Thèses sur le sujet « Aboriginal art Art »
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Mengler, Sarah Elizabeth. « Collecting indigenous Australian art, 1863-1922 : rethinking art historical approaches ». Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709014.
Texte intégralGattermann, Diane. « Using art therapy with aboriginal offenders ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0007/MQ43687.pdf.
Texte intégralCirino, Gina. « American Misconceptions about Australian Aboriginal Art ». Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.
Texte intégralAdsit, Melanie Hope. « Caught between worlds : urban aboriginal artists ». Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.
Texte intégralWalsh, Andrea Naomi. « Contemporary aboriginal art texts, intersections of visual culture ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0012/NQ59158.pdf.
Texte intégralLysyk, Linda Marie. « Native art and school curriculum : Saskatchewan Aboriginal artists' perspectives ». Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30166.
Texte intégralEducation, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
Morphy, Howard. « Ancestral connections : art and an aboriginal system of knowledge / ». Chicago : University of Chicago press, 1991. http://catalogue.bnf.fr/ark:/12148/cb356879823.
Texte intégralBrooks, Terri University of Ballarat. « "That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia ». University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.
Texte intégralMaster of Arts (Visual Arts)
Brooks, Terri. « "That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia ». Thesis, University of Ballarat, 2005. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38083.
Texte intégralMaster of Arts (Visual Arts)
Brooks, Terri. « "That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia ». University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.
Texte intégralMaster of Arts (Visual Arts)
Dreise, Mayrah Yarraga. « Constructing Place : Australian Aboriginal Art Practice at the Cultural Aesthetic Interface ». Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366227.
Texte intégralThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
Petersen, Kim Jorja. « Sustainability of Remote Aboriginal Art Centres in Australian Desert Communities ». Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/1170.
Texte intégralKing, Victoria School of Art History & Theory UNSW. « Art of place and displacement : embodied perception and the haptic ground ». Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/22495.
Texte intégralFesq, Harriet. « Wupun/Warrgadi : Ngan’gi fibre and the art of Peppimenarti ». Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/15611.
Texte intégralCollins, Curtis J. 1962. « Sites of Aboriginal difference : a perspective on installation art in Canada ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.
Texte intégralHergass, Shiri. « A model of art therapy for Aboriginal children within the preschool ». Thesis, Australian Catholic University, 2019. https://acuresearchbank.acu.edu.au/download/e7e602dc73627159d94640dfc79b893cebdc6db80fc5ea5f19c5c1e876c9324e/3574627/Hergass_2019_A_model_of_art_therapy_for.pdf.
Texte intégralMcDonald, Michelle. « Selling Utopia marketing the art of the women of Utopia / ». Master's thesis, Australia : Macquarie University, 1999. http://hdl.handle.net/1959.14/15101.
Texte intégralIncludes bibliographical references.
Introduction -- Literature review -- A brief history of Utopia's art production; its place in the indigenous art movement -- The role of the wholesaler -- The retail sector -- Report on survey of the buyers of indigenous art -- Emily Kame Kngwarreye -- Authenticity -- Conclusion.
Summary: The thesis focuses on marketing art from the Aboriginal community, Utopia, where the majority of artists, and the best known artists, are women. It documents methods by which the art moves from the community to retail art outlets; it includes detailed documentation of marketing in the retail sector and also includes research into the buying of indigenous art by private buyers. -- Emily Kame Kngwarreye is the best known of the Utopia painters. The study proposes reasons for her success and points to further questions beyond the scope of this study. Problems inherent in criticism and editing of her work are raised and interpreted in the context of the marketplace. -- The original thesis plan did not include detailed discussion about authorship. However, in 1997 the media reported controversy about authorship of a prize-winning work. As such controversy must affect marketing, this topic (as it relates to this artist), was included. -- Although possibilities for improvement in marketing methods have become apparent as a result of this research, areas where further research would be beneficial have also become apparent.
Mode of access: World Wide Web.
265, [48] p
Smith, Lesley A. « Aboriginal textile art : Ernabella batiks and the screen printed fabrics of Tiwi design / ». Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.ms6421.pdf.
Texte intégralSusino, George J. « Microdebitage and the archaeology of rock art an experimental approach / ». Connect to full text, 1999. http://hdl.handle.net/2123/606.
Texte intégralTitle from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.
Lowish, Susan Kathleen 1969. « Writing on "Aboriginal art" 1802-1929 : a critical and cultural analysis of the construction of a category ». Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5493.
Texte intégralBlake, Kate M. « Drawing All the Way : The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas ». Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
Texte intégralWinn, Nicola Bliss. « Boundaries, Connections and Cultural Heritage Management Challenges : The Rock Art of the Chillagoe – Mungana Limestone Belt, Queensland, Australia ». Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366036.
