Tesi: "Artists" – Grafiati

1

Mantooth, Jennifer R. "Muse as artist : selected artists past and present /". Online version of thesis, 1992. http://hdl.handle.net/1850/11227.

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2

Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life experiences and how they came to be “successful artists” in the conservative Saudi society. The findings showed that family and formal education played an important role in these women’s life journeys as artists. The Saudi society was also a major influence, sometimes supporting them, at other times obstructing them. These artists share many personality features such as being persistent, believing in themselves, taking risks, facing challenges, being independent, being responsible as artists and as part of society, and being honest in their artwork. This study contributes to the art education curriculum in Saudi schools and universities. Globally, it contributes to women’s studies and to social and cultural studies in shedding light on the Saudi society, especially as it is experienced by women.

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3

O'Neil, Maryvelma Smith. "Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists". Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.

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This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.

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4

McLaughlin, Pamela Ann. "Mapping an identity how women artists develop an artistic identity /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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5

Blackledge, Aimee. "Materials for the Artist's Mind : Artists as Collectors in Eighteenth-Century England". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519751.

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6

Bain, Alison L. "Exhibiting the artist's city : occupational identity construction by contemporary Toroto visual artists". Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423935.

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7

Earner, Meaghan. "Allston Artist Village". View thesis online, 2009. http://docs.rwu.edu/archthese/13/.

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8

Dubreuil, Jordan. "Strabismal existence". View thesis online, 2009. http://docs.rwu.edu/archthese/21/.

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9

Taft, William W. Jr. "The Special Artists". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_diss/100.

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10

Leung, Lo-ming, e 梁路明. "Artists village-place (space) for artists in Yau Tong Bay, Yau Tong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985300.

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11

Leung, Lo-ming. "Artists village-place (space) for artists in Yau Tong Bay, Yau Tong". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947084.

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12

Simonsen, Garric. "Some artists paint paintings". Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/g_simonsen_042110.pdf.

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13

Chambers, Janet Denise. "Three contemporary Korean artists". Thesis, University of Canterbury. Humanities, 2012. http://hdl.handle.net/10092/7822.

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This thesis examines the work of three Korean contemporary art practitioners: Lee Ufan (b. 1936), Lee Bul (b.1964) and the collective flyingCity (formed 2001). Lee Ufan is a senior Korean sculptor, painter and writer, who, during a long and productive career, has been based in Tokyo and Paris, and is now recognised in Korea, as well as internationally. Both Lee Bul and flyingCity have participated in projects at the Govett-Brewster Gallery for Contemporary Art in New Plymouth, New Zealand. These three art practices demonstrate a trend during the last fifty years from the individual artist working in a studio (Lee Ufan), to the artist moving from city to city making and showing artworks (Lee Bul), to artist collectives, working with community groups in the mode of relational aesthetics (flyingCity).

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14

Beyer, Beverly Ann. "Virginia Woolf's Starving Artists". W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626064.

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15

Saporita, Costanza <1992&gt. "Artists back then Instagram". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15263.

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The thesis investigates how contemporary distinguished artists relate to Instagram; the research has been conducted on very popular contemporary artists such as: Dimien Hirst, Cattelan and Wei Wei. The selected artist’s profile on Instagram has been chosen on the base of follower’s number, interest by the press, degree of innovation by the artist and poetry. Instagram has been chose because it is widespread, with 1 billion users in 2018, and if compared to other social media, it focuses on visual content, making it extremely valuable for artists dealing with visual art. The focus of the research pivoted around the issue of if and how did major contemporary artists deal with Instagram, trying to identify differences between them and between the artist’ works and his profile. In order to analyze both the effectiveness and the consistency with artist’ poetry, both the artist itself and the Instagram profile are analysed under the framework of marketing tools, so that the outcomes will be comparable and it will be possible to discuss about the consistency of the artist-social media relation from a managerial perspective. The profile and the person are both seen as brands, and attached with all the typical features which are usually investigated in marketing and branding analysis. At the first stage the analysis focuses on the artist outside of social media, looking at his artworks and personal life, adding the framework of the 4 P analysis (price, product, place and promotion), adding a fifth P which stands for “Poetry”. This last category is meant to be the expression of feelings and ideas by the use of distinctive style. With the second stage a typical social media analysis is conducted on each profile, based on type content, profile design, which kind of features are used (e.g Instagram stories, posts, ecc.), brand engagement, social media metrics and KPI. The strategy applied to the profile management will emerge from the investigation, giving us two entities to compare: the artist itself and its Instagram profile. The two entities are therefore compared on the base of the outcomes, trying to identify how the use of this social media is located within the artist's general picture, how the social media is used and what is the level of consistency between the poetry and language used in real life compared to that used on Instagram.

