Thèses sur le sujet « Australian Centre for Contemporary Art »
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1
Devrome, Kelly. « The Oneiric Veil in contemporary Australian art ». Thesis, University of Ballarat, 2012. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170.
Texte intégralRésumé :
The Oneiric Veil in Contemporary Australian Art researches the use of the veil in modernist art and its generative capacity to visually evoke an oneiric space. The oneiric veil is a lens through which current conceptual approaches and practices in contemporary visual art can be understood. More precisely, the oneiric veil delineates an intermediary space present in current visual culture. Therefore, the research surveys the veil sign and applications of it employed by artists from an extended historical period to demonstrate connections that link the veil to the oneiric through traditional practice and theoretical concerns. (Taken from Abstract)Doctor of Philosophy
2
Foster, Susanne. « Contemporary indigenous art reflecting the place of prison experiences in indigenous life / ». Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.pdf.
Texte intégralRésumé :
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "March 2005" Bibliography: leaves 179-190.
3
Aydemir, Cigdem. « Image and Voice : Muslim women in Contemporary Art ». Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15723.
Texte intégralRésumé :
This paper investigates the Western image of the Muslim woman in the context of contemporary art. Through my art practice I use the veiled woman cipher to reflect on personal experiences whilst broadening definitions and displacing hegemonic representations of veiling and Muslim women in an Australian cultural context. These are exemplified through autobiographical elements, parody in the Extremist Activity series, performative interventions illustrating the concept of the body as an occupied site and architectural devices that (re)create notions of inclusion, exclusion and otherness in space. From loquacious and overbearing noblewomen to helpless harem slaves awaiting rescue by her Orientalist saviours, an analysis of the development of the Muslim woman’s image throughout history reveals the shifting and contingent nature of her role in the Western imagination. Finally, an examination of current representations of Muslim women in Australian contemporary art demonstrates how these images often repeat and reinforce, rather than depart from, Orientalist and neo-Orientalist constructs.
4
Shiel, Erin Patricia. « Breathing in art, breathing out poetry : Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems ». Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15995.
Texte intégralRésumé :
During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. My exegesis considers these different forms and draws some links between the creative processes of the artists interviewed and the writing of poetry.
5
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 intégralRésumé :
The debate of Indigenous art as contemporary art in Western art discourse has been ongoing since the acceptance of Indigenous art as contemporary art in the early 1990s. This has resulted in a collision of four diverse fields; Western art history, Western art criticism, anthropology and Indigenous cultural material. The debate stems from the problematised way the term contemporary is defined by globalised Euro-Western art and its institutions. This thesis considers the value of applying the concept of the contemporary to Indigenous art practices and art, in particular as a mode for cultural self-determination in order to avoid the historical domination of Western art history, history and its discursive power arrangements. The term, concept or theory of the contemporary remains elusive, indefinable and widespread in Western art discourse. Various definitions exist and are based on notions of openness, newness or plurality. Criticism of the contemporary’s openness has led to speculation of the contemporary as a valid concept or theory and or as a field of art practice, particularly its claim to social or political engagement and its inability to historicise current art. This thesis contends that the openness of the contemporary concept provides a gateway in which to situate it in a much broader cultural analysis that embraces different historiographies and worldviews. Thereby directly contributing to the ongoing critical discourse of Indigenous art as contemporary art debate. This thesis contributes to addressing this debate by proposing a definition of the contemporary that bridges history, art history and contemporary art and explores the potential for administering a contemporary art practice within this view. It highlights the historical analysis of the journey of Indigenous art from the ethnographic to the contemporary art museum by examining Indigenous rupture and transformation through Western history and art history. The thesis examines Terry Smith’s recent contextualisation of contemporary theory, as Smith is the only art historian to include Indigenous art in the discussion on contemporary theory.[1] Richard Meyer’s theory on the contemporary is also examined as Meyer is unique in approaching contemporary theory from an artistic practice that embraces co-temporalities, art production and modes of trans-historicity. In ‘rendering the past as newly present’, this thesis proposes methods of contemporary art analysis in the examination of contemporary Indigenous artworks in the context that the socio-political and cultural use of contemporary art as a form of history production. Description of Creative Work An exhibition of one large installation took place at Sydney College of the Arts Galleries, Sydney in September 2016. Media included two- and three-dimensional artworks that were hung on the walls and placed on the floor. The installation used Indigenous forms, designs, processes and social, political, and cultural content as a result of the thesis research and demonstrated Indigenous artists are creating their Indigenous histories within the context of contemporary art. Photographic documentation is available in Appendix 3. [1] Terry Smith, What is Contemporary Art? (Chicago: University of Chicago Press, 2009), 133.
6
Rups-Eyland, Annette Maie, University of Western Sydney, of Arts Education and Social Sciences College et School of Social Ecology and Lifelong Learning. « Centre of the storm : in search of an Australian feminist spirituality through performance-ritual ». THESIS_CAESS_SELL_Rups-Eyland_A.xml, 2002. http://handle.uws.edu.au:8081/1959.7/771.
Texte intégralRésumé :
The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.Doctor of Philosophy (PhD)
7
Fries, Katherine. « Ariadne's thread - memory, interconnection and the poetic in contemporary art ». Connect to full text, 2008. http://hdl.handle.net/2123/5709.
Texte intégralRésumé :
Thesis (M.V.A.)--University of Sydney, 2009.Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
8
Rups-Eyland, Annette Maie. « Centre of the storm : in search of an Australian feminist spirituality through performance-ritual ». Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/771.
Texte intégralRésumé :
The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
9
Wenholz, Mary Peta. « Painting about painting : the contemporary expansion of medium specificity ». Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
Texte intégralRésumé :
Studio:
The work submitted for examination in December 2007 at SCA
Galleries, consists of a painting constructed within the gallery
space, and is the culmination of the research undertaken during
the Masters of Visual Arts program. Untitled (Vinyl wall
composition) I (2007) investigates how the act of making can
function as a speculative activity interested in both the
materiality of painting and the architectural context in which the
work is placed.
Research Paper:
The objective of this research paper is to investigate the
theoretical concerns raised by the studio work. It explores the
contemporary position of medium specificity through the work of
Tony Tuckson, Robert Ryman, Bernard Frize, Alan Charlton, Daniel
Buren and Katharina Grosse.
Discussion of the work of each of these artists focuses on the way
in which the physical characteristics of the materials used to
construct a painting can inform how the work is read and the ways
in which the architectural context can influence how a painting is
perceived.
Through exploring the practices of each of these artists and
establishing the conceptual strategies employed by each, this
paper seeks to locate the central concerns of my practice within
the discourse of contemporary painting.
10
Rups-Eyland, Annette Maie. « Centre of the storm : in search of an Australian feminist spirituality through performance-ritual / ». View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.
Texte intégralRésumé :
Thesis (Ph.D.) -- University of Western Sydney, 2002.A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
11
McLeish, Amelia. « Artist-run initiatives and community : A practice-led examination of how artist-based communities are formed and understood in contemporary Australian art ». Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/234043/1/Amelia_McLeish_Thesis.pdf.
