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1
Mackenzie, Jewel, and n/a. "The Fabric of Art: Investigating the Relationships of Power Between Fabric & Fine Art Through Frank Stella's 'Black Paintings' (1958-1960)." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060802.144424.
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There are two inter-related parts to the hypothesis explored in this research. The first is that it is significant to employ fabric as a medium in a fine art context, and the second aspect argues that female artists who choose fabric as their medium should be recognised as 'artists' rather than as crafts practitioners. I propose that in choosing fabric as a medium and sewing as my method of making art, I am working within the framework of contemporary fine art practice. In his essay 'To Cut is to Think' Germano Celant succinctly described the 'cut' made by artists who choose cutting as their process: The cut of the scissor is like the click of a camera or the whirr of a movie camera, like a stroke of the pencil or paintbrush: all these acts decisively isolate a form or representation, marking a surface that generates a reality. The cut puts an end to the traditional representation of the image, dissolving it and then restoring it as a testimony to the artist's vision and understanding. In this light, the cut confers meaning, and its use unites artists, photographers, designers and tailors, who cut their visions from the magma of their materials, whether these be colour or bronze, fabric or film, metal or wool, wood or canvas (1996, p. 31). My own use of the cut, as the bespoke tailor, reinterpreted fabric as paint and utilized pinstriped fabric as a visual metaphor for relationships of power, pink satin as a symbol of the female inclusion and Frank Stella's Black Paintings as a tool to position my work. Therefore, I would claim that I am working towards a conceptual repositioning of fabric as a medium in fine art.
2
Mackenzie, Jewel. "The Fabric of Art: Investigating the Relationships of Power Between Fabric & Fine Art Through Frank Stella's 'Black Paintings' (1958-1960)." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365967.
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There are two inter-related parts to the hypothesis explored in this research. The first is that it is significant to employ fabric as a medium in a fine art context, and the second aspect argues that female artists who choose fabric as their medium should be recognised as 'artists' rather than as crafts practitioners. I propose that in choosing fabric as a medium and sewing as my method of making art, I am working within the framework of contemporary fine art practice. In his essay 'To Cut is to Think' Germano Celant succinctly described the 'cut' made by artists who choose cutting as their process: The cut of the scissor is like the click of a camera or the whirr of a movie camera, like a stroke of the pencil or paintbrush: all these acts decisively isolate a form or representation, marking a surface that generates a reality. The cut puts an end to the traditional representation of the image, dissolving it and then restoring it as a testimony to the artist's vision and understanding. In this light, the cut confers meaning, and its use unites artists, photographers, designers and tailors, who cut their visions from the magma of their materials, whether these be colour or bronze, fabric or film, metal or wool, wood or canvas (1996, p. 31). My own use of the cut, as the bespoke tailor, reinterpreted fabric as paint and utilized pinstriped fabric as a visual metaphor for relationships of power, pink satin as a symbol of the female inclusion and Frank Stella's Black Paintings as a tool to position my work. Therefore, I would claim that I am working towards a conceptual repositioning of fabric as a medium in fine art.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Full Text
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Howell, Amy Beth. "Line, Space and Plane." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1259177315.
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Simmons, Kathryn Elizabeth. "Textiles in Rural Bolivia: Where Does the Art of Traditional Textile Making Fit Into Today's World?" University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1418306303.
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Palomino, Angelica Maria. "Fabric formation and control in fine-grained materials." Diss., Available online, Georgia Institute of Technology, 2004:, 2003. http://etd.gatech.edu/theses/available/etd-06072004-131309/unrestricted/palomino%5Fangelica%5Fm%5F200405%5Fphd.pdf.
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Thesis (Ph. D.)--School of Civil and Environmental Engineering, Georgia Institute of Technology, 2004. Directed by J. Carlos Santamarina.<br>Vita. Includes bibliographical references (leaves 183-192).
6
Leung, Yin-ling Carol. "Academy of fine arts." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944873.
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Strain, Megan A. "Fabric sculpture and the Manitoba art curriculum." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31122.
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The purpose of this studio based thesis is to discover what potential fabrics could offer as a sculptural medium and to examine whether fabric sculpture could be incorporated into the Manitoba Secondary School Art Curriculum.
As an Art teacher, I am aware of the demands that the current art curriculum dictates, and the problems and concerns that art teachers face in trying to adhere to its standards. By reviewing the historical development of Manitoba art curricula and highlighting the major developments that have occurred, one can put the current guide into perspective.
Contemplating the role that fabrics have played as historical and cultural artifacts gives us a better sense of how fabrics have been developed to meet the specific requirements that we as human beings have demanded of them.
The sculptures that were produced for this study attempt to address the principal objectives of the current art curriculum and explore ideas and topics that reflect personal interests. I have endeavoured to create sculptures that not only stand as pieces of art, but which will also serve as examples to show art teachers how different fabrics and techniques can be used in senior high art classrooms.
