire, supported by interviews with professionals in Australian drama. This is combined with a documentary study of the socio-economic conditions of Australia during the last 25 years, together with content analysis of plays written by Australian playwrights during the same period. The results of the empirical investigation support the proposed hypotheses showing that while social conditions effect contemporary artistic works, this effect is not uniform when comparing 'first rate' of 'great art' with other artistic creations. This questions the concept of the social determination of art explored in the thesis, and at the same time questions the extent and scope of such a determination. Finally, the conclusion of the thesis is that sociology is relevant in the analysis of artistic works so long as it is concerned with the social dimension of art. It is concluded that the aesthetic knowledge of the artist, which determines the quality of artistic works, is independent from social forces. Although art bears the mark of contemporary social conditions, it is not a product of these conditions.
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Stewart, Peter. "Statues in Roman society : representation and response /". Oxford : Oxford University Press, 2003. http://catalogue.bnf.fr/ark:/12148/cb390520035.
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Boggs, James G. "Social application of the arts : making a difference through art /". Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6177.
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Lookofsky, Sarah Elsie. "No such thing as society : art and the crisis of the European welfare state /". Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386699.
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Thesis (Ph. D.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed January 19, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 243-258).
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Leoussi, Athena S. "Images of Greeks in British and French art, c.1833-1880 : physical anthropology, art and society". Thesis, London School of Economics and Political Science (University of London), 1992. http://etheses.lse.ac.uk/1263/.
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The aim of this study is to measure the extent of the 'Greek revivals' in official British and French artistic practice during the second half of the nineteenth century and to explore their links with different parts of their social context. To this end I concentrate on the works of art illustrating aspects of Greek culture and life, both ancient and modern, which were exhibited at the Royal Academy and the Salon between 1833 and 1880. I study their numbers, themes and dates, and examine the role in these 'Greek revivals' of developments both inside and outside the sphere of art. I consider the following circumstances: firstly, the importation into Western Europe of naturalist Pheidian art, secondly, the development of certain 'scientific' ideas about the ancient Greek body in its connexion with the cultural and political achievements of the ancient Greeks through the development of Physical Anthropology, and, thirdly, the expansion of positivism in other spheres of life. The adoption of 'scientific' solutions, including the idea of race, to certain social problems introduced ancient Greek values and practices regarding the body into the aesthetic, religious, national and political conceptions and institutions of British and French societies. The fact that certain new elements of ancient Greek culture and institutions became, in the course of the nineteenth-century, an important component of British and French conceptions and institutions of national identity, nation-building, religious salvation or self-realisation and political life, justifies us in understanding British and French works of art on ancient Greek subjects as so many screens on which actual social ideals and institutions were projected. This cultural significance of the ancient Greeks also explains British and French artists' orientation towards the representation of both Greek subjects in general and of particular elements of ancient Greek culture and institutions in particular, as well as the expansion of the use of the Pheidian figural type to illustrate these themes. Finally, it justifies a distinction among works on Greek subjects into three main and overlapping categories: mythology; Greeks in general and ancient Greek athletes; and ancient Greek male political mythological and historical personages or 'heroes'.
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Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961". Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.
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Kim, Gumsun, of Western Sydney Nepean University y Faculty of Visual and Performing Arts. "A question of equality : women and women's art under patriarchal society". THESIS_FVPA_XXX_Kim_G.xml, 1995. http://handle.uws.edu.au:8081/1959.7/358.
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In the past and present the inter-gender relationship has been based on male domination resulting in the overlooking of the female role and value. Many male-inspired theories helped to establish this hierarchical relationship and to perpetuate the belief that men and women have been created differently and not equally privileged. My research on the status of Korean women verifies these theories by examining how much social and cultural conditions have contributed to the difference between the genders to the disadvantage of women. It also reveals the distortion of patriarchal theories by investigating the principle of Confucianism which led to the depravation of Korean women's opportunities to develop themselves. The present level of achievement for women's equality is the result of these women's struggles. I as a women artist, present my work so that it will help both men and women to raise their awareness and to eliminate the prejudice towards females in society. The early principle of the Yin and Yang, distorted later for political benefits, implied a cooperative relationship of two forces for creation and development. Although these force are different and independent, when used cooperatively, they make a complete picture of stability and harmony. If they remain separate forces there is no resulting completion of creation, but instability and misfortunes. By disclosing this principle of harmony in Shamanism and early Confucianism, I also present the notion that all kinds of misfortunes come out of a broken harmony between creatures, peoples, and genders.Master of Arts (Hons)
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Christoforaki, Ioanna. "Patronage, art and society in Lusignan Cyprus, c.1192-c.1489". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365598.
