Tesi sul tema "21st century art"
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1
Andrews, Allison Parker. "21st Century Zen Garden". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/757.
Testo completo
2
Jeppesen, Travis. "Towards a 21st century expressionist art criticism". Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1812/.
Testo completoAbstract (sommario):
This thesis explores the following questions: What might a 21st century expressionist art criticism consist of? How does such a mode of “art writing” relate to oppositional strategies often employed by certain artists challenging the boundaries traditionally separating art from writing? What role does the body play in such a model of writing? What role might fiction play in an expressionist art criticism? The intended outcome is to render a new model of writing “in the expanded field,” to borrow Rosalind Krauss’s phrase. The essays and pieces of writing comprising this dissertation have been organized into four sections. The first part, “Bad Writing,” lays the groundwork for the three stylistic modes of expressionist art criticism that follow: the Expressionist Essay, Ficto-criticism, and Object-Oriented Writing. Prefaces before each section elaborate the conceptual thinking involved in arriving at each particular designation, as well as the positioning of each mode in the overall conception of a 21st century expressionist art criticism. This thesis begins with the argument that art criticism must first and foremost be understood as a literary art form. This is an issue of intentionality that must be asserted at the outset, one that resonates with John Dewey’s notion of criticism’s re-creative and imaginative aim. It is one of the essential qualities that distinguishes art criticism from the art historical endeavor. I contend that the practice of art criticism is an art form in and of itself, one that, following the poet-critic model (or, more aptly, anti-model) advanced by Baudelaire and Apollinaire, is essentially complementary to the art object. This complementarity is what the task of an expressionist art criticism hopes to achieve. Thus, this thesis should be considered as an example of an art writing practice in the context of a thesis-based dissertation.
3
Rhea, Jonthan P. "THE NEOTERICS A PANTHEON FOR THE 21ST CENTURY". OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1897.
Testo completoAbstract (sommario):
My thesis work explores the spiritual embodiments of 21st century culture by creating a set/series of sights, sounds and other sensory experiences that are symbolically representative of a new pantheon called The Neoterics and its mythology. It examines the human quest for stability (survival, community, and mental/physical/ financial stability) in a world of constant change. The exhibition introduces the six members of the pantheon as the embodiments of the primitive or basic needs, contemporary wants, and future desires of humanity, at least from the perspective of Westernized culture. This paper looks at mythology’s role in the 21st century. It examines the artistic process of creating and representing mythological entities in the gallery and museum space. It peers through the lenses of the literary theory of ‘carrier bag fiction’ and the theory of the artistic gifts in relationship to the exhibition. Finally concluding with where this new mythology might go as it expands and grows in the future.
4
Gianakos, Anna. "Bringing the visual arts classroom into the 21st century". [Denver, Colo.] : Regis University, 2007. http://165.236.235.140/lib/AGianakosPartI2007.pdf.
Testo completo
5
Knezevic, Nina. "Interpreting the autobiographical archive". Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/13893.
Testo completo
6
Bell, Tamekia, e Cassandra G. Pusateri. "Bringing the Art of Counselor Education into the 21st Century". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3157.
Testo completoAbstract (sommario):
Technology currently permeates both the personal and professional lives of many counseling professionals. Therefore, counselor educators are charged with the responsibility of ensuring appropriate infusion of technology in the training of counseling students. During this presentation, three methods for incorporating technology in the classroom will be discussed and demonstrated and current literature about their efficacy will be reviewed. Attendees are strongly encouraged to bring a smart phone, tablet, or laptop to the presentation to ensure full participation.
7
Saunders, Jacob A. "Creative prespective [sic] and works of Jake Saunders". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371475.
Testo completoAbstract (sommario):
The primary objective of this creative project was to produce a professional grade body of work, which clearly expresses the author's perspective and concerns. The works were executed in the traditional mediums of woodcut, etching, drypoint, and drawing. The second objective was to further explore these mediums and their potential in contemporary art.Department of Art
8
Adams, Sandra. "A 21st century pilgrim’s progress: art practice, place and the sacred". Thesis, Curtin University, 2013. http://hdl.handle.net/20.500.11937/2560.
Testo completoAbstract (sommario):
The artworks and exegesis that comprise this body of work explore what it means to belong - in place, in a lineage and in relation to the sacred - and seek to understand how art practice serves to interrogate and address the alienating effects of dislocation, transience and otherness. In positioning art practice as a collaborative engagement, this work challenges traditional notions of personhood and expands the parameters of the numinous.