To support my thesis that fabric sculpture should be included in our art programmes, I have provided short reviews on sculptors who have worked with fabrics. Wherever possible I have tried to indicate how my students have reacted to this work, and where information concerning these artists may be obtained.
I have included a sample unit that already exists in the current curriculum and discuss how fabric sculpture could be introduced though this unit.
The recommendations that conclude this report suggest ways to encourage the teaching of sculpture and the introduction of fabric sculpture into the Manitoba Secondary School Art Curriculum.<br>Education, Faculty of<br>Graduate
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Cosovic, Daniela. "FABRIC ARCHITECTURE: BODY IN MOTION." Master's thesis, Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002606.
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King, Abigail Graham. "Community Art as an Interdisciplinary Challenge to Fine Art." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1123084206.
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Findlay, Judith. "Fine art as performance : a definition of the discipline (a study of the fine art world in the art school)." Thesis, University of Strathclyde, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366768.
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Morris, Simon David Chester. "Bibliomania and related fine art practice." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434240.
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Strickland, Cynthia A. "Yin Xiuzhen mapping the fabric of life /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1242063144.
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Mitchell, David Malcolm. "Fine table linen in England, 1450-1750 : the supply, ownership and use of a luxury commodity." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/10043021/.
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From the fourteenth century, diaper napery with small geometric patterns was imported from the Low Countries. Towards 1450, the drawloom was adapted in Flanders to weave white linen damasks with figurative patterns. These were expensive and initially covered the tables of the great. During the seventeenth century, new centres of manufacture in Germany provided cheaper figured table linens which were increasingly bought by the 'middling sort'. Dining was always more than the simple provision of sustenance whether for a king publicly 'to glase his glorie' or a merchant privately 'for love or business'. Dining ceremony which responded to these different purposes and to changing concepts of hospitality and civility, generated the furniture of the dining chamber and in turn the supplies of napery. This thesis examines the changing requirements for table linens using courtesy and household books in conjunction with a data set of some one thousand inventories. The patterns of importation by both English and stranger merchants are drawn from the London port books. Responses to the military situation on the continent and customs rates at home are considered, together with the degree to which a fashionable luxury commodity determined the trading strategies of individual merchants. The distribution of table linen is appraised including the dominant role of London linen drapers. This is followed by an evaluation of its changing ownership and the effect of differential rates of inflation of various household goods upon consumer preferences. The results are set within the context of the discussion of conspicuous consumption both by contemporary commentators such as William Harrison and the modem protagonists in the debate on the 'consumer revolution'. By linking pattern descriptions in inventories with surviving linens, the range of damasks sold in England is delineated and the influence of religious and political attitudes upon subject and design explored.
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Lang, Martin. "Militant art." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50237/.
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This thesis is an analysis of ‘militant art’ – a type of art activism that is prepared to break the law, use violence against people (including the artists themselves), property, or incite others to do the same, in order to realise a cause. This thesis considers militant art as a continuation of the expanded field of relational aesthetics fused with a renewed interest in 20th century avant-garde art practices and the organisational structure, politics and tactics of the Global Justice Movement – which I conceptualise as a direct response to a lingering post-political spectacular malaise. Although there has been a surge of recent writing about Socially Engaged Participatory Art practices and, to a lesser extent, art activism, the more militant forms are still under-researched. The thesis is divided into two parts: the first is an art historical, theoretical and political analysis; the second uses qualitative research methods to verify and interrogate claims made in the first. A series of ten interviews with contemporary artists (and collectives) and an ethnographical study provide new data on militant art, which are analysed fully in a dedicated chapter. The findings give us insight into the militant artists’ psychology, motivations and tactics providing a description, analysis and definition of hitherto overlooked contemporary practices.
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Leung, Yin-ling Carol, and 梁燕玲. "Academy of fine arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31982062.
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TEIXEIRA, GUILHERME NOBREGA. "PATTERN RECOGNITION APPLIED IN FINE ART AUTHENTICATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=2912@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>Assinaturas e caligrafias foram utilizadas durante décadas
como uma marca característica de cada indivíduo. Por trás
dos métodos utilizados para reconhecer estas
caracterísitcas está o fato que toda pessoa possui seu
próprio jeito de mover a mão enquanto escreve. Sendo assim
é razoável pensar que cada pintor tem uma maneira própria
de atacar a tela de pintura com o seu pincel, deixando
assim um padrão pessoal de acidentes geométricos, que
poderiam ser utilizados para identificá-lo.A partir desse
principio surge a idéia de aplicar visão computacional para
reconhecer padrões específicos de cada pintor que poderiam
ser utilizados no processo de autenticar quadros de arte.