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Jahrmann, Margarete. "Ludics for a Ludic society : the art and politics of play". Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/453.
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This dissertation provides an analysis of, and critical commentary on, the practice of playfulness as persistent phenomenon in the arts, technology and theory. Its aim is to introduce political reflections on agency through the study of playful technological artefacts, which were largely ignored in the recent discussions on game and play. Following the critical analysis of historic discourses and actual studies of play under differing auspices, and in order to understand play as inherently political agency, this thesis’ research question addresses the immersive effects of playful agency in symbolic exchange systems and in the material consciousness of the player. This thesis conducts an analysis of material cultures, in order to categorise play as technique of an inherent critique of technological culture. It traces the development of contemporary technological objects and their materiality in relation to the application of the concept of affordance in design theory. The author consequently proposes a new category of ‘play affordances’ in order to describe these new requirements of play found in consumer technologies. The structure of the analysis in the distinct chapters is informed by a stringent historic, theoretical and arts analysis and an alternating arts practice. The convergence of these elements leads to insights on further uses, options and perspectives of the research problems discussed, in particular in relation to the requirements of playful interaction in contemporary technologies, which increasingly radicalises the importance of play. The thesis’ hypothesis states that playful practices in arts and technologies provide models for political agency, like the strategic use of Con-Dividualities (Jahrmann 2000). This term describes the concept of shared identities in society or social media consumer technologies, as discussed in historic case studies and the author’s own arts practice, related to the modification of technologies as methodology of arts research. In this way the arts practice and theory of playfulness informs the emergence of a new methodology of research, intervention and participation in society through the arts of play, which is coined as Ludics, as an original outcome of this thesis.
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Kim, Gumsun. "A question of equality : women and women's art under patriarchal society". Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/358.
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In the past and present the inter-gender relationship has been based on male domination resulting in the overlooking of the female role and value. Many male-inspired theories helped to establish this hierarchical relationship and to perpetuate the belief that men and women have been created differently and not equally privileged. My research on the status of Korean women verifies these theories by examining how much social and cultural conditions have contributed to the difference between the genders to the disadvantage of women. It also reveals the distortion of patriarchal theories by investigating the principle of Confucianism which led to the depravation of Korean women's opportunities to develop themselves. The present level of achievement for women's equality is the result of these women's struggles. I as a women artist, present my work so that it will help both men and women to raise their awareness and to eliminate the prejudice towards females in society. The early principle of the Yin and Yang, distorted later for political benefits, implied a cooperative relationship of two forces for creation and development. Although these force are different and independent, when used cooperatively, they make a complete picture of stability and harmony. If they remain separate forces there is no resulting completion of creation, but instability and misfortunes. By disclosing this principle of harmony in Shamanism and early Confucianism, I also present the notion that all kinds of misfortunes come out of a broken harmony between creatures, peoples, and genders.
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Kim, Gumsun. "A question of equality : women and women's art under patriarchal society /". View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030801.151817/index.html.
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Williams, Graeme. "The Melbourne art scene and the Victorian artists’ society 1870-2020". Thesis, Federation University Australia, 2020. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/173708.