Texte intégralRésumé :
This practice-led project examines how Artist-Run Initiatives (ARIs) are situated within the context of localised visual arts ecologies. Interviews, data regarding arts funding, and studio experiments are combined to arrive at the projects findings: that ARIs offer the arts sector a community that invigorates and develops its own artistic practice, while also making meaningful connections between practices that become integral to the visual arts by facilitating emerging and experimental art. The project affirms that the collection, display and preservation of ephemera is an essential task that documents an aspect of the arts which is often overlooked.
12
Sorenson, Peter David, et peter sorenson@rmit edu au. « Signs of mid-life : images from the contemporary Australian mid-life male psyche ». RMIT University. Applied Communication, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20060428.113457.
Texte intégralRésumé :
This research project investigates images from the contemporary Australian mid-life psyche, exploring the contribution to individual transformation made through the creation of, and reflective engagement with, personal imagery. Asking the question: 'What do contemporary Australian mid-life males consider to be a rich and sustaining inner life?' This project documents the visual images, descriptions, and reflections of a group of five participants, discussing the individuals' experiences of aesthetic self-inquiry with reference to divergent theories of psychology, art therapy and philosophy of aesthetics.
13
Rakhsha, Layli. « Diaspora and home : contextualizing the idea of home in Australian contemporary art as visualised by selected Iranian artists ». Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/74952.
Texte intégralRésumé :
This practice-led research project investigates the impact of displacement on the idea of home in the new place. By focusing on some Iranian migrants who practice art in Australia and analysing their selected works, this project aims to discuss how memories from the past and imaginations can influence on the idea of home in the new place, and how home can be visualised based on experiences of migration and displacement. Considering the emotional impact of displacement on the idea of home, and Iranian collaborators’ responses to the definitions of home and homeland, as well as producing artworks, this studio based research project explores home can be defined within personal experiences, social and cultural relationships and attachments to a particular place.
14
Williamson, Naomi, et naomiruthwilliamson@mac com. « The Drawn Subject : Meaning and the Moving Drawing ». RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
Texte intégralRésumé :
Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the
15
West, Kim. « The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977 ». Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.
Texte intégralRésumé :
This dissertation traces the history of a diagram. The diagram shows four circles of gradually diminishing sizes, lodged one inside the other, like the layers of a circular or spherical body. For a group of artists, curators, architects, and activists centered around Moderna Museet in Stockholm between the mid-1960s and the mid-1970s, the diagram represented a new type of museum: a museological Information Center modeled on the computer, operating as a site for radically democratic social experiments. The four layers stood for different functions: information capture, processing, interface, storage; or, put differently: social spaces and media resources, workshop floors, exhibition facilities, collection. Through close readings of a series of exhibitions and institutional projects in Sweden, the US, and France, this dissertation follows the development of this diagram: its prehistory and formulation, its different implementations, and its direct and indirect effects. It studies Moderna Museet’s original, unrealized project for Kulturhuset in Stockholm, according to which the museum should project its dynamic energies across the city center, serving as a “catalyst for the active forces in society”. It discusses the museum’s confrontation with digital technologies in the late 1960s, through pioneering museological organizations such as the Museum Computer Network in New York. It analyzes the exhibition formats developed in correspondence with the notion of the museum as a “vast experimental laboratory” and a “broadcasting station”: the exhibition as critical information pattern, as tele-commune. And it studies the diagram’s afterlife as one of the models informing the Centre Pompidou in Paris, during that project’s early phases. The Exhibitionary Complex reads these endeavors and visions as attempts to devise a critical understanding of the exhibitionary apparatus in relation to new information environments and media systems. It sheds light on a largely forgotten aspect of the exhibitionary, museological, and cultural history of the late twentieth century, in Sweden and internationally. But it also seeks to establish new models for grasping the exhibition’s singularity and potentials as a cultural and media technological form, in relation to the emergence of new information networks, as they exert increasing control over social, cultural, and political existence.Space, Power, Ideology
16
Van, der Merwe Leana. « Sacrificial and hunted bodies : ritualistic death and violence in the work of selected South African female artists ». Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46213.
Texte intégralRésumé :
This study investigates the multiple occurrence of violent sacrificial imagery
associated with animalistic and hunted bodies in the work of selected South African
female artists as an articulation of the society in which the art was created. The
theoretical framework of corporeal feminism is applied with reference to the
postulations of George Bataille (1962), René Girard (1972) as well as Deleuze and
Guattari (1984,1987), specifically with regard to the notion of becoming animal. This
study shows how such imagery is used to act as a catalyst for social change by
challenging Cartesian dualisms and forefronts certain issues applicable to women in
a society that is patriarchal and violent. A comparison is made with the art of a
selected group of Australian female artists who deal with similar themes and imagery
from more or less the same timeframe.Dissertation (MA)--University of Pretoria, 2014.
tm2015
Visual Arts
MA
Unrestricted
17
Joumaa, Jamal. « Australian artists of Arabic origin : identity and hope ». Thesis, View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/41020.
Texte intégralRésumé :
Despite the migration of some artists of Arabic origin to Australia since 1947, experimental Australian artists of Arabic origin only began to gain attention for their work from 1975 onwards. The works of those artists who have a migrant background, distinguished, on one hand, by the continuous link between themselves and their cultural heritage and the political and human conditions of their homelands, and on the other hand, being inspired by the social, cultural and political issues of Australian life, which reflect the type and nature of relationships between the artists and their host society. It is important to note the commonalities in efforts of artists to realize their arts with individual imprints, in an attempt to create an aesthetic contribution that confirms their own particularity. In their cultural trends, originating from the values and concerns of their social existence; exploring new artistic values and symbols, and working through different artistic trends and techniques, in ways that reflect their visions about art as a duty, and represent a cultural, aesthetic and moral responsibility, toward the societies of their homelands and their adopted country. At present, this art activity is recognized as having made a vital contribution to Australian cultural life, incorporating serious artistic and cultural concerns, represented by a group of exhibitions. Thus, this study is in the frame of these cultural and artistic efforts, dating to the beginning of this activity in Australia, studying the educational, political, social conditions, which help in the development of this art. It focuses on exposing the artistic elements and their aesthetic and cultural values, the symbols and their relegations, which appear in the works of the participant artists in the frame of the study.
18
Fernandez, 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 intégralRésumé :
This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
19
Sargeant, Amy. « Semiotics of disillusionment : Protesting and Reframing Australia's political spectacle through détournement ». Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206454/1/Amy_Sargeant_Thesis.pdf.
Texte intégralRésumé :
This practice-led research project explores and expresses my disillusionment with the dysfunctions of the political establishment in Australia. This is achieved by reframing the visual elements of political spectacle through the installation of video, audio and sculpture, deployed in public and gallery settings. The research is enacted through a Rancièrian lens and uses a practice-led methodology, deploying the Situationist method of détournement to de-stabilise points of symbolic reference appropriated from Australian politics.
20
Morton, Felicity. « Valuing difference : A visual investigation of the contemporary depiction of Down syndrome ». Thesis, University of Ballarat, 2008. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/45208.