A dissertação aqui descrita apresenta os resultados de uma
pesquisa que objetiva o desenvolvimento de um método para
definir a autenticidade de quadros de arte. Um novo
procedimento para segmentação de pinceladas em um quadro
juntamente com uma nova técnica de medição de textura para
capturar as assinaturas nas pinceladas é proposto. Além
disso, o trabalho investiga a utilização de métodos não-
paramétricos de classificação, para discriminar entre
potenciais pintores. O método proposto é avaliado com um
conjunto de experimentos cujo objetivo é discriminar entre
dois pintores brasileiros muito conhecidos: Portinari e
Bianco.<br>Signatures and hand writings were used during decades as a
unique characteristic to recognize an individual. Methods
to recognize these characteristics were base don the fact
that each individual has an unique way to move his hand
while writing. Taking that into account, it is reasonable
to think that each painter has an unique way to strike the
painting board with his stroke, leaving a distinguishing
personal pattern, that can be used to identify him.
From this principle comes the idea to apply computer vision
to recognize specific patterns that could be used in the
process of authentication of fine art paintings.This work
shows the results of a research where the main purpose is
to develop a methodology to find the authenticity of fine
art paintings. A new segmentation process of strokes of a
painting allied to a new technique of texture measure to get
the implicit signatures in the strokes is proposed. Beyond
that, this work investigates non-parametric classification
methods to discriminate potential painters. The proposed
method is evaluated with a set of experiments where the
purpose is to discriminate between two well known Brazilian
painters : Portinari and Bianco.
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Berman, Alan. "Generative adversarial networks for fine art generation." Master's thesis, University of Cape Town, 2020. http://hdl.handle.net/11427/32458.
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Generative Adversarial Networks (GANs), a generative modelling technique most commonly used for image generation, have recently been applied to the task of fine art generation. Wasserstein GANs and GANHack techniques have not been applied in GANs that generate fine art, despite their showing improved GAN results in other applications. This thesis investigates whether Wasserstein GANs and GANHack extensions to DCGANs can improve the quality of DCGAN-based fine art generation. There is also no accepted method of evaluating or comparing GANs for fine art generation. DCGAN's, Wasserstein GANs' and GANHack techniques' outputs on a modest computational budget were quantitatively and qualitatively compared to see which techniques showed improvement over DCGAN. A method for evaluating computer-generated fine art, HEART, is proposed to cover both the qualities of good human-created fine art and the shortcomings of computer-created fine art, and to include the cognitive and emotional impact as well as the visual appearance. Prominent GAN quantitative evaluation techniques were used to compare sample images these GANs produced on the MNIST, CIFAR-10 and Imagenet-1K image data sets. These results were compared with sample images these GANs produced on the above data sets, as well as on art data sets. A pilot study of HEART was performed with 20 users. Wasserstein GANs achieved higher visual quality outputs than the baseline DCGAN, as did the use of GANHacks, on all the fine art data sets and are thus recommended for use in future work on GAN-based fine art generation. The study also demonstrated that HEART can be used for the evaluation and comparison of art GANs, providing comprehensive, objective quality assessments which can be substantiated in terms of emotional and cognitive impact as well as visual appearance.
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Thomas, Vincent. "Is Fine art a viable alternative investment?" Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-134942.
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This paper will study the Art market as an investment opportunity. We will forget about the artistic characteristics of the market (history of art, aesthetic, technic...) and focus only on the business and economic aspects of the market treating art works as tradable goods. Our goal will be to determine whether or not the art market would be a suitable investment vehicle, offering some interesting outlook to investment diversification. This paper will pay a closer look at the recent financial crisis period, trying to understand the mechanism which bonds the financial industry and the Art industry. This will be the key to introduce an investment portfolio including Art as an asset class for investment. Focusing on the performance of such portfolio we will give some further recommendation on how to reach a better than expected performance.
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Cope, Hazel Mary. "Exploring Interrelationships between Fine Art and Nursing." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/367362.
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The nursing profession can be characterised as a unique blend of attributes and philosophies that encompass scientific knowledge and artistic process. The interpersonal experience of caring in nursing is associated with a positivist sense of expression, acute observation, and compassion. It shares with artistic experience an intense motivation and analysis that involve the creative engagement of the senses. This research is informed by my forty-six years of working as a practicing registered nurse, and it takes an interdisciplinary approach between fine arts and nursing science to explore the elusive qualities of the human caring experience. My studio exploration, which uses everyday objects from the medical arena, highlights the values of empathy and sensitivity that are fundamental to the nurse–patient relationship. This is achieved through the formal strategies of repetition and placing everyday medical items in unfamiliar contexts, subsequently transforming them to evoke a provocative visual experience. These everyday items become a conduit for viewers to experience a new sensation. Functional objects are elevated to the poetic, enabling meanings to emerge that circumvent utilitarian and common associations. This research also highlights the impact of advancing technology and increased time pressures on the contemporary context of nursing, and the effect this has in decreasing interpersonal relations between nurse and patient. Furthermore, this project seeks to support interdisciplinary collaboration between visual arts and nursing science as a means to gain a better understanding of both disciplines. In doing so, I make no grandiose claims for either art or nursing as sole purveyors of feeling and emotion, but rather seek to examine the connections and correspondences between these two areas of practice that both seem to function from an underlying assumption that human beings have an unspoken desire to engage with each other.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Michael, Michael John. "Ex Nihilo : emptiness and art." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8198.
