Tesis sobre el tema "Art critics"
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COUTO, RENATA DE CAMPOS. "GONZAGA DUQUE: CRITICS ART AND THE EXPERIENCE OF MODERNITY". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11401@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA presente dissertação propõe analisar a atuação de Gonzaga Duque como crítico de arte. Este trabalho reconstrói o percurso das influências estéticas que compuseram o universo teórico de referência para a atuação de Gonzaga Duque como crítico de arte. Esse estudo aborda com maior ênfase o engajamento simbolista do autor, mas igualmente compõe um quadro de diferentes fontes e experiências críticas citando artistas e críticos contemporâneos de seu período, como por exemplo, Baudelaire, Zola e Ruskin. Este estudo indica que Gonzaga Duque conseguia realizar uma crítica ao mesmo tempo experimental e teórica e que nutria essa certa generosidade de se manter sempre aberto aos desafios do presente, conseguindo forjar uma concepção singular de modernidade. A dissertação também se propõe analisar os artigos de crítica de arte referentes a alguns artistas relevantes no período, realizando uma análise formal concomitante com o texto do autor. Dessa forma, esse estudo permite pensar as amplitudes, mas também os limites da crítica de arte, principalmente no que tange a compreensão de certa modernidade plástica, não incorporada pelo autor, explicitando a sua condição de sujeito circunscrito no seu meio cultural. O estudo permite pensar as especificidades deste período histórico compondo um cenário social e cultural, com seus principais referenciais, indicando os aspectos singulares que permitiu ao Gonzaga Duque realizar uma crítica prol de um alargamento das fronteiras da visualidade na arte brasileira.
The present dissertation aims to analyze the performance of Gonzaga Duque as an art critic. This work reconstructs the trajectory of the aesthetic influences that had composed the theoretical universe of reference for the performance of Gonzaga Duque as an art critic. This study emphasizes the relationship of the author with the Symbolism, but equally approaches different sources and critical experiences involving contemporaries` artists and critics with relevance for its period, such as Baudelaire, Zola and Ruskin. This study indicates that Gonzaga Duque has a successful acting as critic, performing at the same time experimental and a theoretical analysis opened to the challenges of the present, building a singular conception of modernity. The dissertation also aims to analyze the art reviews themselves with peculiar emphasis to some relevant artists in the period. This study it allows the meditation about the amplitude, but also the limits of the critic, mainly referring to the comprehension of a certain plastic modernity, not incorporated by the author. Finally, the study allows thinking the specificities of this historical period composing a social and cultural scene, with its main elements, indicating the singular aspects that allowed to the Gonzaga Duque to cross the borders of the Brazilian art.
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Schlenker, Sabine. "Mit dem "Talent der Augen": Der Kunstkritiker Emil Heilbut (1861-1921) : ein Streiter für die moderne Kunst im Deutschen Kaiserreich". Kromsdorf VDG Weimar, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2929791&prov=M&dokv̲ar=1&doke̲xt=htm.
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Christofides, Sheila School of Art History & Theory UNSW. "The intransigent critic: reconsidering the reasons for Clement Greenberg???s formalist stance from the early 1930s to the early 1970s". Awarded by:University of New South Wales. School of Art History and Theory, 2004. http://handle.unsw.edu.au/1959.4/20562.
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This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.
4
Clark, Lenore. "Forbes Watson : independent revolutionary /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.
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Potter, Matthew Charles. "The critical turn in British art : the influences of German idealism on British art critics, theorists and practitioners in the late nineteenth century". Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416017.
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Gurciullo, Sebastian 1968. "Between art and philosophy : Adorno and Foucault as heirs and critics of Enlightenment". Monash University, School of Literary, Visual and Cultural Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/7662.
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Lee, Sun-Young Won. "A metacriticaul analysis of contemporary ant critics' practices: Lawrence Alloway, Donald Kuspit and Robert Pincus-Witten for developing a unit for teaching art criticism". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281642549.
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Viselgė, Vita. "Galimybė Nr.4". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130805_102700-69467.
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Whitham, G. J. "The independent group at the Institute of Contemporary Arts : its origins, development and influences 1951-1961". Thesis, University of Kent, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244238.
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Tzoumakas, Dēmētrēs (Dimitris). "Ho hermaphroditos tou kēpou tōn grammatōn : hē synklisē poiētikou kai kritikou logou sto ergo tou Nikola Kalas". Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/27932.
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Achieving fame and notoriety in the 1930s as an avant-garde Greek poet and Marxist critic,
Nikolaos Kalamaris (1907-1988) — better known by his pseudonyms of Nicolas Calas,
Nikitas Randos and M. Spieros — went on to write poetry and criticism in French and finally
to pursue a successful academic career in the United States as an art critic and historian. The
aim of this thesis is to investigate what common threads run through his multifaceted and
multilingual writings, and in particular to what extent his poetry corresponds to the artistic
program set out in his critical works. Part I (chapters 1-3) deals with Calas’ poetry, while Part
11 (chapters 4-7) examines his critical and theoretical writings.
As is explained in the Introduction, the thesis is based on the full corpus of Calas’ poetry (five
small collections, two volumes of collected poems, plus a few poems published only in
journals), on his six books of theory and criticism, and on numerous smaller texts published in
journals and exhibition programs. The thesis includes a list of Calas’ published works more
complete than any previously available. Some private letters and other material from his
personal archives have also been taken into account.
The first chapter examines Calas’ Greek poetry in relation to avant-garde movements of the
inter-war period — in particular expressionism, futurism and surrealism. The Marxist
influence in his poetry is the subject of the second chapter, while the third deals with intertextual
references, in particular to the “extreme” demoticism of Psycharis (of which Calas strongly
disapproves), to ancient Greek culture (which he knows intimately but refuses to fetishise), and
to his contemporaries and predecessors on the Greek literary scene, to whom he directs an
incisive and frequently negative commentary.