Texte intégralRésumé :
For over seven years I have worked within the Disability sector witnessing not only the daily challenges faced by individuals with a disability, but also the barriers placed by society. Throughout this period I have become acutely aware of the lack of representation of individuals with Down syndrome within the public domain of contemporary art. This is an area which I believe also creates barriers to society's acceptance and understanding of disability.Master of Arts (Visual Arts)
21
McComas, Magers Robyn. « Interactions in the space of one tree ». Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/25847.
Texte intégralRésumé :
This exegesis forms part of a cycle in the author's ongoing journey into the space of one tree, Eucalyptus gummifera. Many previously unchartered zones of experience give rise to experiences which are perceived slowly, with an open mind, in order to communicate an assemblage of experiences, objects and data which have come together to represent a reading of elements of the landscape of the Sydney Basin, one place where Eucalyptus gummifera grows. Each element has a niche within a specific grid of interaction that takes place in this lived environment. The work surveys fields of physical objects and relationships, inspiring new readings and translations of the landscape of one's own discoveries. Here the world acquires perspective and significance which enables fresh understandings and the deeper accquisition of knowledge. Thus the interactions in this sequence of the author's journeys into the space of one tree reveal further elements of the spatial landscape of Eucalyptus gummifera.
22
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 intégralRésumé :
This researcher is a descendant of the Quandamooka people from Minjerribah and Moorgumpin, North Stradbroke and Moreton Island. This practice-led research project explores the application of traditional weaving techniques in creating contemporary forms of fashion acknowledging the strength and structure of weaving practices across Australia. The resulting collection of the researchers woven garments is thus both a cultural expression and political statement. As a practicing Indigenous visual artist, this paper is a brief introduction to the researchers contribution to Indigenous Australian Fashion.
23
Millhouse, Llewellyn David. « Fantasy in Public ». Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380458.
Texte intégralRésumé :
This thesis consists of artworks and an exegesis in response to the question: How can the appeal of advertising narratives aimed at contemporary Australian youth culture be scrutinised through restaging narrative content? The exegesis will be structured around a chronological reflection on studio outcomes, interspersing evaluation of exhibited works with relevant theoretical frameworks and significant practices within this field of research. In response to the dense implicit ideological content of narrative in advertising and the historical field of cultural texts responding to consumer capitalism, the central argument of this exegesis will formulate a practical research methodology that enacts sustained scrutiny of an advertisement’s narrative appeal. In working towards a research methodology, this exegesis will assess the potential of appropriative art production to critically respond to contemporary youth-oriented advertising. Taking into account the pervasiveness of oppositional and ironically complicit narratives within contemporary advertising culture, this research will use a method of appropriation as over-identification to restage advertising narratives that relate to my personal experience, my identity and the values of my community.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
24
Young, Amanda M. « Several interpretations of the Blue Mountains : a juxtaposition of ideas over two hundred years ». Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/607.
Texte intégralRésumé :
In 1815 the Blue Mountains were first identified as a unique landscape when Governor Macquarie took a tour over them and located the nineteenth century principles of the Sublime and Picturesque within its' landscape. Until this time the Blue Mountains were considered to be a hostile impenetrable barrier to the West. This paper examines some of the ways the Blue Mountains has been represented in the past, and has been identified as a tourist destination through interpretations imposed on the landscape by the tourist industry since that time. The areas covered deal with the heritage of British Colonialism as a way of forming opinions about the Australian landscape. Then, the theories of the Picturesque and Sublime are examined when applied to the Blue Mountains landscape. The final chapters in this paper deal with contemporary issues that have shaped the way the tourist industry is encouraged to encounter the Blue Mountains landscape
25
Santiago, Restoy Caridad de. « Los museos de arte moderno y contemporáneo : historia, programas y desarrollos actuales ». Doctoral thesis, Universidad de Murcia, 1999. http://hdl.handle.net/10803/10881.
Texte intégralRésumé :
1- En primer lugar se ha elaborado sucintamente la perspectiva histórica del museo de arte moderno, es decir desde que nace la ayuda institucional al artista con la celebración de los Salones y la creación del primer museo de artistas vivos del mundo en el palacio Luxemburgo de París. 2- Posteriormente, nos centramos en el nacimiento del Museum of Modern Art de Nueva York, Moma, creado en 1929 con apenas 13 obras, el cual se convirtió en referencia obligada desde el punto de vista museológico para la creación de los futuros museos de arte moderno en el mundo durante casi seis décadas. Termina el trabajo con el modelo creado en los años setenta, la factoría beaubourg, el museo de la época postindustrial, y el museo postmoderno de los ochenta y sus repercusiones en la nueva museología. Si el Moma de Nueva York, creó una colección enciclopédica del arte del siglo XX, el Musée National d'art Moderne, consiguió implicar a la ciudadanía en el arte moderno. Tan importantes eran las colecciones que se mostraban en su interior como el flujo de visitantes y curiosos que se agolpan en el exterior. Finaliza con una aproximación a los Fonds Regionaux d'art Contemporain y el nacimiento de los Centros de Cultura Contemporánea.1- In the first place, a historic perspective of the modern art museum has been concisely elaborated, that is to say, since institutional grants to artists are created with the celebration of the Halls and the creation of the first museum of living world artists at the Luxembourg Palace of Paris.2- Subsequently, we focus on the birth of the Museum of Modern Art in New York, MOMA, created in 1929 with only thirteen pieces of art. This museum became an obliged reference from a museological point of view for the creation of the future modern art museums all over the world for almost six decades. The work concludes with the model created in the 1960s, the factory "Beaubourg", the postindustrial period museum, and the postmodern museum of the 1880s and its repercussions in the new museology. If the MOMA in New York created an encyclopedic collection of the art of the 20th Century, the "Musée National d'art Moderne", achieved to involve the citizens with the modern art. The collections showed inside were as important as the flow of visitors and curious that crowded outside. It ends with approximation to the "Fonds Regionaux d'art Contemporain" and the birth of the Centres of Contemporary Culture.
26
Sanders, Anne Elizabeth. « The Mildura Sculpture Triennials 1961 - 1978 : an interpretative history ». Phd thesis, 2009. http://hdl.handle.net/1885/7452.
Texte intégralRésumé :
The significance of the Mildura Sculpture Triennials from 1961 to 1978 lies in their role as critical nodal points in an expanding and increasingly complex system of institutions and agents that emerge, expand and interact within the Australian art world. These triennial events provide a valuable case-study of the developments in sculptural practice in Australia and offer a close reading of the genesis of an autonomous field of visual art practice; a genesis dependent upon the expansion of the new tertiary education policies for universities and colleges of advanced education that arose in response to the generational pressure created by the post war baby boom.
Given that there was virtually no market for modern sculpture in Australia at the inauguration of these triennials in the 1960s, the extent of the impact of the pressures and expectations of a burgeoning young population upon tertiary education, specifically the art schools, art history departments and art teacher training and, the expanding desire for cultural fulfilment and rapid developments in the cultural institution sector, is delineated at these triennial events. The expansion of the education system and the consequent expanded employment opportunities this offered to young sculptors in the late 1960s and throughout the 1970s, posited the first real challenge and alternative economy to the existing heterogeneous market economy for artistic works.