9
Reibel, Shannon. "THE FUTURE OF AESTHETICS IN/AND VISUAL CULTURE ART EDUCATION IN 21ST CENTURY ART EDUCATION". VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1752.
Testo completoAbstract (sommario):
This grounded theory project researches and analyzes publications from 1990-2008 assessing the debate over aesthetics in/and VCAE in 21st century art education. Through a series of visual models, a working theory and its supporting evidence assess this contested subject. Within the context of Modern and Postmodern paradigm conflict, art educators’ debate over aesthetics in/and VCAE fundamentally deals with differing conceptions of identity and freedom. Although commonly sharing the goal of fostering the formation of student identity through the provision and exercise of freedom, art educators’ differing perspectives on identity and freedom result in differing prescriptions for 21st century art education. By presenting qualitative data analysis through grounded theory, I guide fellow art educators through this debate by providing snapshots of information as well as detailed portraits of the scholars and their multifarious rationales.
10
Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture". [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
Testo completo
11
van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement". Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.
Testo completoAbstract (sommario):
Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
12
Thornton, Amber. "An Essay on the Art of Ingeniously Tormenting for the 21st Century". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/honors_theses/6.
Testo completoAbstract (sommario):
This satire offers an update of Jane Collier's "An Essay on the Art of Ingeniously Tormenting," an instruction manual for sadists. It includes directions for the beginning tormentor with specific instructions for tormenting strangers, acquaintances, friends, lovers and relatives.
13
Cardwell, Robert Ewell. "A Survey of 21st Century Gay-Themed American Art Songs for Baritone". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703289/.
Testo completoAbstract (sommario):
The majority of repertoire catalogs for singers, printed and digital, often list works by voice type, language, and/or genre. The 21st century has seen an emergence of online classical music catalogs where the user can seek repertoire by searching composers from underrepresented communities (i.e., women, Black, LGBTQ, Latinx). What does not currently exist is a resource that catalogs songs for solo voice dealing specifically with gay subject matter. This dissertation surveys seventeen 21st century gay-themed art songs by four living American composers: David Del Tredici, Ben Moore, Clint Borzoni, and Gary Schocker. Each chapter introduces a different composer and a select representation of their gay-themed art songs. Each entry includes text analysis based on the composer's and author's intentions and a brief analysis to determine pedagogical and musical difficulty. It is my intent that this document will facilitate a much-needed resource and encourage further study, promotion, and performance of voice works with gay themes. Moreover, I hope that it will serve as a tool for the applied voice teacher to assist in the vocal and artistic development of their students through broader repertoire choices.
14
Huebert, Kevin D. "The role of airpower in irregular warfare for the 21st century". Thesis, Monterey, California : Naval Postgraduate School, 2009. http://handle.dtic.mil/100.2/ADA514119.
Testo completoAbstract (sommario):
Thesis (M.S. in Defense Analysis)--Naval Postgraduate School, December 2009.Thesis Advisor(s): Tucker, David. Second Reader: Greenshields, Brian. "December 2009." Description based on title screen as viewed on January 27, 2010. DTIC Descriptors: Air Power, Unconventional Warfare, Threats, Theses, Military Tactics, Tibet, Weapons, Yugoslavia, Counterinsurgency, Military Operations, Laos. DTIC Identifiers: Irrregular Warfare. Author(s) subject terms: Airpower, Irregular Warfare, Unconventional Warfare, Counterinsurgency, Special Operations, Yugoslavia, Partisans, Laos, Royal Laotian Air Force, Tibet, Forward Air Controller. Includes bibliographical references (p. 57-59). Also available in print.
15
Huebert, Kevin D. "The role of airpower in irregualar warefare for the 21st century". Monterey, California : Naval Postgraduate School, 2009. http://edocs.nps.edu/npspubs/scholarly/theses/2009/Dec/09Dec%5FHuebert.pdf.
Testo completoAbstract (sommario):
Thesis (M.S. in Defense Analysis)--Naval Postgraduate School, December 2009.Thesis Advisor(s): Tucker, David. Second Reader: Greenshields, Brian. "December 2009." Description based on title screen as viewed on January 27, 2010. Author(s) subject terms: Airpower, Irregular Warfare, Unconventional Warfare, Counterinsurgency, Special Operations, Yugoslavia, Partisans, Laos, Royal Laotian Air Force, Tibet, Forward Air Controller. Includes bibliographical references (p. 57-59). Also available in print.
16
Williams, Court. "Sensitive skin". Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
Testo completoAbstract (sommario):
The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
17
Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity". Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
Testo completoAbstract (sommario):
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.