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Includes bibliographical references (leaves 93-102).<br>The purpose of this document is the elaboration of a system of thought that sees art as an empty structure, in a way that is analogous to the conceptual mechanics of Buddhism. What is meant exactly by the term Buddhism will I hope, become clearer as the reader moves through it. Likewise, it is hoped that a perspective on art that sees it as sharing certain conceptual tendencies with Buddhism will emerge. What must be borne in mind for the meantime is the following; firstly, that the concept of emptiness in Buddhism is not nihilism, and this holds true for the system that I describe; it is my position that much art is empty (in a way) and necessarily so. Secondly, that both systems (though not exclusively), are ways of relating, rather than bodies of text or specific images. Wittgenstein's view of philosophy is analogous to this last point in that he insisted on seeing philosophy as a method rather than a science (Perloff 1996: 46). This tendency of mode over product, or way of relating over the thing made, is a critical underlying component of what follows in this document and in my practical production.
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Monnier, Antoinette. "The interrelationship of graphic design and fine art /." Online version of thesis, 1995. http://hdl.handle.net/1850/11969.
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Lech-Piwowarczyk, Ewa. "Language and the definition of art: Analytic and continental discussion of the nature of art." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6684.
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Art has a definite place in our culture and it plays a significant role there. Yet all the continuing efforts in analytic aesthetics to define art have failed, leading to an impasse. So, we still do not know how to define art. In order to overcome the impasse I argue that a change of philosophical perspective is necessary and I suggest a confrontation between Continental and analytic perspectives on defining art. In Part One I deal with analytic aesthetics. I single out Danto's theory of art as the paradigmatic analytic theory of art. I call attention to the fact that Danto defines art by means of language, a theory of art which is a discourse on the language of art. I show the impact of Danto's theory on the rest of analytic aesthetics. First, I present Dickie's theory of art of and show how he draws from Danto but departs from him later on. Then, I present Tilghman's critique of Danto, and I stress the point that in Tilghman's view the problem with Danto's theory is linguistic in nature. I identify Danto's understanding of language as the source of the problems recent analytic aesthetics has with the definition of art. In this way I locate the current impasse in analytic aesthetics and I claim that the underlying analytic understanding of language is too narrow in order to define art. I show the evolution of Danto's views and I discuss his attempt to enlarge his understanding of language with history. In Part Two I try to suggest a way out of the impasse. I shift the perspective and turn to phenomenology and Ingarden's theory of art. I call attention to the role of language in his philosophy and present his approach as quasi-analytical. Specifically, I interpret Ingarden as the continuator of Twardowski and not of Husserl in his understanding of language. I point to the fact that Ingarden's non-phenomenological view of language is a view that allows of seeing language not only as a container of ideas but also their shaper. I show that Ingarden attributes to language an attentional mode of being, and that he treats it as a means of communication. He exposes its cultural nature and enlarges its understanding with the notion of society. I claim that such a broader understanding of language may help analytic aesthetics overcome the present impasse. In Conclusion, I argue that supplementing the notion of language with the notion of history, as Danto does, or society, as Ingarden does, provides a fuller understanding of language, and consequently of art. Hence, it makes possible the overcoming of the impasse in analytic aesthetics. At the same time, however, I show that the very project of defining art has to be relativized in terms of understanding and responding to the significance of art.
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Hanes, Jay Michael. "Collaborative activist art : A Case Study /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487859313348013.
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Degges, Douglas Ross. "Master of fine arts thesis." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2854.
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In the course of studying painting for the past three years at the University of Iowa, I have found collaborating with other artists to be a great way for me to try on different hats. Two of these collaborations in particular, The Old Man Study Group with Hamlett Dobbins (Memphis, TN) and The Coracle Drawing Club with David Dunlap (Iowa City, IA), have given me the license and opportunity to pretend to be someone else. These collaborative projects have asked me to consider, and at times adopt, even if only for a moment, the interests and concerns of another maker. A few months into these two projects, I noticed that the work I was making on my own, in the isolation of my own studio, was suddenly open to the world's innovations, and not just my own.
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Andersen, Evan. "An analysis of the art image interchange cycle within fine art museums /." Online version of thesis, 2010. http://hdl.handle.net/1850/11981.
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Macedo-Lamb, Silvana Barbosa. "From fine art to natural science through allegory." Thesis, Northumbria University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410383.
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Boulton, David. "Fine art image classification based on text analysis." Thesis, University of Surrey, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252478.
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Singleton, Joe. "Ascension: A Fine and Performing Art Scholar Thesis." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/17.
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Garvin, Christopher Paul. "In Search of a More Accessible Art." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394721054.
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Mifetu, Gloria Makafui. "Possible Ways of Minimizing Fabric Waste: A Case Study of KAD Manufacturing Limited, Ghana." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619198478121933.