The fourth chapter examines Calas’ early critical and theoretical writings, up to 1938,
concentrating in particular on his treatment of Marxist themes, his critical attitude to the doyen
of Greek poetry at the time, Kostis Palamas, and his views on Cavafy — often regarded as the
founder of Greek modernism — and on Calas’ contemporary and fellow-Marxist, Ritsos. The
thesis proceeds in Chapter Five to discuss Marxist and Freudian elements in Calas’ treatment
of surrealism in his major French work Foyers d ’incendie (1938). The last two chapters
examine two major aspects of his American period: firstly his work as a theorist of and
apologist for surrealism, and finally his writings on art criticism.
The overall conclusion is that, even though the fact that he wrote comparatively little poetry in
the post-war period makes a detailed parallel study of his literary and critical development
impractical, there is indeed a close correspondence between theory and practice in Calas’ work
as a whole.
An important but little-known text, “Towards a third Surrealist Manifesto”, is presented in
Greek translation in Appendix I, while Appendix II offers a summary account of the Calas
Archive in the National Art Gallery in Copenhagen.
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Mulholland, Neil Charles. "Why is there only one Monopolies Commission? : British art and its critics in the late 1970s". Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/2532/.
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This thesis examines the British art world in the period 1976-1981. The first section explores the crises in the artworld triggered by the International Monetary Fund Crisis of February 1976. Central to this analysis is the Labour and Conservative Party's ideological shift from culturalist paternalism to monetarist liberalism, the history and function of the Arts Council of Great Britain, the press scandals surrounding the Tate Gallery's purchase of Carl Andre's Equivalent VIII and the ICA's exhibition of COUM Transmission's Prostitution. The opportunist populist polemics of the 'crisis critics' (Richard Cork, Andrew Brighton, Peter Fuller and John Tagg) are then introduced alongside a discussion of the colossal changes in the British art press. This is followed by an analysis of Cork's defence of Conrad Atkison's work and of the Royal Oak murals. The second section looks at the postmodernism rejected by Cork and the populist crisis critics, namely, the scripto-visual work of John Hilliard, Victor Burgin, and John Stezaker. The influence of photoconceptualism on community artists and feminist artists is then examined. This is followed by an analysis of Art & Language's critique of 'Semio-Art'. This section concludes with an analysis of the 'new art history' in relation to the practices of Jo Spence and Terry Atkinson. The following section looks at 'conservative'/populist postmodernism as outlined in exhibitions such as The Human Clay (1976), Towards Another Picture (1978), Lives (1979) and Narrative Painting (1979). This includes extensive discussion of the work of David Shepherd, Peter Blake, Ron Kitaj, David Hockney, Steven Campbell, Women's Painting (Images of Men), and The School of London (The Hard Won Image). The final section opens with a lengthy examination of the agitational performances of COUM Transmissions, investigating their decision to abandon the publicly subsidised artworld in order to become the industrial band Throbbing Gristle. This is followed by an examination of British pro-Situationism, punk and new wave subcultures in the 1970s, relating them to the growth of the entrepreneurial art market of the early 1980s.
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Halliday, Nigel Richard Vaux. "Craftsmanship and communication : a study of 'The Times' art critics in the 1920s, Arthur Clutton- Brock and Charles Marriott". Thesis, Courtauld Institute of Art (University of London), 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263352.
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Vujanovic, Dragana. "En kvinnas mansbilder : kontextualiseringar av Maria Fribergs konst". Thesis, Södertörn University College, The School of Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1577.
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The aim of this essay is to debate the narrow contextualization of the works of Swedish artist Maria Friberg, in which she is interpreted as a female, feminist artist engaged in masculinity studies. Art reviews and exhibition catalogues regarding a great part of Friberg’s work have formed the core body of information in this study, selecting the more recent works entitled Still lives (2003- ) as the main focus. These show a change in Friberg’s artistic expression.
Subjects concerning group belonging, identity and existential questions have always been present in Maria Friberg’s art, but they are more clearly expressed in her latest works. Art critics have acknowledged the change of motifs in Still lives as a negative development and have expressed disappointment in the absence of Friberg’s renown portrayals of men in business suits. This attire and the gendered motif man have ascribed Friberg to an agenda surrounding masculinity and feminism, leaving little room for other interpretations.
The subordinate aim of the study is to suggest alternative readings of Friberg’s art in general and of the Still lives-series in particular. The great majority of art critics are accentuating Friberg’s interest in men, overlooking reasons for her supposed fascination of them. This creates a need for further examination of the depths of Friberg’s photographs. Hence, the last chapter presents a theory of the artists’ use of men as carriers of non-gender related meanings in which the human being is a small part of the impressive machinery composed of nature, culture and the industrialised world which absolutely devours humans.
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Pettersson, Jenny. "Ett mediestrategiskt konstverk : En diskursanalytisk studie av den mediala uppmärksamheten kring Okänd, kvinna 2009 – 349701". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-380872.
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This thesis is an analysis of the media attention concerning the artist Anna Odell and her artwork Okänd, kvinna 2009 – 349701. The main materials I have used come from newspapers and articles where critics discuss Odell´s artwork in the period 2009 to 2015. The theoretical and methodological framework is based on Arthur C. Danto, George Dickie and Howard Beckers understanding of the art world and how artwork and artist receive their status. Another theoretical tool I have used is a discourse theory of Mara Lee. Lee helped me to understand the language and the relations between power and institutions. My aim with this thesis has been to understand how Okänd, kvinna 2009 – 349701 achieved its value and its transformation from a bad to a good evaluation. Why did Odell, in the beginning, get blamed for using tax money, tricking people in to believing that she was mentally ill resulting to the attention of the police, but in the end became an appreciated artist for this very same action? Odell was criticized for her behavior and was accused of stepping over a line for using art in a questionable way. A discussion started about the question of what art is. And what the purpose of art in society is. A few years later, in 2015, Odell was called one of the most interesting artists in Sweden by art critics when they wrote about Okänd, kvinna 2009 – 349701. What changed in the eyes of the critics? What is artistic quality and how can we understand the transformation that Odell´s artwork underwent? My analysis shows that esthetic quality depends on the situation and in ethics and morality. At the beginning the critics compared Okänd, kvinna 2009 – 349701 and the profession of psychiatry and in that comparison the psychiatry profession is more important than art. People attributed more confidence to a doctor than to a student of art regarding the truth about what happened at the psychiatric institution of St: Göran´s on the 21th of January 2009.