18
Regan, Clarissa. "Transforming tales : fairy stories in a contemporary world". Thesis, The University of Sydney, 2009. https://hdl.handle.net/2123/21678.
Testo completoAbstract (sommario):
Dissertation The research undertaken examines the functions and role of narrative in society, looks at examples of narrative in ceramic art and describes the use of narrative in a series of ceramic sculptures created by the author during 2007, 2008 and 2009. Changes in ceramic form historically are also described, with reference to Greek, Chinese and contemporary ceramic artists including Grayson Perry, Betty Woodman, Rudy Autio and Antje Scharfe. Critic Garth Clark’s concept of the ‘pot as drawing’ is also discussed. Two traditional fairy tales, Hansel and Gretel and Bluebeard are discussed and analyzed for their narrative content, as well as from a Jungian psychological perspective. Theorists Julius Heuscher, Bruno Bettelheim, Sheldon Cashdan, Max Luthi, Marina Warner and Clarissa Pinkola Estes are cited for their insights into the structure of these stories. How these two stories can be usefully understood in contemporary society is also discussed; including the issues raised of commodity and consumer culture, childhood play, containment and captivity and secrecy in institutions and medical settings. These concerns are discussed through the ideas of Jean Baudrillard, John Evans and Jon Goss. Studio Work The studio work consists of a series of ceramic sculptures rethinking the narratives of Hansel and Gretel and Bluebeard in a contemporary world. The three-dimensional clay and mixed media objects examine the ideas of containment, cages, materialism, barriers, and secrecy. My intent was to find metaphoric ways of expressing these complex ideas in a physical form. The objects have been created using the ceramic methods of throwing and slab-building. Research was undertaken into using print-making technologies in ceramic work, with IX new applications of screen-printing technologies on glazed surfaces, porcelain slabs, solar-plate technology and digital decals. The work also explored the development of the ceramic form; the interaction between the use of cut-out figures and the underlying form, the idea of a ‘pot as drawing’ and its further extension as installation.
19
Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
Testo completo
20
Coleman, Wendy. "Matter and spirit : early 21st century funeral urns for the quick and the dead". Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/26115.
Testo completoAbstract (sommario):
When I was twenty-five I married a farmer from the Eastern Cape. I gave up living in a city, and saw myself spending the rest of my life in the country, involved in the concerns of mixed stock farming in a semi-arid region of South Africa. My life changed utterly when I was thirty-two with the sudden and unexpected death of my husband. I became again a city-dweller, a teacher, with three young children. The circumstances of my life have forced me to confront the reality of death, and to wrestle with the nature of my relationships with people whom I love, both those alive and those dead. The untimely death of my husband forced upon me a realisation of mortality, and an understanding that every relationship has a beginning and an end. Each relationship one has determines a role for oneself, as daughter, mother, wife, widow, as well as a changing understanding of one's own identity. Prior to embarking on this MFA, I had been working with clay, and reading in the history of ceramics. From my reading it was evident that the making of objects in clay had long been associated with burial practices in cultures all over the world. As my interest in making really large clay vessels grew I came to see that in making these vessels I could place myself as an object maker within this long tradition. In so doing I could make urns - funeral urns in a sense - that could memorialise my own relationships to specific individuals. Obviously, these vessels are funeral urns in a metaphorical sense only as these pots will never actually be used as burial vessels. Metaphorically they seek to symbolise our changing nature as individuals and to celebrate the lives which they represent and my relationships with the people concerned. Clay is an earth material, and because I was using this material I also wanted to make a connection with the earth itself, and with the life of humankind upon the earth. A physical death signals a major change in patterns of relatedness, but our lives are filled with little deaths, with change and resurrection, as we move towards our own experience of physical death. In a broader sense then I wish these vessels to speak also of the nature of this changing world, both the physical world which over geological time endlessly "dies" and is "resurrected ", and of the world of personal relationships where we find ourselves, changing inhabitants of this changing world. St Paul, the early Christian apostle, in writing to the church at Corinth, expressed this notion when he said, "I die every day" (1 Corinthians 15:31). I have called this exhibition Early 21st century funeral urns for the quick and the dead. Seven of the urns memorialise individuals, some dead, most not, each of whom is important to me. Two speak of a broader inevitable connection with the land, and of the part we play within the context of the changing nature of the landscape itself. In so doing I have attempted to construct a memorial for those relationships important to me. The urns thus serve as repositories of memory, as physical constructs which speak of relationship. The death of another person can radically change one's status and identity: in my case from farmer 's wife to widow, from country person to city-dweller, and now, as I present this exhibition, it seems to me to represent the current stage in my changing notion of who I am, from farmer's wife to artist. Who knows what deaths and resurrections lie ahead for us all?