In order to reinscribe the Mildura Sculpture Triennials into recent Australian art history as an important contributor to the institutional development of Australian contemporary art practice, I have drawn upon the reflexive methodological framework of French cultural theorist and sociologist Pierre Bourdieu and his explanation of the factors necessary for the genesis and development of autonomous fields of cultural production. Bourdieu's method provides an interpretative framework with which to identify these components necessary to the development of an institutional identity - the visual arts profession. This autonomous field parallels, conflicts with and at times connects with the heterogeneous art market economy, depending on the strength of its relative autonomy from the field of economic and political power. However, this is beyond the scope of this thesis.
Mildura's significance lies in the way that the triennial gatherings provide a view into the disparate components that would connect to and eventually create an autonomous field of artistic production, that of the visual arts profession. However, the evolution of each of the components, which were the bedrock of Mildura, was driven by its own needs and necessities and not by the needs of the larger field of which they would eventually become a part. Bourdieu's understanding of the ontologic complicitiy between dispositions and the development of an autonomous field offers a non-teleological approach to the significance of Mildura as a site to map these rapid changes and also Mildura's subsequent displacement from the historical record.
27
Barker, Heather Isabel. « A critical history of writing on Australian contemporary art, 1960-1988 ». 2005. http://repository.unimelb.edu.au/10187/7134.
Texte intégralRésumé :
This thesis examines art critical writing on contemporary Australian art published between 1960 and 1988 through the lens of its engagement with its location, looking at how it directly or indirectly engaged with the issues arising from Australia's so-called peripheral position in relation to the would-be hegemonic centre. I propose that Australian art criticism is marked by writers' acceptances of the apparent explanatory necessity of constructing appropriate nationalist discourses, evident in different and succeeding types of nationalist agendas, each with links to external, non-artistic agendas of nation and politics. I will argue that the nationalist parameters and trajectory of Australian art writing were set by Australian art historian, Bernard Smith, and his book Australian Painting, 1788-1960 (1962) and that the history of Australian art writing from the 1960s onwards was marked by a succession of nationalist rather than artistic agendas formed, in turn, by changing experiences of the Cold War. Through this, I will begin to provide a critical framework that has not effectively existed so far, due to the binary terror of regionalism versus internationalism.Chapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model.
Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.
28
Pelser, Anro Zaan. « The design of a contemporary art and design centre in Central Pretoria ». Thesis, 2011. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000548.
Texte intégralRésumé :
Thesis (MTech. degree in Architecture)--Tshwane University of Technology, 2011.The aim of the thesis is to design a contemporary art centre in the inner city of Pretoria in the museum district of the Tshwane Metropolitan Municipality, to provide space for South African artists to exhibit and to expose more people to the arts.
29
Deeth, Jane Alexandra. « Extracting meaning from strangeness : strategies to enhance viewer engagement with contemporary art in the public art museum ». Thesis, 2009. https://eprints.utas.edu.au/19876/1/whole_DeethJaneAlexandra2009_thesis.pdf.
Texte intégralRésumé :
This research questions the notion that contemporary art is difficult to engage with, and
considers what the public art museum can do to enhance viewers' experience of
contemporary art. Contemporary art in this context is understood as the discursive, ideas-based
art that has come to the fore since the 1960s. It is argued that because the formalist
aesthetic remains the dominant mode of responding to art, this has limited the capacity
for viewers to make sense of more conceptually based contemporary art and, therefore,
more discursive approaches need to be enacted for meaningful engagement to occur.
While the contributions that artists and curators make in this regard are acknowledged,
the focus of the analysis is the constructivist museum as described by George Hein,
Eilean Hooper-Greenhill and Elaine Heumann Gurian, especially the emphasis placed on
direct experience and participation. It is argued that while constructivism presents some
possibilities for increasing engagement, it also has limitations. In particular, in
emphasising individual learning over the specifics of artwork, advocates of
constructivism run the risk of maintaining the formalist aesthetic as the dominant mode
of response to contemporary art.
In critiquing the constructivist approach, Helen Illeris's concept of the performative
museum and recognition of the existence of a range of interpretive roles for art provides a
valuable construct. However, Illeris does not address the issue of how to guide viewers to
enact the role most appropriate for the type of art they are encountering. This is particularly problematic when it comes to the reception of discursive based art which
requires engagement with ideas rather than aesthetic form.
In seeking to understand the rules of engagement appropriate for discursive art practice,
aspects of reception theory, in particular ideas about the role of the reader/viewer
postulated by philosophers Hans-Georg Gadamer and Jacques Derrida and art
historians/theorists Keith Moxey, Mieke Bal, Ian McLean and Justin Paton, are
examined. Rather than using their interpretations of particular artworks to explain
contemporary art, however, the study examines their behaviours in the act of
interpretation. The parallels between these behaviours and the psychoanalytic
conversation of Jacques Lacan are discussed and, in doing so, practical strategies for
engaging viewers with the discursivity of contemporary art are devised and enacted in a
public art museum setting. From the results of this analysis, a reorientation of the role of
the public art museum in relation to contemporary discursive art practice is advocated in
which the expert speaker becomes the expert listener.
30
Cochrane, GD. « Truth or trap : the Australian contemporary crafts movement's pursuit of art ideals ». Thesis, 1998. https://eprints.utas.edu.au/9975/15/Cochrane_whole_thesis.pdf.
Texte intégralRésumé :
The contemporary crafts movement was a phenomenon in the Western world, including Australia, from the 1940s.
Its roots were in the philosophies of the British Arts and Crafts movement of the late 19th century, and in the simultaneous expression of ideals of a new democracy through community life that included aspirations towards self-suffiency through crafts production. It was encouraged by progressive education policies from the 1920s and the related model of expressive individualism in the United States from the 1940s. It also reflected post-war responses to ideals of economic 'progress', to domestic consumerism, to new industrial products and processes and to the development of Modernism in art, design and industry.
The leaders of the contemporary crafts movement used the terms 'the crafts' or 'craft' as an umbrella for a wide range of practices under which to present a perception of cohesive identity and political force. In the early 1970s the movement gained the support of government funding, influenced the inclusion of crafts courses in educational institutions and developed a wide popular marketplace.
The contemporary crafts movement's early ideals and values placed an emphasis on the revival or re-invention of traditions of skilfully making beautiful, utilitarian objects by hand from natural materials. From the late I 960s, however, in seeking the status of art and artists, an increasing number of craftspeople started to pursue instead, the ideals followed by the fine arts at that time, ideals that themselves shifted during the 1970s and were contrary to crafts traditions.
This thesis will review the historical background of the Australian contemporary crafts movement's pursuit of art ideals, discuss the tensions that developed between different philosophies of crafts practice and account for the parallel relationship with design and
industry. In particular, it will review the subsequent effect of the crafts movement's pursuit of art ideals.
While the influence of art ideals clearly served to successfully challenge conservative aspects of crafts traditions, I will argue that the pursuit of these ideals also contributed to a loss of identity in crafts practice, a loss that has been under review from the mid-1980s.