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Searles, Erikka Juliette. "Hype and Hypersexuality: Kara Walker, Her Work and Controversy". unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11302006-202954/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Susan Richmond, committee chair; Melinda Hartwig, Cheryl Goldsleger, committee members. Electronic text (56 p. : ill. (some col.)). Description based on contents viewed May 11, 2007. Includes bibliographical references (p. 47-49).
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Barnett, Maura. "The contemporary response to British art before Ruskin's "Modern painters" : an examination of exhibition reviews published in the British periodical press and the journalist art critics who penned them : from the late eighteenth century to 1843". Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/34732/.
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A particular literary genre, the exhibition review, forms the subject of this dissertation. It represents one facet of a discourse which began to develop in Britain during the latter years of the eighteenth century. Art historians have become increasingly interested in such criticism, but have usually treated it, not as an historical phenomenon which in itself deserves a full investigation, but as a pool of evidence from which to draw remarks concerning individual artists or works of art It is argued that such a one-dimensional approach is unsatisfactory, but that in attempting to go beyond it, the methodological problems posed by this primary source need to be considered. It is stressed that the building up of a basic corpus of knowledge is very important, and an inventory of identified critics is presented in order to assist this. Some observations on the careers of these critics are given. The exhibition reviews published in two contrasting periodicals, the Sun and The Examiner, form the subjects of case studies. The latter are known to have been penned by Robert Hunt and present no problems of attribution. The former are ascribed to John Taylor and the supporting evidence is put forward. The reviews are compared and it is shown how they differed according to their published contexts, and according to the idiosyncracies of their authors. It is suggested that in spite of these differences, a shared critical idiom was a strong force which led reviewers to make many similar comments. This idiom and the precedents which determined its nature are examined. The ways in which it at once harboured and yet disguised certain ideologies are demonstrated. Evidence which helps to place reviews into a more rounded picture of the past is given in conclusion, including statements which show that contemporaries perceived the press as an important influence on the development of taste.
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Mesquita, Tiago dos Santos. "Pintura e fotografia (Andy Warhol e Gerhard Richter)". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-16042018-084033/.
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Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960.From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.
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Triantafillou, Hariklia. "Investigating Professional Film Critics’ Stance towards Commercial and Art House Cinema: : A Corpus-Based Comparative Study on the Use of Evaluative Axiological Adjectives and Engagement Devices in Professional Film Reviews of Two Film Types". Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37765.
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Evaluative stances are common in narrative and realized at all levels of linguistic structure. In film reviews, evaluation has been recognized as one of the most important stages alongside description (Taboada, 2011). Following Martin & White’s Appraisal Theory of Evaluation, the present comparative study focuses on two sub-systems of Appraisal, namely Appreciation and Engagement. The purpose of this paper is two-fold: a) to compare the way in which film critics use evaluative, axiological adjectives to evaluate two different film types and b) to study how professional film critics use of two types of engagement devices, namely epistemic and opinion devices, to position their own claims towards other potential viewpoints. The study is also influenced by two previous claims: Holbrook’s claim that, in contrast to consumers who seem to prefer American-made, commercial films, expert critics usually appreciate complex cinematography and culturally diverse films; and Carretero’s claim that in professional film reviews opinion devices are an almost absent feature, since these tend to be replaced by epistemic devices. To further explore these claims, this comparative, corpus- based study focuses on the frequency of evaluation adjectives and engagement devices used by expert film critics for the positive or negative evaluation of two different films: the 2020 box office hit “Bad Boys for Life” and the 2018 art film “Cold War”. The study used a mixed-method design, first subjecting the realizations of Appreciation and Engagement to a quantitative analysis and following this with a qualitative discussion of results. The results indicate: a) that in the case of both films positive evaluations clearly surpass negative evaluations; however, individual examples seem to express a mildly deprecatory attitude towards commercial cinematography and b) that although the number of epistemic devices in the reviews clearly surpasses that of opinion devices, the frequencies of opinion devices is greater than that observed by Carretero.
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Puchyr, Donna Conklin. "The effectiveness of art criticism on pre-school children's art vocabulary". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1991.Source: Masters Abstracts International, Volume: 45-06, page: 2751. Abstract precedes thesis as [3] preliminary leaves. Typescript. Includes bibliographical references (leaves 39-45).
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Kim, Sunn Hyung. "Clairs-obscurs : ombre et lumiere dans la critique d’art de Denis Diderot et des autres « salonniers » du XVIIIe siecle (1746-1789)". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040244.