21
Levi, Rachel M. "A Digital Crisis? Art History and Its Reproductions in the 20th and 21st Century". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/689.
Testo completoAbstract (sommario):
This thesis analyzes the emergence, presence, and use of digital reproductions in the scholarship of art history and how these reproductions impact individual encounters with art. It will address matters related to the authenticity of reproductions, the development of modern technologies, and the rise of new media, reflecting on issues related to integrating technology into the discipline and proposing how to deal with the digital reproductions in the study of art history.
22
Fletcher, Lauren Jean. "Adaptive realities : effects of merging physical and virtual entities". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.
Testo completoAbstract (sommario):
In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.
23
Mukdamanee, Vichaya. "(De)contextualising Buddhist aesthetics". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.
Testo completoAbstract (sommario):
'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.
24
Sparks, David R. "Quest". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355256.
Testo completoAbstract (sommario):
The primary objective of this creative project was to make my artwork more appealing to a mature audience. I would use familiar imagery that I had created from characters that were initially developed for children. These characters are now not only entertaining, but also have been enhanced through the use of engaging symbolic narrative.The secondary objective was to combine my knowledge of drawing, painting and sculpture based on changes in my recent artwork. These changes were brought about through investigating contemporary artist while studying at Ball State University. The body of work includes an underlying theme: "A Journey Though life," which features Quest the foolish dog, derived from the fool card in a tarot card deck.Department of Art
25
Abdullah, Sarena. "Postmodernism in Malaysian art". Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/9457.
Testo completo
26
Kapp, Christina. "From Shadowmourne to folk art articulating a vision of eLearning for the 21st century". Doctoral diss., University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4592.
Testo completoAbstract (sommario):
This study examines mass-market applications for some of the many theories of eLearning and blended learning, focusing most closely on a period from 2000-2010. It establishes a state of the union for K-12 immersive eLearning environments by using in-depth cases studies of five major mass-market, educational, and community-education based products--Gaia Online, Poptropica, Quest Atlantis, Dimenxian/Dimension U, and Folkvine. Investigating these models calls into play not only the voices of traditional academic and usability research, but also the ad hoc voices of the players, commentators, developers, and bloggers. These are the people who speak to the community of these sites, and their lived experiences fall somewhere in the interstices between in-site play, beta development, and external commentary (both academic and informal.) The works of experimental academic theorists play an acknowledged and fundamental role in this study, including those of Ulmer, Barab, Gee, and McLuhan. These visionary voices of academia are balanced with a consideration of both the political and financial constraints surrounding immersive educational game development. This secondary level of analysis focuses on how issues around equity of access, delivery platforms, and target disciplines can and should inform strategic goals. While this dissertation alone is unlikely to solve issues of access, emergent groups including the OLPC hold exciting promises for worldwide connectivity. My conclusion forms a synthesis of all these competing forces and proposes a pragmatic and conceptual rule-set for the development of a forward-looking and immersive educational MMORPG.ID: 029050533; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2010.; Includes bibliographical references (p. 243-259).
Ph.D.
Doctorate
Department of English
Arts and Humanities
27
Charlesworth, Amy. "The 'video-essay' in contemporary art : documenting capital and gender for the 21st century". Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/6338/.
Testo completoAbstract (sommario):
This thesis examines how the term ‘video-essay’ or ‘film essay’ has gained particular momentum in contemporary art practice and theoretical debates throughout the past twenty years. Speficially, I examine the work of Ursula Biemann and María Ruido. The thesis plots how the ‘genre’ is considered to have emerged through a post-structuralist framework. Feminist and post-colonial praxis initiated an important critique of the documentary project from the late 1960s to the early 1980s. Much of this criticism sought to re-ignite the active qualities latent in the technologies of lens-based mediums: qualities considered to be hidden, or dealt with uncritically in the documentary paradigm. A focus on construction, and a distrust of the ‘reflective’ capacities of the camera to record the real gave way to the mode of the ‘fictive’ and an interest in ‘discursive formations’. Fictive devices were implemented in order to give attention to maligned, purposefully obscured, or not-yet written histories, operating in place of absent ‘official’ documentation. This thesis argues that the term video or film essay is better conceptualised through a broader, yet nuanced enquiry of the documentary as it has unfolded throughout the twentieth and twenty-first centuries. The case studies in this thesis are part of a wider array of works that privilege, once more, the recording capacity of the camera (both analogue and digital), its social purpose and thus potential strategy to enforce change. I explore how these practices straddle, and re-kindle the familiar debates around utility and formal reflexivity in the ‘documentary turn’ of critical art production in the twenty-first century. The chosen themes of the works under analysis speak to the tension ever-present between form and content, text and context. Here the camera is used to render visible the concealed heterogeneous strands of labour. I evaluate how this practice is specifically apt for exploring the dialectic of waged/un-waged labour, undertaken historically by women. The works consider how female ‘migrant’ labourers are most ‘useful’ and ‘profitable’ to neoliberal capitalism. The manner in which bodies interact with the abstract flows of deregulated capital and electronic communication, has contributed to a need for re-cognition of the social world. Artists aiming to understand the power of the visual under these reordered circumstances have had to negotiate the vicissitudes of truth once more. I argue that the capacity of the document to provide knowledge and to track lived realities, has made it a dependable and useful form once more. Its contentious past is and must be acknowledged, as such debates have re-written our understandings of what the document is, should, and might be.