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Hill, Robert William. "Works of art as commodities : art and patronage : the career of Sir Dudley Carleton 1610-1625." Thesis, Southampton Solent University, 1999. http://ssudl.solent.ac.uk/2450/.
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This thesis examines the way in which Sir Dudley Carleton, ambassador first to Venice and subsequently to The Hague, used paintings, sculptures and other artefacts as the means to secure patrons at the English Court and thereby gain promotion. Carleton had not wanted to go to Venice, and when he arrived there in 1610 he showed no interest in the arts. It was the deaths of the Earl of Salisbury and Prince Henry in 1612 which made him aware of the need to obtain new patrons. By this time he was becoming conscious of the fact that works of art were useful tools in securing patronage, but it was not until the visit to Venice of the Earl of Arundel in 1613 that his eyes were opened to the artistic riches around him. He now began assembling a collection of works of art which he had despatched to the royal favourite, the Earl of Somerset in 1614 and 1615. Although he was mistaken in assuming that this action opened his way to his appopintment to The Hague in August 1614, he was by now convinced that such gifts could play a major part in obtaining and influencing the patrons whose support he would need if his career were to prosper. Carleton's change of attitude was demonstrated by the way in which, on his arrival at The Hague in 1616, he quickly made contact with leading artists and began commissioning pictures from them. Yet despite using gifts of art-works to remind patrons of his existence and prompt them to support his claims to office whenever a suitable vacancy arose, Carelton seemed doomed to remain at The Hague. This was principally because he failed to gain the backing of the new favourine, Buckingham. However, when the government's foreign policy changed direction after 1623, Carleton became more acceptable to Buckingham, whi, in February 1625, secured him the minor post of Vice-Chamberlain, the first step in his rise to become Secretary of State. Although Carleton's appointment coincided with the gift of a marble gate and chimney to the favourite, this had no direct impact on securing his advancement. Yet it showed how, despite the fact that during his years in Venice and at The Hague he had become quite a sophisticated judge of the value of paintings, Carleton still regarded them primarily as commodities to be used in the furtherance of his career.
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Watrous, Shawn. "Undersound: An Investigation of Painting as a form of Expression." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366359903.
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Wood, Andrew John. "gala." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492695903406475.
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Bright, Matthew Jerome. "Disparate Realities." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366385044.
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Petrosky, Natalie E. "Little Moving Windows." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1344224872.
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Tingley, Edward. "Game of knowledge: The modern interpretation of art." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9820.
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Summation. A specifically modern approach to the interpretation of art is distinguished, rooted in the insight that cognitivity in interpretation must be oriented by sensitivity to the subject-object paradigm. It is shown that specific modern theory of interpretation has become established in twentieth-century theory and practice. That theory is demonstrated to be a set of interpretative rules. The hidden dependence of those rules on specific conceptions of the nature of a work of art (qua hermeneutic entity) is revealed. Three such conceptions of the work of art that are basic to modern art history are articulated and critically examined by careful attention to actual works. Interpretation is shown to exceed the strictures of each model, with the specific consequence that the meaning of the work of art in modern times is systematically narrowed. Motives for that narrowing are discussed. (Abstract shortened by UMI.)
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Locke, Lana. "The feral, the art object and the social." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13476/.
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This practice-based research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised. The page is also constructed materially, as a space where heterogeneous elements meet: different voices expressed through the writing and images of my practice. In claiming the feral as a critical concept, I reject its more common, derogatory, usage. In particular, during the 2011 London riots, the former British Lord Chancellor Kenneth Clarke labelled the rioters a “feral underclass”, seeking to fix them in this uncivilised, abject position. I unfix this separation, through a feral interpretation of my objects, as they interpenetrate domestic, institutional, and civilised public spheres. Mother’s milk solidifies as plaster-filled condom bombs, at once phallic and breast-like, poised to ignite a pyre of social theory texts in a gallery project space, a former factory; haphazard conglomerations of plant matter and urban debris are strung together in bunting on an inner-city community hall. The feral becomes here a rival concept to Julia Kristeva’s formulation of abjection, as the seeping bodily organs evoked by my objects are not defined in terms of the individual, but reflected on through the formless mass of the social body, the displaced undercommons of Stefano Harney and Fred Moten, the wild of Jack Halberstam, the rioters of Joshua Clover. The feral has an antagonistic quality, but it cannot fit the relational models of art put forward by Chantal Mouffe and Claire Bishop that seek to civilise this antagonism. Neither can the positivity of Rosi Braidotti’s posthuman new materialism extract the hybridity of materials I use from the precariousness of the social conditions from which they are drawn. My practice, like the feral, resists these separations.
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Castronovo, Anthony Joseph. "Lift: Public Art and the Activation of Space." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418835875.
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McMorran, Susan Mary. "Interactive painting : an investigation of interactive art and its introduction into a traditional art practice." Thesis, Northumbria University, 2007. http://nrl.northumbria.ac.uk/3125/.