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Le « clair-obscur », tirant son origine du terme italien « chiaroscuro », est considéré comme l’un des plus importants éléments dans l’art et la littérature. En examinant dans les tableaux la lumière et les ombres, deux composants opposés, les peintres ainsi que les critiques d’art du XVIIe et du XVIIIe siècles font preuve d’un grand enthousiasme de dévoiler leurs secrets. L’instauration de l’Académie, le grand débat sur le colorisme et la naissance de la critique d’art en France sont des occasions particulières pour approfondir leurs études du clair-obscur.Parmi les critiques d’art du XVIIIe siècle, c’est Diderot qui souligne les effets du clair-obscur dans ses Salons. Par rapport à d’autres salonniers contemporains, seul Diderot philosophe-écrivain expose ses propres idées esthétiques concernant le clair-obscur et transmet ses effets poétiques aux lecteurs, en suscitant de fortes « émotions ». Cette originalité littéraire des Salons contribue donc à l’évolution de la critique d’art des siècles suivantsThe « clair-obscur », from the Italian term « chiaroscuro », is considered one of the most important elements in art and literature. By examining the two opposing components of light and shadow in paintings, the painters and art critics in the seventeenth and eighteenth centuries show great enthusiasm about revealing their secrets. The establishment of “Academy”, the great discussion on coloration and the birth of art criticism in France are special opportunities for further study of chiaroscuro.Among the art critics of the eighteenth century, it is Diderot who emphasizes the effects of chiaroscuro in his Salons. Compared with other contemporary « salonniers », only Diderot as a philosopher and writer, exposes his own aesthetic ideas regarding chiaroscuro and passes on the poetic effects of this to his readers, arousing strong « emotions ». This literary originality of the Salons contributes thus to the development of art criticism in the following centuries
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Vicente, Andreia Maria Farah. "A morte da pintura em questão : a obra de João Camara e Siron Franco nas decadas de 1960/1970". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284066.
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Orientador: Maria de Fatima Morethy CoutoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T11:45:58Z (GMT). No. of bitstreams: 1 Vicente_AndreiaMariaFarah_M.pdf: 19556829 bytes, checksum: 686cc2c66a287ef5728caa7f985b6a90 (MD5) Previous issue date: 2009
Resumo: Este trabalho analisa o processo de inserção no cenário artístico nacional dos artistas plásticos João Câmara e Siron Franco - que, através da linguagem da pintura oriunda da técnica em óleo sobre tela, se destacaram no cenário artístico nas décadas de 60 e 70, época em que se discutia intensamente - tanto no Brasil como no exterior - a crise do suporte artístico tradicional em detrimento das novas linguagens artísticas. Como fator importante neste processo, destacamos a criação de Salões competitivos em outras capitais do Brasil nos quais as obras desses dois artistas foram selecionadas ou premiadas. A representação da figura humana é o principal eixo condutor da trajetória das obras de João Câmara e Siron Franco, sendo o corpo espaço metafórico para reflexões sobre os problemas humanos, críticas à sociedade e/ou ao momento político em que o país se encontrava no período acima citado.
Abstract: This dissertation analyses the insertion of the artists João Câmara and Siron Franco - artists that through the language of painting build up from the technique oil painting over canvas have appeared into the artistic scenario in the decades of 1960 and 1970. In this time it was discussed - in Brazil and abroad - the crisis of the traditional artistic support, taking only in consideration the new artistic languages. As an important factor of this process we point out the creation of competitive Art Salons in others main cities of Brazil, in which the works of those two artists were selected and won thefirst prizes. The representation of the human figure is the main axis of the trajectory of the works of João Câmara and Siron Franco, taking into account that the body is the metaphorical space for the reflections upon human problems, critics to the society and/or, to the political moment of the country related to the aforementioned decades.
Mestrado
Artes
Mestre em Artes
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Haddad, Ziyad Salem. "The Jordanian contemporary art criticism : a methodological analysis of critical practices /". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487588939088645.
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Goguadze, Tamar. "A critical study of modern Orthodox scholarly criticism of western art". Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11557/.
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The present work seeks to explore the modern Orthodox Christian view of western art with a particular reference to western painting since the times of the Italian Renaissance to the present day. The fact that the phenomenon of western art is relatively new appears as a main challenge while attempting to examine the validity of modern views expressed in the name of the Orthodox tradition by references from patristic sources. Therefore the method of this thesis is to divide the concept of western art into its constituent components and find the patristic responses to each of them in the light of the Fathers’ appreciation of their contemporary art, literature and philosophy outside the church. As an interdisciplinary exploration of artistic creativity this work has its goal throughout to trace the positive aspects presented by the masterpieces of western art that can aid the Christian process of theosis as well as enhance the Orthodox theological contribution to the ecumenical dialogue between the East and West on the grounds of common aspects manifested in the phenomenon of human creativity. Drawing on categories of western aesthetics as well as Orthodox theology, this work is particularly interested in the nature of Orthodox arguments for and against artistic creativity per se and their relationship to the ‘Patristic mind’ of the Church rather than seeking the direct quotations of the Fathers over the subject in vain. The historical background of the modern disagreement over the issue will be taken into special consideration. Focusing on western art from an Orthodox perspective is fundamentally at odds with many conservative expectations of human creativity that are usually associated with iconography and liturgical art in Orthodox theology. Yet, the number and quality of works dedicated to explorations of iconography provides a sufficient material for enlightening both Orthodox and western readers on the mystical power of spiritual illumination generating from Orthodox icons as well as its artistic and historical analyses. The topic of this work – art outside the liturgical boundaries of the church –has been deliberately chosen. The central argument of this work is that human creativity in general has a divine origin since it has been inherited from the creative energy of God. The power of artistic influence cannot be doubted especially in a modern society that subconsciously seeks a liberation from the custody of the machinery of technical civilization. Therefore, the search for true and authentic goodness in sincere artistic manifestations of beauty and truth can find an important place in the Orthodox Christian consciousness without a need for its inclusion in worship. If taken seriously great masterpieces of western art offer an immense contribution to the theological study of spiritual senses and their relationship to the process of theosis.
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Jones, Rita A. "Developing High School Students' Ability to Write about their Art through the Use of Art Criticism Practices in Sketchbooks: A Case Study". Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213056907.
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Schappelle, Laura Scott. "Art criticism through storytelling". College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3587.