28
Clarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke". University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
Testo completoAbstract (sommario):
Title from PDF of title page.Document formatted into pages; contains 65 pages
Thesis (M.L.A.)--University of South Florida, 2003.
Includes bibliographical references.
Text (Electronic thesis) in PDF format.
ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.
ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.
ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.
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Marquette, Katherine Hoffpauir. "San Antonio Museum of Art: Addressing the Needs of Cultural Consumers in the 21st Century". ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/145.
Testo completoAbstract (sommario):
In January of 2012, I began an internship with the San Antonio Museum of Art. At the time, the Education Department was engrossed in an audience research study, designed to strengthen the Museum’s understanding of its constituents. This study was my entry-point into the organization and where all my efforts were focused over the course of my internship. This paper includes: an organizational summary; an account of my internship experiences; a SWOT analysis; a review of industry best practices; and recommendations based on observations acquired over the course of my internship.
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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House". Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
Testo completoAbstract (sommario):
Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.
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Kocen, Nancy G. "Technology at the Beginning of the 21st Century: Using an Interactive Whiteboard in Elementary Art Education". Also available to VCU users online at:, 2007. http://etd.vcu.edu/theses/available/etd-11162007-143659/.
Testo completo
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Lee, Fang-Ching. "The accreting space a laboratory of light and materials : this exgesis submitted to Auckland University of Technology for the degree of Bachelor of Art & Design (Honours), 2006 /". Full dissertation, 2006.
Cerca il testo completoAbstract (sommario):
Exegesis (Hon--Art and Design) -- AUT University, 2006.Print copy is accompanied by CD. Includes bibliographical references. Also held in print (49 leaves : ill. ; 21 x 30 cm. + CD) in City Campus Theses Collection (T 709.93 LEE )
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Haines, David Sean. "Osmologies : towards aroma composition". Phd thesis, Sydney College of the Arts, 2012. http://hdl.handle.net/2123/14423.
Testo completo
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Godfrey, Laura. "Contemplations of connection through the notion of boundaries : installations and ideas of paradox". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1272765.
Testo completoAbstract (sommario):
We are accustomed to meanings, signs, language, and the constraints, categories, and concepts which make-up what I acknowledge as boundaries. These are integral for interaction with people, with other forms of life, with landscapes, and with ourselves. Without boundaries there would not be progression or understanding with that which is "the other."Boundaries are categorized into four areas within these creative projects. They are environment, language, states of being, and destination. Within the categories various projects explore what create intangible separations which denote the boundary and create a visible representation of each.Within each category projects are organized by content, objective, and outcome. Some results proved to be more successful than others by effectively conveying meaning through the various imagery and objects of the installations. Often, a viewer's preference f one project over another was due to the use of a specific medium, building method, and overall design rather than the concept or idea which inspired it.The paradoxical notion of these explorations is due to the exemplification of the connections surrounding and, perhaps, instigating each boundary. Attempts to visibly explore boundaries through their connections provide glimpses of built separation markers (environment), words and phrases which may separate or connect (language), alterations of physicality (states of being), and the ambiguous quality which denotes a place (destination) such that each becomes discernable but, more importantly, that each may be surpassed. It is through the visibility of the categories and understanding of their connections in which the boundaries go beyond manifesting themselves through the viewers' collective questioning the possibilities.Department of Art
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Wagh, Vaishali D. "Assembling form and space : ceramics as an assemblage". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1355258.