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This thesis is a socio-cultural history, utilising the Victorian Artists’ Society as a longitudinal case study to look at the extent to which it has serviced the professional needs of artists. The Victorian Artists’ Society, formed in 1870, is the oldest organisation representing the visual arts in Victoria and, as such, is an appropriate vehicle to examine the discourse between history and the construction of cultural values in the visual arts in Melbourne. The Melbourne ‘art scene’ has existed since Victoria’s proclamation as a separate colony in 1851. During the greater part of this time, the Victorian Artists’ Society functioned as a meeting and an exhibition space for visual artists. Although it is Australia’s second oldest continuous organisation representing visual artists, the Society has been uncontroversial and largely ignored by academics as a focus of research in its own right. Notwithstanding, the two groups subject of the most academic attention and research, namely the Australian Academy of Art and the Contemporary Art Society, were announced and formed within its walls, with many of their key proponents members of the Society. Researching extensive archival records, this thesis explores the relationship that existed between the Society and Melbourne’s art community throughout its 150-year history. It historically interrogates to what extent the Society has been a harbinger for change. Through a study of organisations and events impacting the Melbourne art scene, the thesis argues the relevance of the Society to professional and amateur artists today. It reviews how societies, and clubs in general, once servicing the needs of all artists, have evolved into a more general function, and what role the emergence of the commercial gallery system played as the main platform for the success of the artist. Finally, it examines what sustains, inspires, and informs contemporary professional artists working in Melbourne today.Doctor of Philosophy
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Boulton, Alexander Ormond. "The architecture of slavery: Art, language, and society in early Virginia". W&M ScholarWorks, 1991. https://scholarworks.wm.edu/etd/1539623813.
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Inspired by the concept of culture as expressed in the work of Claude Levi-Strauss, this dissertation traces the roots of modern perceptions of slavery and race by analyzing three sites each of which is associated with a distinct cultural pattern and social ideology. The first, Penshurst in Kent England is described as feudal, organic, vernacular, and popular. The second, Westover in tidewater Virginia is classical, rational, and elite. Thomas Jefferson's Monticello in the Virginia piedmont, the third site, is described as romantic, liberal, and bourgeois. It is only at this third site, the locus for a distinctly modern family type, that concepts of race and slavery unique to our age are found. The new ideas about family structure, race and slavery, evident at Monticello, it is argued, have had a vast influence upon the course of American social and political development.
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Balkir, Nur Chanda Jacqueline. "Visual culture in the context of Turkey perceptions of visual culture in Turkish pre-service art teacher preparation /". [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9935.
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Delday, Heather. "'Close' as a construct to critically investigate the relationship between the visual artist and the everyday". Thesis, Robert Gordon University, 2006. http://hdl.handle.net/10059/2121.
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This research proposes and develops a critical framework - a 'matrix' to make sense of the artistic process from the practitioner's perspective. It draws from the research of de Certeau into everyday culture and the art historical discourse of Bourriaud that positions art within models of social interaction. As a critical concept the everyday has benefits for re-thinking the nature of creative activity and its reception. The term participatory relational practice is used \ 11 this thesis to define an approach that situates the artist within the everyday. The matrix is constructed reflexively through three of my art projects and by analysing two artists engaged by the On the Edge research programme to conduct two projects. Used reflectively in and on practice the matrix sensitizes the artist to judgements, values and qualities within a dynamic process of exchange and transaction. The matrix represents a core from which judgements about practice are considered and negotiated. It comprises three inter-dependent dimensions, which the artist selfconsciously models. The aesthetic may be defined as the intricacies of giving form to experience, the ethical as enabling individuals to share a freedom to think, speak or act differently, and the polemical as forming, expressing and enacting a view or position. The research proposes that a nuanced critique may be defined as the interplay between the aesthetic, the playful and resistance. It responds to the need identified in the discourse to develop a multidimensional understanding of practice. The matrix is a way of considering and representing the aesthetic as part of an interdependent whole - a system of values. The research addresses artists and critical theorists interested in collaboration and multi-disciplinary work. The matrix is both interpretive and generative. It can be used to structure and evaluate projects. It has implications for pedagogy in terms of better equipping younger artists with the skills necessary for operating within the everyday as the multi-layered fields of civic society.
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Tierney, Mark C. "No revelations /". Online version of thesis, 1991. http://hdl.handle.net/1850/11609.