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Thesis (M.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Dept. of Curriculum and Instruction. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Sweet, David. "Michael Fried's art criticism". Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397731.
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Yoshida, Hisayo. "A Cross Cultural Analysis of Japanese Art Critical Writings and American Art Critical Writings". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408539349.
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Baldini, Andrea. "Public Art: A Critical Approach". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/240857.
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PhilosophyPh.D.
In this dissertation, I provide a philosophical analysis of public art. I focus on its "publicness," and draw implications at the level of public art's ontology, appreciation, and value. I uphold the view that an artwork is public when received within a public sphere rather than within artworld institutions. I further argue that, as a consequence of the peculiar nature of its reception, public art possesses an essential value that is distinctively non-aesthetic: to promote political participation and to encourage tolerance. By examining how public art and its value(s) relate to the public domain in the context of pluralistic democracies, this dissertation also contributes to a fuller understanding of an important aspect of our social world. Chapter 1 introduces the scope and nature of the dissertation and emphasizes few important caveats. Chapter 2 develops a general characterization of public art's "publicness." It argues that what makes an artwork public is the context within which it is received: public artworks are received within a public sphere, that is, the public-art sphere, rather than within artworld institutions. Chapter 3 expands the account of the public-art sphere as developed in Chapter 2, and argues that public artworks address a multiplicity of publics and are received within a multiplicity of public-art spheres. Chapter 4 offers a sustained account of the pluralistic logic by means of which participants evaluate opinions expressed in discussions within public-art sphere. Chapter 5 explores the role that emotional reactions play in public-art spheres. It argues that warranted emotional reactions can function as premises of arguments proposed in public-art spheres. Chapter 6 discusses the ontology of public artworks. It suggests that some of the real properties that a public artwork has are a function of some features of the public-art sphere within which that artwork is received. Chapter 7 explains the value of public art. It holds that public art's value is a function of its capacity to promote political participation and to encourage tolerance.
Temple University--Theses
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Charlesworth, J. J. "Art criticism : the mediation of art in Britain 1968-76". Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1803/.
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This thesis studies the changes in the nature of critical writing on contemporary art, in the context of the British art world across a period from 1968 to around 1976. It examines the major shifts in the relationship between the artistic production of the period and the forms of writing that addressed it, through those publications that sought to articulate a public discourse on art in a period where divergent accounts regarding the criteria of artistic value, and the terms of critical discourse, came increasingly into conflict. This thesis takes as its main subject a number of publication venues for art-critical writing of the time, and their responses to the rapidly changing scene of artistic production. It examines the forms of writing that attended emerging artistic practice and the theoretical and critical assumptions on which that writing depended, highlighting those moments where critical discourse was provoked to reflect self-consciously of the relation between discourse and artistic practice. By tracing the repercussions of the cultural and political revolts of the late 1960s, it examines how the orthodoxies of art criticism came to be challenged, in the first instance, by the growing influence of radical artistic practices which incorporated a discursive function, and by leftist social critiques of art. It explores how, in the first half of the 1970s, radical and political artistic practice was promoted by a number of young critics, and sanctioned by its presentation in public art venues. Examining the history of magazines such as Studio International and a number of smaller specialist and non-specialist magazines such as the feminist Spare Rib and the left-wing independent press, it attends to how debates over the cultural and social agency of art began to draw on continental theoretical influences that put into greater question the role of subjective experience and the nature of the human subject. It examines how this shift in the relation between practice and discourse manifested itself in the editorial and critical attitudes of publications both from within the field of artistic culture, and from a wider context of publications embedded in the radical political and social currents of the early 1970s. It gives particular attention to the careers of a number of prominent critics, while situating the later reaction against alternative artistic practices in the context of the politically conservative turn of the end of the decade.
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Bowman, Matthew. "October and the expanded field of art and art criticism". Thesis, University of Essex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540093.
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Black, Christen Anne. "(Re)presenting Art Therapy: A Critical Conversation With Art Education". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306962321.
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Golden, James Michael. "Roger Fry as a Protestant art critic". Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19435/.
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This thesis argues that Roger Fry should, in part at least, be placed within a tradition of British, Protestant, art criticism. To this end I compare his work with that of the leading nineteenth-century British art critic John Ruskin. I discuss the problems both men had in engaging with a predominately Catholic art form, and place their work within a wider British tradition. I consider their personal histories and how they gave a similar interpretation of art history. I explore the work of both men on Venetian art and artists with particular references to Ruskin’s The Stones of Venice and Fry’s writings on Bellini and Giotto. I examine how Fry sought to distance artworks from the culture that produced them and how this affected his view on art history. I compare Fry’s aesthetic ideas with the Theocentric theory of art advanced by Ruskin in the second volume of Modern Painters. Here I compare their respective formalist ideas. I discuss how Fry’s formalism led him to reject Impressionism and champion the Post-Impressionists. I examine the controversy surrounding the 1910 and 1912 Post-Impressionist exhibitions and how they raised the question of the moral value and use of art. I end with a discussion of Ruskin’s concept of the Theoretic faculty and contend that Fry held a similar concept. Overall I argue for the presence of continuity between Fry’s early and later ideas on art criticism and history that can partly be explained by his religious background.
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Allison, Amanda. "Critical Theory and Preservice Art Education: One Art Teacher Educator's Journey of Equipping Art Teachers for Inclusion". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6139/.