Testo completoAbstract (sommario):
This project examines the relationship between form and the resultant space that it encloses, through a process of assembly. The process consists of assembling materials in Phase 1, and assembling parts cut-out from a homogenous ceramic form in Phase 2. Embedded in the act of assembly is the designer's ability to construct the object in multiple formal configurations. Manipulating the form (solid) results in mutation of the space (void) held within and in-between the solid, and vice-versa. Four formal concepts guide the process of assembly in this study: interplay of solid and void, manipulation of the material skin, dynamic visual motion, and light as a building materialThe research in this paper consists of literature survey, precedent studies on two ceramic artists, and analysis of art exhibits.The significance of this project lies in its ability to blur the boundaries between academic disciplines of metalsmithing and ceramics, art and architecture. Design resulting from the overlap between disciplines has vast potential and can lead to dynamic possibilities.Department of Art
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Wheeler, Elizabeth. "Colour, immateriality & uncertainty in painting". Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/28007.
Testo completoAbstract (sommario):
The objective of the research paper is to explore the theoretical concerns raised in the studio work. The paper discusses concerns such as colour activity and perception; the interdependence of the material and the immaterial in painting; and the uncertainty inherent in the process of painting and how that relates to wider experiences of uncertainty. The discussion focuses on the practice of artists who engage with such concerns, comparing and highlighting commonalities in their work, the objective being to articulate the central concerns of my own practice and in doing so, po-sition it within the discourse of contemporary painting.
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Heymans, Simone. "Habitual transience : orientation and disorientation within non-places". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013141.
Testo completoAbstract (sommario):
This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.
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Von, Veh Karen Elaine. "Transgressive Christian iconography in post-apartheid South African art". Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002220.
Testo completoAbstract (sommario):
In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications.
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Reichelt, Victoria, e n/a. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter". Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.143140.
Testo completoAbstract (sommario):
This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.
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Reichelt, Victoria. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366187.
Testo completoAbstract (sommario):
This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Full Text
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Pryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice". Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.
Testo completoAbstract (sommario):
The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.
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Wedderburn, Michael Roderick. "Living in the Shadow of death: purging the unconscious for the creation of a personal visual language". Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13250.
Testo completoAbstract (sommario):
This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.
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Gawronski, Alex. "No new Utopia? : the crisis of art as critique under globalisation". Phd thesis, Sydney College of the Arts, 2005. http://hdl.handle.net/2123/3967.
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Haviland, Maya. "Side by side? : practices of collaborative ethnography through creative arts". Phd thesis, Canberra, ACT : The Australian National University, 2012. http://hdl.handle.net/1885/109596.
Testo completoAbstract (sommario):
In this thesis I investigate collaborative ethnography through creative arts as a growing global field of practice, based on common influences from anthropology and contemporary art. I seek to understand the nature of this field and to critically examine some of the assumptions that we make as collaborative ethnography/art practitioners about our work as forms of collaboration and social change. Practices of collaborative ethnography through creative arts occur in diverse settings around the world and produce different creative forms such as books, films, photography and theatre. Despite this diversity they share similar ways of working, relationship dynamics and socio-political motivations. I examine the range of social and political agendas that are being furthered using collaborative ethno/art practices and consider the ways in which the motivations of project facilitators shape these agendas and the social relations surrounding projects.
The original contribution that this thesis makes is a critical examination of notions of authorship in collaborative ethnographic/arts practice and the flow of benefits from this kind of work over time. I use the recent history of conflict surrounding control of materials from the Archivo Fotogr{u1EA5}fico lnd{u1E2F}gena and the Chiapas Photography Project in Mexico as a major case study. This case illustrates that the social, organisational and economic dynamics surrounding collaborative production, and the reception of resulting works by audiences and markets, shape the ways in which authorship and creativity are being understood within collaborative ethnographic/art projects over time. I argue that although collaborative ethno/art practices are acts of co-creation the nature of co-creativity in these projects is frequently obscured by modernist preoccupations with individual authorship. The complexities and potential of co-creativity as a growing form of contemporary cultural creation risks being obscured and misunderstood by the focus on this concern.
Examining the social and organisational structures surrounding collaborative ethnographic/art projects, with a focus on the New Orleans based Neighborhood Story Project another major case study in my research, I argue that there is a professionalization of collaborative ethno/art practice occurring. The recent experiences of the Archivo Fotogr{u1EA5}fico lnd{u1E2F}gena reveal the institutional and organisational structures accompanying the professionalization of this kind of work risk reinforcing the very social and economic inequities that motivated the practices in the first place. The ways in which dynamics of control and flow of benefits from works created in collaborative ethno/art projects play out over time can inadvertently yet directly contradict the socio-political goals which motivated their original establishment.