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Bernie, Victoria Clare. "The art of disappearance : the architecture of the exhibition and the construction of the modern audience". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23694.
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A critical culture requires that the site of appearance, the temporal coincidence of the subject, the object and the site, be acknowledged as a ground for meaning. Through a built investigation and a theoretical address this thesis examines the site of appearance for contemporary creative practice; the extent to which it continues to be defined by and contained within the conceptual frame of the Enlightenment aesthetic as the privileged discourse of the object. In a detailed analysis of the architecture of the exhibition, the 18th century Academy Salon and the Parisian bourgeois hotel are juxtaposed with examples from the late 20th century practice of site-specific exhibition. This comparison reveals an essential connection between art and architecture, between architectural form and social representation. An alternative concept of the exhibition as a site of appearance thereby acknowledges individual, temporally specific interpretation as a potential ground for critical discourse within the contemporary art institution.
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Smith, Alison. "Raising environmental awareness through performance art". Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession86-10MES/Smith_A%20MESThesis%202007.pdf.
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Dubinsky, Lon. "Canadian visual art magazines as cultural formations". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39279.
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This study explores the relationships between four exemplary Canadian art magazines and the art world they inform and in which they are situated. The principal claim is that the visual art world has become a textual community by virtue of the premium placed on the printed word and the ties that have developed among individuals, such as artists and curators, and organizations, such as the magazines, funding agencies and the academy.For theoretical direction the multidisciplinary study draws on communication theory, art history, the sociology of organizations and culture as well as management studies. Of principal importance are the media theories of Innis (1972, 1973) and the organizational formulations of DiMaggio (1985). Three types of investigation support the claims: (a) an historical account of the four magazines, which includes tracking the strategies the editors undertook, (b) a consideration of each periodical's rhetorical features and (c) a description of several networks in the art world which involve individuals and organizations.
The study then considers the deliberate and unintended consequences of the visual art world becoming a textual community, some of which are liberating while others are disabling. The study concludes by suggesting how the research undertaken contributes to current debates about the analysis of communications and culture.
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Farkhatdinov, Nail. "From decoding to enacting : an ethnographic study of the social relations at exhibition sites : a contribution to the "new sociology of art"". Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196295.
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This thesis is a sociological exploration of emergent social relations at art exhibition venues. It focuses on the experience of art which the dominant “decoding” metaphor fails to describe conceptually and empirically. To grasp the interactional and emergent character of interaction with art, I constructed a framework that defined audiences as sets of emerging social relations. Building on the concepts of experience (Merleau-Ponty), enchantment (Gell), multiplicity and enactment (Latour, Mol and others), I emphasise the situated and embodied nature of art experience. The study draws on a series of ethnographic observations at the exhibition sites of a number of Moscow art institutions. It is supplemented with unstructured interviews with visitors and art professionals at these venues (artists, curators, wardens etc.). Conceptually, I have suggested a dual social ontology that art establishes in the events of perception. Bringing uncertainty into visitors’ actions, art enables interactions in which visitors establish meanings, and leads to practices that make their art experience organized and less problematic. The thesis examines the ways art experience becomes stable through meaning-making events supported by socio-material relations. These relations enable participants to produce recognizable actions. The process of meaning-making at the exhibitions is seen not as a direct communication of pre-given aesthetic meanings (as the decoding perspective would assume), but rather is understood as consisting of multiple instances of micro-level discoveries which mediate an “enchanting” form of art experience. Enchantment engenders the social relations of expertise which visitors practically achieve in their interaction with material objects and through performances of meaningfully recognizable actions. T Though the study mainly focuses on the experience of interactive art installations, I argue that the conceptual considerations and empirical results are relevant to the experience of other forms of art. The thesis is intended to make a contribution to the so-called “new sociology of art”, not just by subjecting the dominant Bourdieu-inspired assumptions about “decoding” to critique, but also by pointing out the conceptual limits of much of the new sociology of art, and pointing towards new conceptual horizons for sociology’s ongoing encounter with matters artistic.
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Lindqvist, Ursula Anna Linnea. "The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /". view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.