I will argue that craftspeople should have confidence in acknowledging and valuing the wider histories and traditions that underlie their contemporary practice, including, but not without critical appraisal of, the influence of contemporary art values.
31
Cheney, Jacqueline Patricia. « The mythology of the uncanny : as theory and practice in Australian contemporary art ». Phd thesis, 2012. http://hdl.handle.net/1885/150841.
Texte intégralRésumé :
A sensation raw and primal, unwelcome yet not wholly alien but peculiarly familiar, neither a penetrating roar nor shriek from the depths but a more eerily pervasive murmuring, without being discredited as irrational but instead being elevated within academia - the mythology of the uncanny persists.
This inquiry focusses on the phenomenon of the uncanny and its exemplification in the visual arts. Whilst extant literature relates uncanniness to the broader field of aesthetics, especially enlarged upon in literature, film-studies and architecture, it is a comparatively neglected topic in the context of visual arts. It is occasionally touched upon in texts concerning an artist's work, but usually very synoptically. Yet much art aligns to readings of uncanniness. For example, Sally Smart's evocatively uncanny work attracts descriptive smatterings about it without adequate enunciation against a critical theoretical framework.
Such a framework, newly developed here, takes into account Sigmund Freud's pivotal essay of 1919 whilst providing new interpretations of it and its subsequent plethoric discourse. Furthermore, this framework incorporates entirely different viewpoints, including Existentialist versions of uncanniness centred upon Martin Heidegger's and Jean-Paul Sartre's theories. Whilst being an evolution of the extensive discourse, my framework assimilates otherwise disparate notions of the uncanny effect and its sensations, then applies it contemporaneously.
In writing from the secularised worlds of Freudian psychoanalysis and Existentialism, religion, spirituality and mysticism are areas not intentionally ignored nor sidelined as unworthy of consideration. Nevertheless the scope of this dissertation required curtailing thereby making the exclusion of the non-secular a necessity. Psychophysical, neural and cognitive characteristics of viewers' sensory perception of artwork (in relation to evoking uncanniness) are other exclusions, and whilst I touch on various socio-political aspects of the uncanny, it likewise requires greater regard than what is allowed for herein.
This is essentially an interpretative analysis which applies a more broadly developed framework to six Australian artists whose work is persuasively uncanny: Ron Mueck, Patricia Piccinini, Sally Smart, Lawrence Daws, Pat Brassington and Bill Henson. These case-studies are structured into three chapters: the first concentrates on three-dimensional, figurative sculpture (Mueck and Piccinini); the next section looks at siting the uncanny in two-dimensional landscapes, specifically the locale of Australia, a land where the uncanny is said to loom large (Smart and Daws); whilst the final section focuses on uncanny 'filmic' surfaces or photo-based media (Brassington and Henson}. This form of analysis is founded on either the artist's self-identification with the topic and/or is based on consistent commentary about their artwork eliciting uncanniness, except Henson, who receives little discussion in relation to uncanniness, but, as demonstrated, epitomises it nonetheless.
Examining their art against a contemporary theoretical framework thus addresses a lacuna of critical, academic insight into the uncanniness of visual art, before drawing conclusions about some conceptual, technical and formal differences and similarities.
32
Slocum, Catherine. « Beyond the Aesthetic : A Study of Indigeneity and Narrative in Contemporary Australian Art ». Phd thesis, 2016. http://hdl.handle.net/1885/136433.
Texte intégralRésumé :
Over the past decade, some of the most celebrated art to emerge from Australia has been the work of a group of Indigenous artists whose practice has been instrumental in relocating Indigenous experience and establishing an Indigenous sense of place within the complex social, political and cultural landscape of contemporary Australia. Their work is rooted in the urban Indigenous art movement that swept across the southeast of Australia in the mid-1980s. Like many artists once on the periphery of mainstream artistic narratives, however, these artists have benefited from globalisation, and they now find their work in the evolving discussions of contemporary art worldwide. No other group of artists has offered a more thorough or far-reaching artistic investigation of the history and lived experience of Indigenous Australians since colonisation, yet their work continues to be overlooked as a core area of academic inquiry. This thesis seeks to both illuminate its cultural significance and to state the case for continued art historical research on work tied to the narrative of Australia’s shared history. It does so through an in-depth reading of artworks produced by Vernon Ah Kee, Tony Albert, Brook Andrew, Daniel Boyd, Dianne Jones, Christopher Pease and Christian Thompson since 2000. At the forefront of these pieces are narratives underlining the subjugation of Australia’s Indigenous history, the intergenerational impact of colonisation and its legacy and the continued misrepresentations by others of Indigenous people and culture.
33
Hsu, Ya-Chi, et 許亞琦. « The Contemporary Art Turn of Centre Pompidou : A Study on the “Contemporary Collections : From the 1960’s to Today” of the National Museum of Modern Art ». Thesis, 2015. http://ndltd.ncl.edu.tw/handle/fevhb2.
Texte intégralRésumé :
碩士國立臺北藝術大學
博物館研究所碩士班
103
This thesis takes Contemporary Collections : From the 1960’s to Today, a permanent collection exhibition of the Musée National d’Art Moderne in Centre Pompidou, as object of study. We aim to explore how this art institution embodied the contemporary art turn through its institution positioning, art history constructing and its exhibition thinking. The Centre Pompidou is not a museum dedicated exclusively to fine arts. It combines various fields including Musée National d’Art Moderne, Centre de Création Industielle, Département du Dévéloppement Culturel, Institut de Recherche et de Coordination Acoustique/Musique and Bibliothèque Publique d’Information. It has been a cultural complex that had redefined the boundaries of the museum walls. The Centre Pompidou has collected a considerable number of modern and contemporary art works. It parallels with the Musée du Louvre (collecting artworks from ancient art to 1850) and the Musée d''Orsay (collecting artworks from 1848 to 1914) as the top three typical national art museums bearing distinguished tasks in constructing art history. The Musée National d’Art Moderne conceived the year 1960 as the watershed from which the arts had turned from modern toward contemporary and declared the contemporary implication of interdisciplinary art through collecting not only the plastics arts but also works of creative and multi-dimensional categories and carriers, such as photography, experimental films, videos, new media, industrial creative works, designs and architectures. This thesis tries to demonstrate that the permanent exhibition of contemporary art collection proves its museum task shifting toward contemporary art. In interpreting this permanent collection exhibitions, we explore three perspectives: its definition of temporality, its composition of spaces, and its historical narratives of contemporary arts. And we’ll see there exists continuing contradictions between modern art museum and contemporary art exhibition. By this study, we propose a further discussion of the neccecity of an art institution for contemporary art.
34
KO, I.-CHI, et 柯奕祺. « The Analysis of Curatorial Approaches of Contemporary Art in Pier-2 Art Centre, with reference to ‘Through the fingers…” Exhibition ». Thesis, 2017. http://ndltd.ncl.edu.tw/handle/b29vmc.