My research methods included participatory research with a number of projects in Australia, the USA and Mexico; interviews with twenty-five project facilitators from a range of international projects; and examination of the works and histories of a number of long running projects, including the twenty-year history of Chiapas Photography Project in Mexico.
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Vora, Janhavi L. "Decoding symbols". Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391239.
Testo completoAbstract (sommario):
The primary objective of this creative project is to explore the meaning and complexity of simple forms, also referred to as symbols. The project examines symbols that interest me. These symbols may be found in various cultures and subcultures throughout the world. I also designed symbols to describe weather phenomena.I have provided a thematic interpretation of my work, focusing on the themes of identity and spirituality. When people view my work they may have multiple interpretations, but a thematic explanation of each piece also provides information for the viewer to ponder. The paper also includes a discussion of work by other artists and ideas that have informed and developed my prints. This body of work required traditional printmaking techniques such as: intaglio, deep etching, chine cone, color printing and photomechanical transfer using imagON photopolymer film.Department of Art
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Sahin, Ozden. "Political violence and networks in the 21st century media art from the Mediterranean : 4 case studies from 2000-2015". Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23324/.
Testo completoAbstract (sommario):
Despite the high number of cases of overt political violence in the Mediterranean and the richness of media art in the region, there has been no comprehensive research about political violence and contemporary media art production in the region. Departing from the question of networks in media art from the Mediterranean, this research looks at the artists’ imagination of the region informed by practices of various forms of violence through critical outlook on the issues of visibility. In doing so, it inquires into treating the Mediterranean itself as a medium. It conducts four case studies whose common focus is on the networks of relations that reproduce, strengthen, and reinforce models of political violence at various levels, using anecdotal evidence and content analysis methods. The case studies give a a) microscopic view of a computer virus; b) life-size view of an individual human body; c) landscape view of urban transformation; and d) bird’s eye view of occupation, consumption and destruction. Taking Michel Foucault’s concept of biopolitics as its theoretical framework, the study analyses the contemporary blend of disciplinary, sovereign, biopolitical, and necropolitical practices within granular and grand levels across the region and claims that temporality is the key element in the transformation and survival of forms of violence.
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Roche, Judith D. "The role of the artist at the beginning of the twenty-first century: An exploration of dialectical processes in art and science with particular reference to biologically based art". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1571.
Testo completoAbstract (sommario):
This thesis examines the role of the artist at the beginning of the twenty-first century. It focuses on the interaction between art and science in an exploration of the dialectical processes that may occur in that interaction. Researchers have recently developed techniques in stem cell technology and genetic modification that offer remarkable potential and bring possible advantages and disadvantages for scientists and the wider community. In response to these new technologies, scientists and artists have developed collaborative projects and, in some instances, artists have moved from the studio to the science laboratory to create work called sci-art, bio-art, or moistmedia. This new inter-disciplinary activity affords prospects of dialectical processes: it crosses many boundaries and disturbs some existing conventions and practices, and, for the artists involved, the access to innovative materials has moved their work into areas of new skills and concepts. The extent to which traditional artists and those with collaborative sci-art practices contribute to the debate on important social and cultural issues forms part of this study. The research data was gathered during semi-structured interviews with scientists and artists, of whom three scientists and five artists are involved in sci-art collaborations. Proposed dialectical processes identified in the data are outlined throughout the document. A discussion about the ways in which contemporary art and artists are located within the current social and cultural environment; the status accorded visual art education today; and the manner in which commentators and other members of the public regard the elements and functions of art, forms the initial framework. This is followed by an overview of biologically based art practices, worldwide, that provides a background for a discussion of sci-art collaborations. These collaborations are initiated by a wide range of individuals and organisations and, according to the participants, the intentions of the originator or funding body have the potential to influence the outcome of the collaboration. The research explores possible conflicts of interest between the parties involved in these interactions, and any perceived implications for creative freedom. This study also examines current attitudes towards the notion of creativity in science and art, the avant-garde, and the relevance of philosophy and theory in art practices. It discusses the extent to which technology influences the creative process, and highlights issues that augment, interrogate or philosophise about the role of the contemporary artist. The research found that, although the notion of Snow’s ‘two cultures’ still has supporters, there are more similarities than dissimilarities between scientists and artists. Although some instances of Hegelian dialectical processes were identified, the data residing in many of the participants’ responses called for a more post-structuralist, non-linear approach to the dialectic as described by Jervis (1998), Janesick (2000) and others. In this way, the data drew attention to many complex issues and tensions that emanate from the interaction between art, science, technology, government and commerce, and the interaction between artists and the culture and society in which they live at the beginning of the twenty-first century.