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Hughes, Angela. "Considering Cruelty: Animals in Contemporary Art". Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365449.
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Animals have been represented in art from earliest times, emphasising the integral roles they have played within human civilisation as labourers, food, entertainment, spiritual influences and companions. In contemporary society, this representation has come to include the use of physical animals in art, often causing their harm or death. This research investigates the exploitation of animals in the making of contemporary art. It asks how art is complicit in furthering the exploitation of animals within society more broadly, and describes the artwork made in order to evoke a discussion of these cruelties and educate viewers about how society treats animals.
Key themes surrounding the different types of exploitation that animals endure within art and society are identified. These themes include: use of the animal as metaphor; violence towards animals in art; how these types of shocking exploitation have the ability to normalise cruelty to animals within society; hypocrisy and the placing of blame as effective ways of looking at the artist–viewer relationship; speciesism and anthropomorphism as at the base of these exploitative practices, with particular emphasis on art that causes harm to ‘lesser’ animals, such as insects and rodents; the animal as an artistic medium; and the concept of education as a solution to this enduring problem. Each theme is approached from the perspective of art criticism while discussing the impact on and by society.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Wurtzel, Kate Kundu Rina. "A risk worth taking incorporating visual culture into museum practices /". [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9719.
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Roberts, Ann Patricia. "Painting by mouth : art, modernity and disability : Bartram Hiles (1872-1927)". Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6062/.
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The subject of this thesis is the Bristol artist, Bartram Hiles (1872-1927) who lost both arms in a tram accident at the age of eight and subsequently taught himself to draw and paint by mouth. Using the themes of art, modernity and disability, this thesis recovers Hiles’ career as a mouth-painting artist, not as biography but as a focused study located in nineteenth and early twentieth-century culture. Using disability studies as a principle point of reference, it does not draw on traditional medical and social models associated with this discipline. Instead, it employs a culturally located framework as its point of departure that also gives historical context to Hiles’ disability within the late Victorian and Edwardian period in which he was active as a professional artist. Hiles is little known today and the study has been driven by primary archival research into his formal art education and professional career as a mouth-painting artist. Employing an inter-disciplinary approach, each chapter is structured as a specific historical, cultural and physical context in which to locate Hiles’ art practice and professional career. Such contexts include medicine and science, the periodical press, agency and support, art and design practice, celebrity culture and the Edwardian artists’ club. The thesis employs discourse and representation but also draws on material and visual cultures of both medicine and art for its analysis. The study frames Hiles’ art practice within the modernity of the late nineteenth century as a transforming space to locate him as a modern subject who sought to re-interpret the act of painting. The thesis argues for Hiles to be seen as a modern man who used the opportunities afforded by modernity for individuals to re-make and re-fashion themselves, and to pursue new pictorial forms and spaces to exhibit his art. Negotiating the complexities of strategy and self-presentation, it positions Hiles as a figure of an increasingly commodified celebrity culture rather than a disabled man who led a life of marginalization. From this analysis Hiles emerges as a man and an artist fully able to navigate the modern world, and whose disability and unconventional method of painting illuminates the ambivalences of the late nineteenth century and early twentieth century towards difference, otherness and perceptions of normality.
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Hachmeister, John. "Pluralism and the hard sell historically unique influences on young artists today". Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9845.
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Breidenbach, Paul. "Art patronage and class identity in a border city : Cincinnati, 1828-1872 /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3026377.
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Perkins, Morgan. "Reviewing traditions : an anthropological analysis of contemporary Chinese art worlds". Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365526.
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Cline, Abrahams Cheryl L. "Art knowledge and the social role of the university art department in the aftermath of postmodernism". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28658.
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This study presents a sociology of art knowledge. It explores relationships between art knowledge and institutional structures, making visible how and why certain conceptions of art are hierarchized and generalized so as to be considered essential to the nature of all art. It renders problematic the existing situation in which the art traditionally taught in schools and universities is, for the most part, insular and culturally singular in basis, and examines why this cultural singularity persists in a society which is culturally pluralistic. The thesis is that the university art department has the monopoly on defining, legitimating, and perpetuating this insular and culturally singular art knowledge for transmission through the school' system to all cultural and social groups.