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This practice-based study investigates the application of an individual studio practice, grounded in Painting, to notions of interactive art, and seeks to establish how the interactivity might impact upon the meaning and the affective power of the work. It investigates the current state of interactive art, its ancestry, development and contextualisation, leading up to its presumed current location within New Media. The thesis examines a range of both theoretical and practical artistic research outputs. It investigates interaction models and taxonomies from New Media, and a range of other interactive disciplines, in order to inform the development of successful paradigms for interactivity as a parameter of an emotionally engaging and communicative art. A number of problems are identified in conflicting conceptual models; an emphasis on the technical and behavioural over the visual, and on human- human over viewer-work interaction; an emphasis on the open meaning and the dispersed author undermining notions of intrinsic meaning; and a foregrounding of play, of pleasure, rather than a deep emotional engagement. The practice, supported by comparisons with related practices, peer discussion and viewer feedback, develops a language of small gestures, textures, layers, sounds and behaviours. It develops away from New Media towards an exploration of the specific nature of the computer as painting medium, and identifies specific models which are useful in informing the development of screen-based painting as interactive. It identifies the model of Interactive Painting as a way of conceptualising the work, which is informed by several key models. Firstly, it identifies Elemental Interactivity; intrinsic, related to both the form and the content, an integrated element, in which the work and its behaviour are one. This is supported by models of Intuitive Interaction and Real-World Models, supporting viewer perception of real-world activities, and informed by characteristics of Simplicity (of interaction and process), and by a small scale and intimate kinaesthetic or Gestural Interactivity. The study identifies a successful model in Open-Ended Exploratory Interaction within a Navigable Space, which is informed by the concept of Wholeness, of the interactive artwork as a holistic or integrated object, which behaves. It identifies Interpretive Interaction as a means of building layers into the work and including a model of Making Cognitive Interaction Concrete. This Interpretive Interaction is contrasted by elements of goal-driven or creative interactivity, providing a shifting dynamic and dramaturgy. It identifies this dramaturgy, the use of humour, pace, mood and elements of and surprise as means of producing the important shift between Immersion and Reflection. Finally, the study examines the visual qualities of the medium. Through comparisons between this medium and Painting, it identifies a specificity for a genre of Interactive Painting, as expressive, immersive, rich, imaginative - a dynamic, controllable and Human re-interpretation of old and new media.
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Kuizon, Jaclyn. "Fine Art and Clandestine Identity: American Indian Artists in the Contemporary Art Market." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626648.
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Glah, Catherine. "Coping-The Art of Depression." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1263.
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This thesis combines personal experiences of depression with experimentation of media, and consists of four projects including a set of five postcards, a graduation robe, and a tapestry collection. The final project, and central focus, is a series of 100 digital images that was created to distract the artist from harmful mental breakdowns. The series is aptly named Coping and has become a study on expressions of the mind.
The exploration of the subconscious through art has roots in psychology and influences from several art movements. Psychologist Sigmund Freud recognized the power of the unconscious mind, and his psycho-analytical discoveries influenced artists in both the Surrealist Automatic and Abstract Expression movements (Turner, pgs. 373-374). Artists such as Andre Masson, Joan Miro, and Jackson Pollock experimented with subconscious thoughts, images and techniques. Additionally, contemporary artists such as Yayoi Kusama reference psychological states of being in their work by using specific denotative elements such as pattern, shape and color.
Even though Coping was not initially created with conscious intention, the work proves that art can be both an insight into the subconscious and a powerful coping mechanism.
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Kaufmann, Shayla. "Marginalized students accessing museum art education programs." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21185.
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Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>For many years as an art educator, this researcher, has observed, the positive impact an art education program can have on a variety of different student populations. All students deserve access to a meaningful art education. It has been shown that developing brain health and looking at art is beneficial for the human mind. Scientists in collaboration with artists have recently shown, through Computed Axial Tomography (CAT scans) something that we already knew (or suspected), from our own experiences; making and looking at art is positive for human cognition. According to Professor Semir Zeki, Chair of the Neurasthenics Department at University College London: (1999, p.187). Inner Vision: An exploration of art and the brain:
"What we found is when you look at art – whether it is a landscape, a still life, an abstract or a portrait – there is strong activity in that part of the brain related to pleasure. We put people in a scanner and showed them a series of paintings every ten seconds. We then measured the change in blood flow in one part of the brain. The reaction was immediate. What we found was the increase in blood flow was in proportion to how much the painting was liked. The blood flow increased for a beautiful painting just as it increases when you look at somebody you love. It tells us art induces a feel-good sensation direct to the brain."
This thesis will not be examining the positive impact art has on the brain; it is referred to in order to acknowledge the fact many artists and art appreciators already know: Looking at art is a valuable thing, and art education is important for developing minds.