Texte intégralRésumé :
碩士國立高雄師範大學
文化創意設計碩士學位學程
105
In this research, the approaches of ‘how to curate a contemporary art exhibition’ were analysed by textual analysis and a real event in Pier-2 Art Centre. It is critical to establish a checklist for planning, organising, leading and controlling during the whole curatorial process. More importantly, it could provide a general rule to those curators and exhibition-related organisations to obey and to consider for their further curating plans. Furthermore, the visitor’s viewing motivations were divided into six different segments by factor analysis via the questionnaires, which collected during the exhibition: staff and service, facilities and environment, guided tours, self-improvement, reputation and information accessibility. Then, it uses multiple regressions for analysing the visiting factors from recommendation to revisit. After this, to use independent T-test and repeated measure of ANOVA for comparing the significance between different demographics. This is not only for understanding the audience’s thought, but also to apply it into exhibition marketing methods and curatorial planning.
35
(9874106), AJ Ash. « A local analysis of contemporary Chinese/- Australian art by Guan Wei, Wang Zhiyuan and Ah Xian using a global aesthetic ». Thesis, 2005. https://figshare.com/articles/thesis/A_local_analysis_of_contemporary_Chinese_-_Australian_art_by_Guan_Wei_Wang_Zhiyuan_and_Ah_Xian_using_a_global_aesthetic/13422644.
Texte intégralRésumé :
Study examines "the contemporary art practice of three diasporic artists: Guan Wei, Wang Zhiyuan, and Ah Xian and documents their practice and analyses their work using contextual methods".. This project sheds light on Australian art that reflects an emerging global aesthetic. I map the historically oriented relations of artistic exchange in the Asia-Australia region with a focus on contemporary hybrid art created by diasporic artists. I am primarily concerned with the mobile and adaptive cultural exchanges between cultures in response to globalisation. Globalisation is seen as the tension between the global and the local where each informs the other. The underlying processes of globalisation are used to develop an aesthetic that underpins contemporary hybrid art practice located on the interstice between the global and local. I outline a new aesthetics to engage with such transformational art based on multiaxiality, dispersion, transience, unassimilabilty, translation and hybridity. Through case study, I address the contemporary art practice of three diasporic artists: Guan Wei, Wang Zhiyuan, and Ah Xian using a global aesthetic. Taking the artwork of these artists, I document their practice and analyse their work using contextual methods. Finally, I detail the outcomes and syntheses of the research emerging from history, place, theory and most importantly art practice informed by globalisation. The study has implications for artists, theorists, historians, and critics concerning specifically Chinese/-Australian art and contemporary hybrid art in Australia and Asia.
36
May, Sally. « Karrikadjurren : creating community with an art centre in Indigenous Australia ». Phd thesis, 2005. http://hdl.handle.net/1885/151351.
Texte intégral
37
Tseng, Chien-Lin, et 曾建霖. « Production Mechanism in Contemporary Art Museums— A Study based on the New Media Department of Centre Georges Pompidou ». Thesis, 2010. http://ndltd.ncl.edu.tw/handle/n3ckpu.
Texte intégralRésumé :
碩士國立臺北藝術大學
藝術行政與管理研究所
98
Reliance on technology to create artworks is a growing trend on the development of contemporary art. The rise of new media art to create artworks is considered one of the reference indicators that signal that trend. Consequently, a response mechanism set up in art museums on addressing the demand in digital techniques hence emerges. Given that the built mechanism of new media art in Taiwan is relatively young compared with its foreign counterparts, this study will therefore use the New Media Department of Centre Georges Pompidou in France as the base of extended thinking. The New Media Department of Centre Georges Pompidou was founded on rich art resources as France was both socially and historically tumultuous. With the Centre as the thinking basis, this study may bring forth a more comprehensive research precondition than a view generated from a pure art museum in new media art. In other words, this study does not directly verify or inspect the model of new media art mechanism and on how it currently works, however, it aims to sort out the tangled aspects involved in new media art mechanism, and invite renewed debate and critical thinking over the mechanism of art museums and the production of artworks. This study is centered on the development positioning of the New Media Department of Centre Georges Pompidou and supported by the following three issues: (1) The logical nature of production mechanism; (2) The Alienation of production mechanism; (3) Strategic analysis of production mechanism. Each issue extends itself towards related aspects for further discussions. Contents are summarized as follows: On the issue of the “logical nature of production mechanism,” the study gradually clarifies that an art museum functions to display the interpretations of artworks. Through contradicting controversies often found in new media artworks and the concept of classic traditional collections, this study shall on the one hand shed light to how the New Media Department of Centre Georges Pompidou practices multi-track collections, and on the other, stress the equal importance rooted in both productions and classic collections. On the issue of the “alienation of production mechanism,” the context of how the art ecology or environment grows institutionalized incrementally is studied. It also traces back on the transitional sphere of influence created by salon-styled exhibitions and modernism. Going forward, it brings us to heart-searching and self-criticism which may be critical at a time when faced with the development of new media art. On “strategic analysis of production mechanism,” the model of commission-based productions employed by the New Media Department of Centre Georges Pompidou is analyzed strategically on hypothesis basis and how this model has brought forth the anticipated benefits for Centre Georges Pompidou in terms of its operations as a whole. In the end, research findings under each chapter are integrated and concluded into a reference package as a feedback to Taiwan’s production mechanism.
38
Dunt, Nerina Joy. « Investigating the aesthetic character of Australian urban Indigenous art : a socio-political fusion ». Thesis, 2018. http://hdl.handle.net/2440/118123.
Texte intégralRésumé :
Two distinct geographies inform the practice and production of contemporary Australian Indigenous art: one is desert-based and remote; the other is urban-based (including regional centres). Art historically, urban Indigenous art has been overshadowed by the attention given to desert and remote Indigenous art. From the mid to late 1980s, however, urban Indigenous art built in momentum and proliferated, as its artists channelled in their work, to varying degrees, a connection with matters concerning Indigenous and non-Indigenous relations that were socio-political in nature. Artists interrogated Australia’s colonial paradigm. This thesis investigates the development of the urban Indigenous art movement, for a duration of more than thirty years, establishing how the socio-political connection has significantly motivated its aesthetic character. The research questions bring focus to the definition of a socio-political aesthetic, how artists portray it, and why it is central to the movement of urban Indigenous art. Decolonial theory provides a useful methodological framework for understanding Indigenous perspectives and Indigenous voices that are shown to ideologically underpin this socio-political aesthetic in urban Indigenous art. In employing this theory for analysis, four key objectives guiding artists are evident within the period surveyed: empowerment; defying colonial representation; recovering the Indigenous subject through the analysis of colonialism; and self-determination. Expressions of the socio-political aesthetic within urban Indigenous art are found to be numerous. For some artists, expression is equivalent to participation within the socio-political field. For others, expression operates on sensate and affective levels. Subversion and resistance to previous colonial modes of representing Indigeneity feature highly, as do the processes of destabilisation and undermining of colonial knowledge and power systems. Some artists harness key socio-political events and respond to these using autobiography or collective and cultural memory; others recover Indigenous perspectives in order to achieve historical transparency. Critique, criticality and collectivity are also strategies used to execute a socio-political aesthetic, with Indigenisation of the curated space occupying a key role in dissemination. The thesis contends that not only is a socio-political aesthetic intrinsic to urban Indigenous art, but that such an aesthetic manifests as socio-political agency. Urban Indigenous artists present contemporary art that is authoritative, delivering the message that contemporary Australian Indigenous culture, identity and representation should be managed from a self-determined position that is distinctly Indigenous.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2018
39
Keller, Christiane. « 'Nane Narduk Kunkodjgurlu Namarnbom' : 'This is my idea' : innovation and creativity in contemporary Rembarrnga sculpture from the Maningrida region ». Phd thesis, 2006. http://hdl.handle.net/1885/151065.