The ways in which the university effects art knowledge are discussed in terms of ' the university's curricular structuring and disciplinary ties; its social role as patron, producer, definer, legitimator, and socializer in the arts; and in terms of its ability to neutralize "avant-garde" attacks, including the postmodernist incursion of popular culture into the realm of "sacred" culture. The theoretical framework of this critical analysis is a sociology of knowledge, and the materials for analysis were obtained by reviewing public documents on art programs, policy on the arts in postsecondary education, and a cross-disciplinary selection of literature in social theory, educational theory, aesthetics, and art history. The institutional structures and norms described throughout the study present significant resistance to the postmodernist commitment to challenge conceptual parameters and hierarchies of art knowledge that hinder a broadening of the cultural base of art. The study makes imperative the need to seriously consider this resistance if educational systems are to embrace the artistic activities of a diverse population and if art is to move into a more vital and relevant role in society. It makes imperative for sociological study of art systems (which in the past has concentrated almost exclusively on the role of museums, galleries, critics, dealers, and artists' "lofts") to take into account the role of the university art department as a primary institutional basis of art knowledge, and as a definer of cultural knowledge about art.Graduate and Postdoctoral Studies
Graduate
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Purnomo, Setianingsih, University of Western Sydney, Faculty of Visual and Performing Arts y Department of Art History and Criticism. "The voice of muted people in modern Indonesian art". THESIS_FVPA_XXX_Purnomo_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/661.
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This research into Indonesian socialist-realism art, examines how art has shaped the political and social environments of the new order government. This text examines contemporary artists’ attitudes toward social commitment and social commentary during the period 1980-1995. Conflicting views of contemporary Indonesian artists were obtained from research undertaken in Indonesia in 1995. In this thesis, the problem is raised that Indonesian socialist-realism art is not only a style of art for contemporary Indonesian artists, but also as a union of artists’ attitudes towards Indonesian society. This argument is used to further understand modern Indonesian art from the ‘inner’ point of viewMaster of Arts (Hons)
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Wheaton, Pat. "High style and society : class, taste and modernity in British interwar decorating". Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/24563/.
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This thesis explores the way in which interior decorating developed as a practice during the interwar period in Britain and seeks to address broader contexts of gender, class, taste and styles. While traditional design histories have tracked the development of the interior design model through a direct sequence of movements and ideologies through the nineteenth and twentieth centuries, this thesis addresses issues which have been problematic within the context of art and design history. It acknowledges the more linear dimension of the original strand and seeks to offer a complementary appraisal which considers and appreciates the role of class, wealth and privilege and deconstructs boundaries which have marginalized gender and obscured certain important influences. The study examines the way in which decorators, many of whom were female, negotiated a design agenda which engaged with modernity without fully renouncing hard-fought signifiers of their class, taste and individuality. It argues that in the development of its practices, significant alliances were formed with fashion and that the vital role performed by media representation and social commentary underpinned its commercial profile and provided the public locus of its discourse. The nature of professional decorating is explored against a background of emerging practices in the first decades of the twentieth-century which included the antiques trade; grand scale establishments such as Lenygon & Morant, White Allom, Thornton-Smith and Keebles; department-store studios including those at Heal’s, Waring & Gillow and Fortnum & Mason; and individual practitioners and designers including Syrie Maugham, Sibyl Colefax, Dolly Mann and Ronald Fleming. In a period rife with social and political upheavals and conflicting ideologies as well as technological advancement and life-style changes, the study’s analysis aims to provide a broader understanding of the way in which decorators proactively negotiated such conditions and presented a cultural and aesthetic response to modernity through the diversity of their styles.
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Diamant, Hirsh. "Burning in the light art in education and human development /". Full text available online (restricted access), 1998. http://images.lib.monash.edu.au/ts/theses/Diamant.pdf.
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Tanner, Jeremy James. "The invention of art history : religion, society and artistic differentiation in ancient Greece". Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296707.
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