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This qualitative action research study examines how critical theory defined and guided my practice as an art teacher educator while I provided inclusion training for seven preservice art teachers during their student teaching. Sources of data included a personal journal, the inclusion curriculum I created for the preservice teachers and questionnaires and interviews. Primary findings indicated that critical theory had a substantive impact on the evolving development of my teaching philosophy, in particular my attention to issues of power redistribution in the classroom and my developing notion of teaching as form of artistry. The findings of this study also indicate that the primary impact of critical theory upon the preservice teachers was the articulation of their personal narratives and its relation to the development of their teaching identities. Further, mentoring these preservice art teachers in critical theory increased their competence in solving educational dilemmas. A primary finding of this study was how significant of a role the supervising or mentor teacher plays in developing preservice teachers' identity. As this is acknowledged, valued and utilized, more collaborative relationships among these stakeholders in the education of the preservice art teacher can be forged. The study provides implications for art teacher educators as they provide inclusion training to preservice teachers. These include honoring narratives, articulating a broader notion of inclusion, and using context-specific instructional tools while preservice teachers are completing fieldwork with students with disabilities. One suggestion for future research is to conduct longitudinal studies which explore and validate the impact of critical theory upon art teacher educators and preservice art teachers during the student teaching semester and several years beyond.
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Scott, Helen. "Putting the 'critical' into critical studies in art education". Thesis, Manchester Metropolitan University, 2014. http://e-space.mmu.ac.uk/580123/.
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This study aims to examine critical studies in secondary art and design education; to question its teaching practices, content and purposes, with a view to proposing how these elements might work more critically. A broadly qualitative methodology is adopted, that draws on elements of a number of approaches including action research, interpretivism and naturalistic enquiry that claim to enable understanding of practice from practitioners’ points of view. The study is indebted to Bourdieu’s work; his concepts, including habitus, capital and field are used as ‘tools to think with’ enabling the possibility of opening up practice, of getting beneath taken for granted ways of acting and to “strain” interpretation of students’ views. Adopting a Bourdieuian frame also encouraged reflexivity throughout the study. The study initially uses questionnaires to explore a number of personal, initial “hunches” that have been acquired from my own experiences of students destined to become art and design teachers. Additionally, semi-structured interviews were undertaken with student teachers; from these emerged the phenomena of an “in-between” position. The study goes on to argue that this position, where identity is in a state of flux may enable more critical interventions or enactments in art and design education. The study concludes by suggesting that although art and design education occurs within locations of constraints and structures, nevertheless, those involved in initial teacher education in art and design – including students, school mentors and university tutors - are all differently, but importantly placed to make critical studies teaching more critical.
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Allison, Amanda Bain Christina Bittel. "Critical theory and preservice art education one art teacher educator's journey of equipping art teachers for inclusion /". [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-6139.
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Cook, Victoria Hyne y Victoria Hyne Cook. "Autoethnographic Art; Transformative Explorations of Self within a University Art Classroom". Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626321.
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Through this research study my aim was to critically examine the ways in which multimodal, autoethnographic art can enhance and expand educational experiences in general education art classrooms. The study investigates how participants’ perceptions of self and others within culture transform over a semester-long qualitative arts-based study. The study’s goal was to uncover teaching and learning strategies that help to disrupt traditional academic boundaries using autoethnography to create an engaged, cooperative university classroom environment.
The participants for this study included 77 students in a general education art and culture course and myself as the co-teacher and researcher. Autoethnographic data were collected throughout the course in the forms of art research journals, pre-and post course questionnaires, researcher field notes, recorded class discussions, on-line discussion boards, notes from one-on-one student/researcher communications and field notes from participants’ final multimodal, autoethnographic art pieces and presentations. The methods used for the study were a modified version of arts-based and grounded theoretical research models. A heavy emphasis was placed on the participants art-making and sharing their work with others in the study. The findings from the study indicated most of, many of participants experienced advancement in their understanding of self within culture and developments of new insights into the experiences and perceptions of others in the study.
Results from the study confirm a steady growth in participant engagement and development of cooperative class environment throughout the semester. This study contributes to existing scholarship on the generation of new knowledge from arts-based research models, multimodal autoethnograpy as method, teacher/student relationships in academia, and risk-taking in teacher professional development.
The findings from the study might provide support and encouragement for meaningful discussions about the significance of exploring self through art making and art sharing in academic settings. By highlighting the achievements of the use of autoethnography as a method of inquiry, this study will add to the larger discussion of teacher and student identity in art education classrooms.
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Finch, James. "The art criticism of David Sylvester". Thesis, University of Kent, 2016. https://kar.kent.ac.uk/60419/.
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The English art critic and curator David Sylvester (1924-2001) played a significant role in the formation of taste in Britain during the second half of the twentieth century. Through his writing, curating and other work Sylvester did much to shape the reputations of, and discourse around, important twentieth century artists including Francis Bacon, Alberto Giacometti, Henry Moore and René Magritte. At the same time his career is of significant sociohistorical interest. On a personal level it shows how a schoolboy expelled at the age of fifteen with no qualifications went on to become a CBE, a Commandeur dans l'Ordre des Arts et des Lettres and the first critic to receive a Leone d'Oro at the Venice Biennale, assembling a personal collection of artworks worth millions of pounds in the process. In terms of the history of post-war art more broadly, meanwhile, Sylvester's criticism provides a way of understanding developments in British art and its relation to those in Paris and New York during the 1950s and 1960s. This thesis provides the first survey of Sylvester's entire output as an art critic across different media and genres, and makes a case for him as a commentator of comparable significance to Roger Fry, Herbert Read, and other British critics who have already received significant scholarly attention. I take a twofold approach, analysing both the quality of Sylvester's writing and criticism, and its function as a catalyst for furthering the careers of artists and instigating significant exhibitions. Common to all of these strands is Sylvester's distinctive critical sensibility, which placed an emphasis on his own aesthetic experiences and how they could be articulated through criticism.
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Willis-Fisher, Linda Salome Richard A. "A survey of the inclusion of aesthetics, art criticism, art history, and art production in art teacher preparation programs". Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203045.
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Thesis (Ed. D.)--Illinois State University, 1991.Title from title page screen, viewed December 21, 2005. Dissertation Committee: Richard A. Salome (chair), Jack Hobbs, Noreen Michael, Marilyn P. Newby, Fred A. Taylor. Includes bibliographical references (leaves 112-115) and abstract. Also available in print.