This thesis will examine the bridge between art museum programs and marginalized student populations. These are the students who have Individualized Education Programs (IEP’s), or those for whom English is a second language and who may live in low-income urban communities. It will also examine what museum-based art education programs can provide to this population of youth. In the Wall Street Journal, as cited by (Winner, Goldstein, and Vincent-Lancrin, 2013, p.18) the former chairman of the National Endowment for the Arts, Rocco Landesman offers pointed remarks when arts education comes up:
"Some students don’t fit the No Child Left Behind regime and other subjects don’t inspire them. Talented but offbeat, they sulk through algebra, act up in the cafeteria, and drop out of school. The arts 'catch' them and pull them back, turning a sinking ego on the margins into a creative citizen with 'a place in society.'"
Museums often provide a place for students to go and engage with art in a meaningful way that captures their imagination and engages them in learning. The emphasis of this research falls on the unusual student, the difficult learner, the student who has a learning style difference and who may never have encountered an original work of art. The purpose of this study is to report the ways in which students responded to art in a museum setting.
Why art museums enjoy a reciprocal benefit from serving these students will also be examined. Art educators know that art is important for the development of creativity in students, and students’ benefit from engagement in studio art activities. Yet, most crucially, art programs are often marginalized in low-income urban communities. According to the Center on Budget and Policy Priorities, more than 95 percent of schoolaged children are attending schools that have cut art education since the recession.
In low-income communities, many students have few studio art classes along their journeys through pre/K-12 public education. Those denied an art education often find themselves without the benefit of an education that includes studies about the value of culture, leaving those affected by poverty with little impetus to reach for higher educational goals.
Art education programs at two museums are examined to show how their programs reach out to students from underserved communities. In particular, this study looks at the Cape Ann Museum in Gloucester and Peabody Essex Museum in Salem, both in, Massachusetts, to evaluate how to engage marginalized, urban students and retain these youth as enthusiastic lifetime museumgoers.<br>2031-01-01
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West.
In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.<br>published_or_final_version<br>Fine Arts<br>Master<br>Master of Philosophy
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Brighton, Christopher Reding. "Research in fine art : an epistemological and empirical study." Thesis, University of Surrey, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305776.
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Adams, Irena Zdena. "Exploration of water-based inks in fine art screenprinting." Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263243.
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Strednansky, Susan E. "Balancing the Trinity the Fine Art of Conflict Termination /." Maxwell AFB, Ala. : Air University Research Coordinator Office, 1998. http://www.au.af.mil/au/database/research/ay1995/saas/strednse.htm.
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Hewlett, Katherine. "Socio-cultural investigation of visual dyslexic cognition." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13924/.
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The thinking approaches of dyslexic visual artists in their creative production have been little analysed, either in isolation or in comparison with non-dyslexic artists. This research investigates the nature of visual dyslexic cognition and tests for cognitive differences between dyslexic and non-dyslexic artists. It does so by systematically exploring their respective thinking approaches to creative visual production. The socio-cultural framework of investigation further argues the value of a distinctively dyslexic mode of visual thinking to mainstream education and society. The fieldwork included a purposive sampling of 44 artists with data collected and interpreted through mixed methods, using a range of tools. The research is positioned within cognitive and social constructivist perspectives, recognising that independent thinking is an integrated cognitive process of conceptualising inner, outer environments and complex social interactions. Thus the research methodology is both ethnographic and phenomenological. Dyslexic visual thinking within a sociocultural context is explored to give context to the concept of creativity, visual language and the value of arts education as enabling processes of thinking and conceptual development. The research focus emerged during the first stage of the fieldwork; the investigation of dyslexic artists indicated that their visual creative practice is produced through the skill of thinking within a multi-dimensional context. Through three stages of fieldwork, the research evidenced a dyslexic cognitive culture positioned within the dynamic of the 'outsider'. A triangulation of methods was used within the data collection and analysis to reach conclusive findings. The main research findings are: the dyslexic capacity for creative non-linear or 'flowed' visual cognition within a multi-dimensional conceptual framework; that this ability is so taken for granted that the dyslexic artists did not consider this to be different or of any greater value. The research found that dyslexic artists can have certain cognitive strategies, which may be underdeveloped in non-dyslexic artists yet these cognitive strategies can be taught to non-dyslexics. The research draws conclusions from these findings by further discussing the benefit of this thinking to education, the workplace and, also, to a technological and increasingly entrepreneurial society where divergent thinking contributes to creative production.
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Cope, Paul. "Let me show you what I mean : changing perspectives on the artist-teacher and the classroom art demonstration." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13923/.