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Cecil, Joseph S. "The figure as an exploration of cultural/self identity". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371197.
Testo completoAbstract (sommario):
The primary objective of this creative project was the exploration of cultural and self identity and the painting techniques used for their creation. The paintings are an attempt to portray through the use of the human figure and symbolic elements to communicate my personal struggle relating to events in my past, present, and future. In these three large paintings I have explored an approach reminiscent to German Expressionism style along with more contemporary motifs which are derived from my research and past experiences in painting at Ball State University. It was very important for me to spend time researching artist involved in the German expressionist movement, because they have been an integral part of reshaping the way I approach art. This body of work required a variety of traditional oil painting techniques including: canvas construction, under painting, stumbling, and glazing.Department of Art
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Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature". Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.
Testo completoAbstract (sommario):
The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layering imagery that provoke thought concerning nature and our place in it. This collection of paintings is representative of the process I have developed through a wide variety of influences, and is a means of communicating my concern for the ever dwindling natural environment and our connection to it.Department of Art
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Fernandes, Mirla 1969. "Diálogos em linha". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285256.
Testo completoAbstract (sommario):
Orientadores: Anna Paula Silva Gouveia, Ana Paula de CamposDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação teve como objetivo uma investigação sobre a linha enquanto elemento comum do desenho e da joia. Esta última, é aqui entendida como produto da arte-joalheria, campo que se apresenta como resultado de intercâmbios e contaminações com outras linguagens e práticas em arte contemporânea. A pesquisa envolveu três estratégias de investigação realizadas simultaneamente, e que se influenciaram mutuamente: uma pesquisa bibliográfica, o desenvolvimento de um trabalho plástico, e a realização de entrevistas com artistas-joalheiros, que trazem a linha como elemento em seus trabalho, indicando uma possível fonte de novas e diversas relações desenho/joia. A pesquisa bibliográfica levantou conteúdos pertinentes ao desenho e, sobretudo, à arte-joalheria, buscando trabalhos que se caracterizassem por um diálogo entre linguagens artísticas, configurando produções transversais que se afinam a conceitos levantados por Bourriaud, e a inscrevem no campo da arte contemporânea. A investigação plástica levou ao desenvolvimento ao conjunto de trabalhos Ensaios de Imprecisões, exibidos pela primeira vez em Agosto de 2013, na Galeria da Casa do Lago, Campinas. As entrevistas foram uma solução encontrada para suprir a ausência de literatura específica sobre o assunto, e elucidaram os processos criativos e entendimento das poéticas dos artistas entrevistados: Otto Künzli, Doris Betz e Dani Soter. As reflexões e resultados, levantados nas diferentes estratégias, corroboraram para um entendimento da linha, como elemento comum entre o desenho e a joia, que ultrapassa o sentido formal evidente, ampliando-se em jogos simbólicos e estratégias relacionais. A linha tece novas relações de aproximação entre desenho/joia, reiterando a prática da arte-joalheria, como produção de arte contemporânea
Abstract: This dissertation had as objective an investigation on the line as common element of drawing and jewelry. This last one is here understood as a product of art-jewelry, field that presents itself as a result of exchanges and contaminations with other languages and practices in contemporary art. The research involved three strategies undertaken simultaneously, and that influenced each other: a bibliographical research, the development of an artistic work, and interviews with jewelry-artists, who had the line as an element in their work, indicating so a possible source of new and diverse relationships drawing/jewel. The bibliographical research revealed relevant content about drawing and especially art-jewelry, looking for works that were characterized by a dialogue between artistic languages, configuring crossing over productions that are in tune with the concepts raised by Bourriaud, and are inscribed in the field of contemporary art. The artistic practices led to the development of the body of works Ensaios de Imprecisões, shown for the first time in August 2013 at Galeria Casa do Lago, Campinas. Interviews were a solution to overcome the absence of specific literature on the subject, and elucidated the creative processes and understanding of the poetics of the artists interviewed: Otto Künzli, Doris Betz, and Dani Soter. The ideas and results, raised in the different strategies, corroborated to an understanding of the line, the common element between drawing and jewelry, that exceeds the formal evident sense, extending it into symbolic games and relational strategies. The line weaves new relations of proximity between design / jewelry, reiterating the practice of art-jewelry such as contemporary art production
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