Texte intégral
40
Greenhill, Fiona. « The stutter of recognition : re-visioning the baroque in contemporary painting ». Thesis, 2013. http://hdl.handle.net/1959.13/1039658.
Texte intégralRésumé :
Research Doctorate - Doctor of Philosophy (PhD)The major theme that runs throughout my work has always been the question of representation; where to draw the line between ‘real life’ and ‘art’, illusion and abstraction, transcription and composition. The line between illusion and truth, or to put it another way, “between the ontological and the epistemological – between ‘things as they are’ and ‘things as they seem”, was also a concern that preoccupied the seventeenth century. This research challenges the assumption that the ancients are fixed firmly and stably in a past in which the moderns are the victors and the ancients the losers. This research reconsiders the contribution the Baroque has made to Western thought, but in particular, to explain its ongoing appeal and its continuing relevance to painting in the late twentieth / early twenty-first centuries. And more importantly for the purposes of my own research as a painter in the digital age, is to pose the question: how to formulate a Neo-Baroque aesthetic adequate to addressing the problems and uncertainties specific to painting in the twenty-first century?
41
Welch, Andrew Ian. « Contemporary processes and historical precedents for handmade crafts practice in the context of technological change ». Phd thesis, 2010. http://hdl.handle.net/1885/151659.
Texte intégral
42
Sokhela, Andile. « Indigenous arts and crafts on contemporary South African architecture : the influence of culture and identity : a proposal for an arts and crafts centre in Pietermaritzburg ». Thesis, 2012. http://hdl.handle.net/10413/9201.
Texte intégral
43
Doyle, Wawrzynczak Anni. « Transcending the National Capital Paradigm : The Evolution of Bitumen River Gallery/Canberra Contemporary Art Space ». Phd thesis, 2016. http://hdl.handle.net/1885/118221.
Texte intégralRésumé :
This dissertation investigates the fertile tensions in Canberra’s dual status as national capital space and local polis, that dramatically affected the development of a unique contemporary arts practice in the late 1970s. The primary thrust of this thesis is the triumph of local arts practice and community over the powerful nation- building cultural imperatives of a national capital. A complex narrative, informed by rich archival material and interviews, exposes local arts practice as a generative force in Canberra’s cultural development. Here, an examination of the citywide development of local arts and culture from the 1920s to 2001, leads to a case study of the launch and development of Bitumen River Gallery/Canberra Contemporary Art Space from 1978 to 2001. Women are shown to have exerted a profound influence in this important space, in contrast to the trend of the male-dominated art scene in the rest of late twentieth-century Australia. In sum, this dissertation traces the trajectory of arts practice in Canberra as a response to critical social and cultural needs within the national capital space, to a humanising local practice that transcended the capital’s national and international cultural imperatives.
44
Massola, Catherine Anna. « Living the heritage, not curating the past : a study of lirrgarn, agency & ; art in the Warmun Community ». Phd thesis, 2016. http://hdl.handle.net/1885/101039.
Texte intégralRésumé :
This thesis is an historical and contemporary examination of the
creative, social and cultural world of the Warmun community in
Western Australia. It focuses on how the community as a whole,
and as individuals, exert agency and maintain their values and
priorities when situated within larger, sometimes more powerful,
structures and frameworks that differ from their own.
Through the prism of art, the research examines the community's
engagement with and value of the Warmun Community Collection,
their history of adjustment, the unofficial roles of the Warmun
Art Centre and how the Warmun Art Centre supports and enables
informal learning. The thesis connects these four themes through
a socio-historical analysis of the experiences of Warrmarn
people, ethnographic and visual descriptions of their actions and
a visual examination of the manifestations of their
actions—objects of creative practice or, artworks.
In doing so, the thesis reveals several overlapping matters: it
tracks the development of a museum in an Aboriginal community; it
brings to light the hidden roles of the Warmun Art Centre; it
contributes to the developing field of informal learning; it
reveals how people express agency in daily life; it unveils the
proprietorial relationship people have with objects; and finally,
it lays bare the purpose, use and interpretations of objects,
which has at times made Warmun residents, and their sites of
cultural production, tangential to the objects they make. The
research finds that Warrmarn people live their heritage rather
than curate their past.
45
Huang, Angelito Junior. « On Resurfacing : A Case for a Cultural Renaissance ». Thesis, 2012. http://hdl.handle.net/10012/7267.
Texte intégralRésumé :
Globalization and the advancement of technology have made the world smaller. Boundaries that define nations and nationalities have blurred and the resulting sense of displacement has undermined assumptions of identity and conversely made the search for identity more urgent.
This thesis investigates the dialogue between the contemporary arts and architecture through the lens of the Filipino culture as a way to recapture and bring to the surface the contemporary identity of Filipinos and the Philippines. It proposes an understanding of history, geography and culture as a complex floating archipelago out of which our identity as individuals and nations emerge. It suggests that the events of history and the characteristics of geography are the grounds out of which art, myths and legends continue to be formed and sustain their relevance.
Today, these compelling narratives emerge through the works of contemporary artists. They help us view and understand our flaws, struggles, triumphs, and future as a society in a way that speaks of our culture and time. Architecture, as a container and stage for culture must be sensitive to this artistic contemporaneity if it is to be indexical to our time.
The Philippines, as a culture of hybrid and regional identities, has long struggled to make sense of the Contemporary in a largely Traditional society. The thesis proposes a new Centre for Contemporary Arts in Manila to bring the diverse artistic activities of the country into focus. It intervenes at interface between the Traditional and the Contemporary, which bridges the gap between the two, thus heralding a Cultural Renaissance and help generate a sense of contemporary nationalism.
46
Chinnappa, Nidhi. « Biennial for biennial’s sake ? : questions in the wake of their proliferating nature : the Venice Biennale and the European Cultural Centre as case studies ». Master's thesis, 2020. http://hdl.handle.net/10400.14/33407.