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Carroll, Tony. "Educating the critical mind in art : practice-based research into teaching critical studies in A level art". Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393251.
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I researched an area of the curriculum called 'the critical and historical study', a part of the Advanced level art syllabus in which I felt improvements could be made in my teaching. An investigation of the relationship between my teaching and students' responses was carried out as part of reviewing and improving the critical study unit of coursework. Curriculum changes made between 1997-1999, intended to provide students with different ways of making practical responses to other people's art and a range of methods for interpreting the meanings of art were studied using action research methods to capture the dynamic of changes in practice and in my thinking. Changes were also being made more broadly at a structural level through post sixteen educational policy reforms. I wanted to situate my practice in the contextual dimensions of A level art and describe my involvement in writing a new syllabus for the subject during this period of reform. I also wanted to understand better concepts of critical studies in art education historically in their policy contexts. Undertaking curriculum policy analysis helped me to make sense of the latest period of change and explore curriculum divisions within the subject such as the 'uneasy relationship' between art history and studio practice. A relationship whose unease intensified in the mid 19805 and coincided with my career entry into the teaching profession. I turned my attention to the emergence of critical studies over the last forty years, and considered how that impacted on my teaching in the last fifteen years. I traced different conceptions of critical studies to unravel the value positions of its promoters in order to understand and to locate my own position in the development of the discipline. In combination, these interests gave my research a multiple focus and required complex methodologicaJ approaches in order to make sense of critical studies in art education through my classroom practice and students' experiences, curriculum policy histories, art education literature and autobiographical life history.
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Grey, Anne C. "The collector as arbiter of art a phenomenological investigation of collectors' critical judgment development and their understanding of art toward a theoretical model for appreciation and criticism in art education". Doctoral diss., University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4770.
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The purpose of this study was to investigate art collectors' specific method of developing and making critical judgments in the context of their understanding of art. Phenomenological research methods were employed to obtain data through interviews with collectors of Contemporary African American art, Latin American art, and Minimalist and Conceptual art. Based on the findings, collectors' approaches to critical judgment can be categorized into three areas. First, critical skills are both intuitive and developed over time, through a holistic and aesthetic process set in the art world. Collectors' edification requires commitment, and intense looking enabling them to see how works of art communicate. Second, key events that marked collectors' methodological approaches were connections with artists and art, notable purchases, and exhibitions of their collection. These events resulted from an integration of the collectors' identification with the art work, manifested over time in various forms. Finally, those objects that best reflected collectors' specific development of critical judgment and understanding of art were noted either by specific artists in their collection or the collection as a whole, functioning as vital aspects of the collectors' life and at the same time contributing to culture and society in its capacity to cause conversations. There is an opportunity to apply the information from collectors' processes as an educational model for teaching and learning about appreciation and criticism in art education by thinking about art collections more broadly, as another way to look at life and the art in life.ID: 030646186; System requirements: World Wide Web browser and PDF reader. Additional requirements include Windows Media Player or QuickTime Player.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2011.; Includes bibliographical references (p. 256-268).; Text (PDF), images and video.
Ph.D.
Doctorate
Educational Research, Technology, and Leadership
Education
Education
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Beach, Glenell McKinnon. "An Examination of Factors Contributing to Critical Thinking and Student Interest in an On-line College-level Art Criticism Course". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc4005/.
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This qualitative case study research examined how constructivist problem-based learning facilitated higher level thinking, increased interest in art, and affected attitude toward on-line courses in an undergraduate philosophical aesthetics and interpretation of art criticism course. The research conducted for this study suggests that constructivist problem-based learning does facilitate higher level thinking and increases student interest in art and in on-line classes. Active learning assignments, along with the constructivist collaborative class atmosphere, encouraged students to think more deeply about their personal values concerning art and to consider alternative views. Problem-based learning in this class acted as a scaffold to aid in understanding the material and then in applying the material to unique and real-life situations. Each subject came to the course with certain thinking skills and left with increased knowledge about art but also with increased critical thinking skills for critically examining and discussing art. Participants completed the course with more confidence in their critical thinking ability and in dealing with visual art images. Data was gathered from seven study participants in the form of highly-structured interviews, an early and final critical writing analysis, a major problem assignment and its reflection journal, a beginning survey, and two final surveys. The final major problem involved an individual proposal followed by a collaborative group proposal. Group collaboration constituted the most frustration and problem within the constructivist design of the class. This research took a relativistic viewpoint in gathering data and interpreting meaning.
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Matvienko-Sikar, Paula Ann. "Cutting'aesthetic teeth' : Flannery O'Connor's habit of art". reponame:Repositório Institucional da UFSC, 1993. https://repositorio.ufsc.br/xmlui/handle/123456789/157800.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T18:15:41Z (GMT). No. of bitstreams: 1 95704.pdf: 2354607 bytes, checksum: 34a186b061e876fad881aeb705ee8e84 (MD5) Previous issue date: 1993
Este trabalho foi sugerido pela afirmação de Flannery O'Connor que sua "dedicação estética" nasceu através do contato com Art and Scholasticism de Jacques Maritain. O propósito foi chegar a uma interpretação do sentido da frase. Uma investigação detalhada foi feita do conteúdo de Art and Scholasticism, posteriormente contrastada com os resultados de uma pesquisa feita em seus ensaios e suas cartas, o que revelou numerosos ecos de diversos trechos constando no texto de Maritain. Três pontos principais foram escolhidos como critérios na análise do hábito artístico de O'Connor: 1) a prática de arte implica uma luta; 2) a arte somente pode ser percebida pelos sentidos; e 3) a prática de arte exige do artista a dedicação indivisa à obra nascente. O estudo conclui que, para O'Connor, o brotar da dentição estética, através da leitura de Art and Scholasticism, significou que, ao perceber na análise da natureza da arte algo com que podia concordar, ela reconheceu tanto sua própria capacidade de tornar-se uma artista literária, quanto sua vontade de assumir a tarefa de desenvolver em sua pessoa o hábito de arte.