Texte intégralThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social Science
Arts, Education and Law
Full Text
Souliere, Rolande. « Towards an Indigenous History : Indigenous Art Practices from Contemporary Australia and Canada ». Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.
Texte intégralRivett, Mary I. « Yilpinji art 'love magic' : changes in representation of yilpinji 'love magic' objects in the visual arts at Yuendumu / ». Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.mr624.pdf.
Texte intégralCoursework. "January, 2005" Bibliography: leaves 108-112.
Dunham, Amy. « Towards Collaboration : Partnership Between Indigenous and Non-Indigenous Australians in Art from 1970 to the Present ». University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498911.
Texte intégralButler, Sally. « Emily Kngwarreye and the enigmatic object of discourse / ». St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16427.pdf.
Texte intégralRossi, Alana. « An archaeological re-investigation of the Mulka's Cave Aboriginal rock art site, near Hyden, Southwestern Australia ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1884.
Texte intégralBrand, Sally. « To exceed the boundaries of language : text in the visual art practices of contemporary artists Gordon Bennett, Shane Cotton and Tony Albert ». Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20669.
Texte intégralFernandez, Eva. « Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
Texte intégralWest, Sharon Ann, et sharon west@rmit edu au. « A pictorial historical narrative of colonial Australian society : examining settler and indigenous culture ». RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.102857.
Texte intégralSmith, Claire E. « Situating style : an ethnoarchaeological study of social and material context in an Australian aboriginal artistic system ». Phd thesis, University of New England, 1994. http://hdl.handle.net/1885/266544.
Texte intégralBonney, Geoffrey, et Peter Alan Widmer. « Cherbourg time : young black and deadly art 2003-2007 ». Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.
Texte intégralBernard, Mary Grace Cathryn. « Non-Western Art and the Musée du Quai Branly : The Challenge of Authenticity ». ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/honors_theses/53.
Texte intégralParkin, Stephanie. « The theft of culture and inauthentic art and craft : Australian consumer law and Indigenous intellectual property ». Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205870/2/Stephanie_Parkin_Thesis.pdf.
Texte intégralCroft, Pamela Joy, et n/a. « ARTSongs : The Soul Beneath My Skin ». Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
Texte intégralCroft, Pamela Joy. « ARTSongs : The Soul Beneath My Skin ». Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367423.
Texte intégralThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
Full Text
Carmichael, Elisa J. « How is weaving past, present, futures ? » Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108051/1/Elisa_Carmichael_Thesis.pdf.
Texte intégralLin, Yu-Ta. « Représentations des aborigènes de Taïwan au musée : entre art et ethnographie dans un contexte post-colonial ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA164/document.
Texte intégralThe representation of the aborigines, whether due to aboriginal artists or based on an outside perspective, is an integral part of the construction of an identity, in particular when the act of creation is conceived as a mode of cultural transmission (in order to find their ancestral spirits). The first step to approaching the works of the aboriginal artists consists of multiplying points of view on the question of the cultural identity (the political dimension of self-affirmation) and the questioning of their intent to be considered an artist. The fact that the aboriginal artist regards himself as an artist, had already been attempted in the non-aboriginal community. However, this position has not been without controversy. After the ethnographical turn (contextual turn into specific identity), the aboriginal artist is obliged to think about his/her status, the way to create and the reason why (s)he would become an artist. The approach chosen by the four artists studied here has not led them to learn anything (act of construction or building of themselves) ; it is rather a question of unlearning, in order to associate with the cultural juxtaposition and the simultaneity of the others in the global and mobile world. Therefore, the artist as an aborigine-traveler causes a short-circuit in the interpretations. In this perspective, each presentation at the museum builds a relationship with the ‘visitor-viewer’ in a temporary or parallel space as it relates to the real space.This research is based at the same time on the analysis of the socio-cultural situation of the four artists (Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man), the aesthetic analysis of their works and the historical analysis of the context of production, diffusion and exhibition of the aboriginal works in general between 1895 and 2017. By relying on a sociocultural and artistic representation, our research is designed to build a strategic vision for the post-colonial studies between art and ethnography. Developing a practice of the qualitative analysis, we wish to focus on three fundamental questions : How were the works of the aboriginal artists represented and « framed » in a control of identity discourse? How does the aboriginal artist consider the traceability of his/her feeling of belonging (like a trackable identity) through his/her representation? How does this representation introduce a short circuit of the cultural interpretations in the different modes of expression, perception, evolution and reception?
HUNTER, Andrew, et a. hunter@ecu edu au. « Philosophical Justification and the Legal Accommodation of Indigenous Ritual Objects ; an Australian Study ». Edith Cowan University. Community Services, Education And Social Sciences : School Of International, Cultural And Community Studies, 2006. http://adt.ecu.edu.au/adt-public/adt-ECU2006.0029.html.