Texte intégralRésumé :
The exhibitionary complex in the 21st century is continually transforming due to the
global shifts in the contemporary art market. As a consequence, contemporary art
biennials have transformed and proliferated into self-appointed institutions in every other
city around the world. This report corresponds to a four-month internship experience at
the European Cultural Centre in Venice during the 58th Biennale di Venezia, starting
from September 2019 to December 2019. The aim of this report is to critically question
and investigate the nature of large-scale temporal exhibitions, specifically in light of their
proliferating complexities. This internship report intends to make an analysis using two
case studies, the Venice Biennale which will serve as a theoretical study and the
European Cultural Centre as a practical experience. A critical analysis of the Venice
Biennale, arguably the oldest and most prestigious biennial alongside the European
Cultural Centre’s art biennial Personal Structures, a young and alternative exhibition
platform, provides a measure in weighing the commercial grandeur of the big art event
against the biennial platform as a space for presenting something new where art and their
producers are elevated. To do so, this report will consider the contemporary art biennial
format, the curatorial positionings, the challenges of presenting and representing the
global exhibitionary form and the questions in wake of the proliferation of art biennial at
large. Ultimately, the questions articulated in this study are intrinsically linked to a single
argument, the future direction of contemporary art biennials. Consequently, the purpose
of this report is to meaningfully contribute to the biennial debate by encouraging and
opening discussion where the cultural, social and economic factors can be further
explored through the lens of Culture Studies. Finally, for biennials established, new and
forthcoming this report will highlight important conditions to examine.
47
Moineau, Claire. « La construction des artistes femmes du Moyen-Orient dans les expocollections du Centre Pompidou : les cas de "elles@centrepompidou" et "Modernités plurielles de 1905 à 1970" ». Thèse, 2018. http://hdl.handle.net/1866/21278.
Texte intégral
48
Allan, Michele Margaret. « ‘LIQUID SPACE’ : a visual investigation of the sea as an empirical, experiential and metaphoric space ». Phd thesis, 2013. http://hdl.handle.net/1885/13491.
Texte intégralRésumé :
Artworks produced in this studio-based research (option D) involve exploration
of the ‘liquid space’ of the sea, not just in its physical and sensual nature and the
way the sea looks, but also with what the sea inspires. They explore the spatial
dynamics of underwater terrains, convergences of inner and outer ‘space’, and
question if and how the numinous and immaterial might be made manifest in the
material. References to the traditional story of Jonah and the Whale operate as a
contemporary metaphor for the sea as a site of death and renewal. Through the
creation of series of paintings, works on paper and engraved glass overlays, the sea
is examined as a synthesis of the complex and diverse on many fluidly interacting
levels, including the empirical, experiential and metaphoric. As a poetic space with
many levels of resonance, it becomes ground for exploring the creative process,
the nature of being and processes of transformation and change within each.
Research questions include: What might a contemporary expression of
the interaction of the physical and metaphysical self be like? How might a
synthesis of abstraction and representation be created in the visual language of
painting? How might concepts of unity be reconciled with rhythms of death and
renewal, transformation and change? Does unity necessarily mean uniform?
A significant aspect of this research has been the generation of artworks on or through
field trips to locations by the sea - Cape Leveque in North-east Australia, Heron Island
Research Station on the Great Barrier Reef and South Bruny Island in Tasmania. In
exploring the interface between abstraction and representation, unity and diversity,
and the inner and outer worlds, I have discovered the sea rich ground for reenvisioning
these seeming opposites as co-creative, relational and finally inseparable.
The ‘Wave’ structure of the Exegesis is more than usually organic in form. Conventional
chapters are replaced by multiple and varied sections, each called a WAVE and written
in changing ‘voice’. Echoing the shifting rhythms of the sea, and in order to correspond
more directly to the way practice-driven research creates meaning, the wave structure
reflects the wider concerns of the research to synthesise the unexpected and diverse.
49
Longley, Dianne Clare. « The Development of a Print Culture in South Australia Post-WWII to 2008 : institutions, politics and personalities ». Phd thesis, 2017. http://hdl.handle.net/1885/144594.
Texte intégralRésumé :
In this thesis, there is an investigation into the factors that
contributed to the ascendancy of printmaking in South Australia
in the 1960s and the development of political printmaking in the
1970s. An analysis of key individuals is contextualised within
the institutional and political frameworks operating in Adelaide
at this time.
An important aspect of this thesis is the examination of the
transition from teaching craft and trade-based print subjects to
fine art printmaking courses at the South Australian School of
Art (SASA), one of the oldest art schools in Australia. Some of
the research was based on the SASA archival material at the
University of South Australia, which included the prospectus
booklets, presentation of diplomas and prizes leaflets, SASA
principal’s reports, and The Advertiser newspaper listings of
students’ results.
Paul Beadle and Charles Bannon were responsible for key
developments in printmaking in South Australia. Beadle was a
dynamic and far-sighted principal of the SASA from 1958-60.
Bannon taught at St Peter’s College, where he instituted a
‘Bauhaus-style’ education methodology in the preparatory
school. When Bannon was placed in charge of high school classes,
he chose German printmaker Udo Sellbach to carry on his
educational methods in the preparatory school. Beadle invited
Sellbach to set up a graphics studio at the SASA and Sellbach and
his then wife, Karin Schepers, became leading figures in the
revitalisation of fine art printmaking in South Australia.
Case studies of Charles Bannon, Barbara Hanrahan, Ann Newmarch
and Olga Sankey are employed to extend the thesis narrative of
printmaking education and professionalism in South Australia. In
each case study, the formative years, studies, overseas travel
and printmaking careers are considered in relation to their
contribution to printmaking in South Australia.
Despite the outstanding achievements of printmaking in Adelaide
in the 1960s and 1970s, this has been a neglected area of
research. In this thesis, important new research is presented and
a number of reasons are canvassed as to why there was a
subsequent contraction in printmaking in South Australia,
especially in relation to the national context.
50
Tsai, Wendy. « A response to space in the natural environment : painting as a phenomenological study of the Blue Mountains, NSW ». Master's thesis, 2015. http://hdl.handle.net/1885/150365.
Texte intégralRésumé :
My Masters research engages with the ways as a painter, I increasingly struggle to give form to my relationship with the Blue Mountains. Although it is a familiar natural environment, this struggle has articulated my research question: Can problems associated with representing vast natural environments like the Blue Mountains be overcome through an analysis of personal embodied experience? This thesis examines the complexities of translating the perceptual and corporeal experience of the Blue Mountains. This site is rich in social history, from Indigenous occupation through to the listing of its status as a World Heritage Area in 2000. It is also a place of early childhood memories and has been my home for the last 20 years. My research has investigated these histories and the physical landscape in an organically responsive practice of both charcoal drawing and watercolour on paper. The written exegesis of 20,000 words, describes the outcome of the research in four bodies of work on paper: Nests, Vertigo, Absence and Presence and Keepsake. The Nests works explore the symbolism of the nature of nests, while also providing the opportunity to more ambiguously trace the labyrinthine form of the mountains. Vertigo considers the implications of edges, and of distance and intimacy. In Absence and Presence, I advocate for what is hidden in the landscape, including the competing and forgotten stories about place. The final works identify how I have brought the horizon and vastness into intimate images that can also become objects to be held in the palm of the hand. I have argued in the exegesis from the perspective of psychoanalytic theory and phenomenology, how the development of a personal symbolism originating in an embryonic nest has enabled me to approach some of the more problematic concepts of vastness that this natural environment holds. This trope evolved through my studio research, and was developed through a series of constructed and productive binaries, such as intimacy and distance, past and present, and loss and attachment. I argue through the studio practice and writing that the development of these approaches have contributed to the renewed accessibility, for my audience, and myself, of a distinctly over-represented and culturally determined site.