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This research aims to develop a theoretical and practical understanding of a situated and embodied artist-teacher practice by testing multiple models of teacher demonstration and exemplification. The intention was to find out the ways in which the classroom art demonstration can be construed as the basis for a participatory, dialogic, pedagogical art practice, using co-learning and experiential learning based approaches to school art making. By using the model of the classroom art demonstration, a tried and tested aspect of my teaching practice, and amplifying and expanding that into art practice, I proposed to investigate the ways in which the demonstration functions as an effective link between teaching and art practice. The research was a professional self-study carried out within the context of the author's art and teaching practice in a middle school classroom with students from age 9 to 13. As an artist, teacher, researcher and participant, I used a reiterative procedure, based on Shön's (1983) 'reflection-on-action', to design four case studies. Evidence was collected through the making and documentation of artefacts made during, and in relation to, demonstrations and modelling, including journals, sketchbooks, artworks, visual presentations, lesson plans, questionnaires, exhibitions in schools and other settings. A framework, based on Hetland et al.'s (2013) approach to 'habits of mind' was used to evaluate the outcomes, and this was used to construct a taxonomy of different purposes and functions for the demonstration which is dispersed throughout the case studies. The contribution to knowledge lies in the nuanced study of the uses of the art demonstration as exemplification, interpretation, collaboration and instantiation of art making and thinking in the classroom, exploring methods, means and ends. The demonstration examples, made as part of the practice-based research process, studied means of communication, sharing and thinking about art making in concert with students. The demonstration artworks also led to an understanding of the changing dynamics of the artist-teacher role over a significant period as the research progressed. Using the case studies, I argue that the processes of thinking and making, with students, artists and on my own behalf, helps to locate the classroom art demonstration in a new theoretical framework and taxonomy within an expanded field of socially engaged, dialogic and material-based art practice.
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Hartley, John. "The thalassocentric apparatus : connected art processes from the sea showing multi-scale changes through their own emergence and collapse." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/13332/.
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The sea changes in many ways and on many levels. These changes are complex and highly connected and as a result are hard to predict. Connected, changing systems of different scale are found in many areas of life. As well as physical systems such as the sea, they are apparent in emerging and collapsing ecological systems (Gunderson, Holling 2002), in systems of human ideas such as the philosophy of Deleuze and Guattari and, as I argue, in arts practice. Although attempts to know the sea are inherently difficult, they also offer opportunities. For example, if we were better able to perceive the changes of the sea, we might better approach other pressing problems that categorise our current age, such as climate change and the threat of collapse within other socio-ecological systems. A sea-centred form of ecological thinking could promote awareness of change and connection on different scales in varied realms. I demonstrate how forms of change, initially familiar through the movements of the sea, can be understood through arts practice. I refer to this sea-centred, ecological perception as ‘thalassocentric', (from the Greek thalassa, sea). This term denotes an outlook that (in some way) originates within the sea, even if it then addresses land, social arrangements or human imagination. Although thalassocentric understanding is derived from the movement of waves, I show that the concept can be developed as a useful tool for understanding changes beyond the oceans. Having analysed a number of key creative practices that engage with the contexts described, I develop an arts-centred use of the term 'apparatus'. I show that art apparatuses can be considered to move and change in ways that are also thalassocentric. This model is tested and applied through a series of creative projects which suggest that changes within art apparatuses can help us understand changes elsewhere. It therefore offers a valuable model that can contribute to our knowledge and understanding of other complex systems.
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Scarfuto, Rosalinda Ruiz. "Investigations into the impact of tactile perception on the artist's creative process expressed on a 3D Poetic Canvas using the methodology of a 'Forest Flaneur'." Thesis, University of Sunderland, 2018. http://sure.sunderland.ac.uk/9617/.
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This practice-led study explores the experiences of four poets in relation to specific landscapes and its inspiration on the creative practitioner. The research study focuses on tactile perception and its influence on the artistic process as both experiential and interpretative tool. It utilizes the idea of the ‘haptic intuitive’ (Di Giovine, 2015), specifically the finger pads, for a qualitative phenomenological study framed by fieldwork in nature and expressed in a 3D poetic canvas. The Flaneur methodology was applied to the approach made in the field and developed. This poetic style of walking which is historically associated with Baudelaire is chiefly applied to research in urban settings (Frisby, 1998) However, in this research study, the concept of a “Forest Flaneur” was developed as the scope of the fieldwork involved rural settings and encouraged movement (walking) in random directions primarily linked to tactile attraction in natural landscapes. The methodology developed focused on case studies of four walking poets’ inspirational landscapes (Wordsworth, Whitman, Machado and Snyder). The notion of the “Forest Flaneur” which has been developed in this study is a poetic walking style in nature, highlighting tactile memories, in rural settings. The contribution to knowledge focuses on a method of revisiting the experiences of poets in relation to their specific inspirational landscape and refining that method through exploring the tactile dimension of experience. This method of separating the tactile from the non-tactile has relevance for the creative practitioner, Furthermore, when undertaking this research I allowed a period of 15+ day’s gestation period between the haptic work in the field and the creative response to that experience on the poetic canvas in the studio. This relationship to time and what I have called ‘the looping of experience’ became a second key part of the research methodology. This methodology uses the memory of a visceral emotive ‘in situ moment’ as a stimulus - a memory formed in the somosensory cortex as a response to the 15+day gestation period. The cognitive process that is a consequence of the time lapse, or ‘time looping’ between the two events, synthesizes in the brain with the recall activity undertaken in the studio during the creative process. The research suggests that haptic experience (tactile perception) tends to enrich the creative process in both visual art and poetry.