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Nafziger-Leis, Cheryl. "Art, even after Auschwitz, Adorno's critical theory of art, religion and ideology". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ28025.pdf.
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Clark, Toby. "Representations of Russian Art in American Art History and Criticism 1917-1939". Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522624.
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This dissertation examines the critical reception and historical construction of Russian art in the United States between 1917 and 1939. The study focuses on two main types of Russian art; that of the Russian avant-garde, and that of artists who emigrated to the United States and achieved a high level of critical visibility and commercial success there during the 1920s. The discussion of the Russian emigre artists concentrates on the treatment of their work in the American curatorial system and art market. It examines the critical strategies used to promote these artists, particularly in the writings of Christian Brinton, who formulated a new category termed 'Slavic art' which relied on theories of racial essentialism. The subsequent decline of the careers of the emigre artists can be explained partly by reference to the reorientation in American critical values after the early 1930s. Research on the interpretation of the Russian and Soviet avantgarde in the United States is focussed on two main Modernist institutions; the Societe Anonyme during the 1920s and the Museum of Modern Art in New York after 1929. The Societe Anonyme's management of its large collection of Russian avant-garde art is discussed in relation to the contrasting aesthetic perspectives and political alignments of Katherine Dreier and Louis Lozowick, and compared with alternative interpretations in western Europe. The study of the representation of the Russian avant-garde by the Museum of Modern Art is concentrated on the writings of Alfred Barr and his critical theory of Modernism. Barr's account of the history of Russian Constructivism and Soviet cultural policies in 1936 is seen to have performed an important function for establishing an ideological position for the ascending discourses of American Modernism in opposition to the competing positions of conservative anti-Modernism and left-wing aesthetics.
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Morozova, Ekaterina. "American art criticism and the crisis of art history writing : 1962-1967". Thesis, Open University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413811.
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Estrada-Berg, Victoria. "Art Criticism and the Gendering of Lee Bontecou's Art, ca. 1959 - 1964". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5587/.
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This thesis identifies and analyzes gendering in the art writing devoted to Lee Bontecou's metal and canvas sculptures made from the 1959 - 1964. Through a careful reading of reviews and articles written about Bontecou's constructions, this thesis reconstructs the context of the art world in the United States at mid-century and investigates how cultural expectations regarding gender directed the reception of Bontecou's art, beginning in 1959 and continuing through mid-1960s. Incorporating a description of the contemporaneous cultural context with description of the constructions and an analysis of examples of primary writing, the thesis chronologically follows the evolution of a tendency in art writing to associate gender-specific motivation and interpretation to one recurring feature of Bontecou's works.
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Kelly, Shelly. "Not so/visual art". Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35925/8/Shelly%20Kelly%20Thesis.pdf.
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Vision and language provide closure to a work and no reinstatement for the artwork's future. Vision and language make the investigative process seem replete; therefore other possibilities are not pursued. Subsequently, there is a need to investigate the
perceptual and interpretative process as currently this is dominated by the visual and communicated through language. An examination of this, will show that a gap exists between our perception and our interpretation of an artwork. This gap is dependent on spatial and temporal conditions as the determining factors in our interpretative relationship with artwork. Examining and altering these conditions will lead to a fresh approach in our relationship with art. The qualities of these conditions are inseparable from the way we constitute space, in other words, what we know is inseparable from what we do. Therefore to change our directness in our application of perceiving will inevitably change what we know of an accepted process. Looking at ways of extending this gap between perception and interpretation will empower the space in this gap, and enable meaning to be dislocated and dispersed. This will be achieved by embracing a more experiential approach and allowing the artwork to sustain a more heterogeneous field.
The aim of this thesis is to demonstrate alternative possibilities in approaching and interpreting a work of art by shifting conditional limitations.
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Murphy, Olivia. "Jane Austen's critical art of the novel". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547781.
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Stuart, Joy. "A modal measure of art critical development". Thesis, De Montfort University, 1997. http://hdl.handle.net/2086/10691.
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The study addressed the problem of the provision of objective measures for the arts, in order to provide information for national testing in art education. This involved the revision and testing of a developmental matrix and measure of art critical abilities, that had been devised in previous studies (Hickey, 1975; Stuart, 1989). The matrix was revised to project three operational levels of development for critical abilities, that were derived from projecting key concepts through four phases of a critical or cognitive strategy. Key concepts were projected for three art functions and contextual enquiry. The modal measure was revised to provide criteria for projecting and assessing three operational levels of development for each ability. A descriptive multi-disciplinary research strategy was used to test the objectivity of the projected matrix and measure. The testing was undertaken with thirty-one case studies derived fromjunior, middle and upper schools. The data was collected from children aged seven to eighteen years of age with three operational measuring instruments to test operational levels, reasoning and vocabulary. The objectivity of the matrix was indicated by a correspondence between Piagetian operational levels and modal reasoning for three levels of development. The objectivity of 2 the modal measure was indicated by a triangulation of operational, modal and vocabulary scores. The findings confirmed the previous testing in that the modal measure of the operational level of explanations provided an objective measure of art critical development. However, differences in the level of vocabulary and reasoning could account for a partial correspondence with concrete operational levels of development. The findings contribute to knowledge about the development of inter-disciplinary measures of the cognitive style of strategy evaluation. The information would be relevant for co-ordinating national testing in different subject areas, and for art education in particular.
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Carpenter, Kenneth Erwin. "A veritable psychology : Walter Pater's art criticism". Thesis, Birkbeck (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323598.
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