Texte intégralGibson, Lorraine Douglas. « Articulating culture(s) being black in Wilcannia / ». Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/70724.
Texte intégralBibliography: p. 257-276.
Introduction: coming to Wilcannia -- Wilcannia: plenty of Aborigines, but no culture -- Who you is? -- Cultural values: ambivalences and ambiguities -- Praise, success and opportunity -- "Art an' culture: the two main things, right?" -- Big Murray Butcher: "We still doin' it" -- Granny Moisey's baby: the art of Badger Bates -- Epilogue.
Dominant society discourses and images have long depicted the Aboriginal people of the town of Wilcannia in far Western New South Wales as having no 'culture'. In asking what this means and how this situation might have come about, the thesis seeks to respond through an ethnographic exploration of these discourses and images. The work explores problematic and polemic dominant society assumptions regarding 'culture' and 'Aboriginal culture', their synonyms and their effects. The work offers Aboriginal counter-discourses to the claim of most white locals and dominant culture that the Aboriginal people of Wilcannia have no culture. In so doing the work presents reflexive notions about 'culture' as verbalised and practiced, as well as providing an ethnography of how culture is more tacitly lived. -- Broadly, the thesis looks at what it is to be Aboriginal in Wilcannia from both white and black perspectives. The overarching concern of this thesis is a desire to unpack what it means to be black in Wilcannia. The thesis is primarily about the competing values and points of view within and between cultures, the ways in which Aboriginal and non-Aboriginal people tacitly and reflexively express and interpret difference, and the ambivalence and ambiguity that come to bear in these interactions and experiences. This thesis demonstrates how ideas and actions pertaining to 'race' and 'culture' operate in tandem through an exploration of values and practices relating to 'work', 'productivity', 'success', 'opportunity' and the domain of 'art'. These themes are used as vehicles to understanding the 'on the ground' effects and affects of cultural perceptions and difference. They serve also to demonstrate the ambiguity and ambivalence that is experienced as well as being brought to bear upon relationships which implicitly and explicitly are concerned with, and concern themselves with difference.
Mode of access: World Wide Web.
xii, 276 p. ill
Chu, Szu-Yu. « A Study Guide of the Taiwanese Composer, Nan-Chang Chien, and his Four Aboriginal Lieder for Soprano and Orchestra ». The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408536260.
Texte intégralClarke, Maree, et mareec@koorieheritagetrust com. « Maree Clarke : reflections on creative practice, place and identity ». RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091118.114516.
Texte intégralJolly, Martyn. « Fake photographs making truths in photography / ». Click here for electronic access to document : http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
Texte intégralPeacock, Janice, et n/a. « Inner Weavings : Cultural Appropriateness for a Torres Strait Island Woman Artist of Today ». Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.140720.
Texte intégralPeacock, Janice. « Inner Weavings : Cultural Appropriateness for a Torres Strait Island Woman Artist of Today ». Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365502.
Texte intégralThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
Jones, David John. « The Australian ‘Settler’ Colonial-Collective Problem ». Thesis, Griffith University, 2017. http://hdl.handle.net/10072/365954.
Texte intégralThesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
Crosby, Marcia Violet. « Indian art/Aboriginal title ». Thesis, 1994. http://hdl.handle.net/2429/5212.
Texte intégralColeman, Elizabeth Burns. « Aboriginal art, identity and appropriation ». Phd thesis, 2001. http://hdl.handle.net/1885/149791.
Texte intégralEdmonds, Frances. « ‘Art is us’ : Aboriginal art, identity and wellbeing in Southeast Australia ». 2007. http://repository.unimelb.edu.au/10187/7112.
Texte intégralThis project adopted a collaborative research methodology, where members of the Aboriginal arts community were consulted throughout the project in order to develop a study which had meaning and value for them. The collaborative approach combined an analysis of historical data along with the stories collected from participants. By privileging the Aboriginal voice as legitimate primary source material, alternative ways of exploring the history of Aboriginal art were possible. Although the story of Aboriginal art in the southeast is also one of tensions and paradoxes, where changes in arts practices frequently positioned art, like the people themselves, outside the domain of the ‘real’, the findings of this project emphasise that arts practices assist people with connecting and in some cases reconnecting with their communities. Aboriginal art in the southeast is an assertion of identity and wellbeing and reflects the dynamic nature of Aboriginal culture in southeast Australia.
Vaughan, Priya. « Pay Attention : Aboriginal Art in NSW ». Phd thesis, 2017. http://hdl.handle.net/1885/148402.
Texte intégral