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16

Beyer, Deborah Z. "Time puzzle /". Online version of thesis, 1990. http://hdl.handle.net/1850/11332.

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17

Meban, Margaret. "I'm doing what artists do!, a case study of an artist-in-residence program". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/MQ42716.pdf.

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18

Urbaniak, Erick Francis. "Criminals and Artists: Detecting the Artist in German Crime Literature of the Twentieth Century". Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1236187503.

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Thesis (Ph.D.)--University of Cincinnati, 2009.
Advisors: Todd Herzog (Committee Chair), Katharina Gerstenberger (Committee Member), Richard Schade (Committee Member). Title from electronic thesis title page (viewed May 2, 2009). Keywords: Crime Literature; Artists and Criminals; Hochstapler; Serial killers; Thomas Mann; Doron Rabinovici; Identity Formation; Criminality; History of the Artist. Includes abstract. Includes bibliographical references.

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19

Dang, Dacchi. "The Artist as Explorer: How Artists from the Vietnamese Diaspora Explore Notions of Home". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/366661.

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My personal experiences as a refugee inform how I see the multiple geographical and social landscapes of Australia and Vietnam, and how I mediate a new sense of home from between these diverse experiences. In turn, this provides new knowledge and understanding of the physical and cultural terrain of both countries. Within my studio work I have used this approach to create or reinvent layered landscapes through my personal experiences and memories in order to explore how a contingent, illusive/elusive ‘home’, that has also performed the role of a mythical symbol of refuge in the Vietnamese diaspora, has been inexorably linked to identity and belonging. In my written work undertaken as part of the process of this candidature I have also examined the ways in which narratives of personal journeys within the diaspora experience have been described in ways that have avoided the usual negative associations of ‘refugee status’, and that have instead been undertaken via a more positive approach to interpreting that role as akin to that of the ‘explorer’.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art, Griffith University
Arts, Education and Law
Full Text

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20

LaTores, Alicia Marie. "Luca della Robbia as maiolica producer : artists and artisans in fifteenth-century Florence /". Norton, Mass. : Wheaton College, 2009. http://hdl.handle.net/10090/8394.

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21

Deakin, Simon Barry. "The sense of Gagarin: between the 'artists in their own words' and the artist's text". Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589037.

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This doctoral thesis provides the first major study of the Antwerp-based journal of artists' writings Gagarin. The research addresses artists' writings that are unique to this journal; providing a lead for others to undertake further studies of Gagarin and the artists that are represented in it. The editor of Gagarin, Wilfried Huet, solicits contributions from selected artists in different parts of the world and publishes what they send to him. Publications of artists' writing, and of artists' books, have a substantial history. This has resulted in problems to do with interpretation concerning writing, text, and books as art works: the opposition art/documentation, documentation as art, and artwriting are some examples. There is no editorial imperative in Gagarin to participate in any existing debate regarding the writing of artists. In fact the rationale for contributing to Gagarin is determined by the artists, as is the language of their texts. This may be made more accessible to the reader by the translation of individual artists' texts into Dutch and English if either of these is not the language of the text. For these reasons, Gagarin presents its own distinction between writing and art: that which is between 'text' and 'idiom.' It is possible that writing must be in an idiom in order to be art, such as a genre. The distinction between text and idiom is apparent when the texts take an unfamiliar or inexplicit form, they are juxtaposed to other texts or are translated. In short whenever writing can be understood as distinct from what is written. The questions to be answered by the thesis emphasize this distinction: how is space made in Gagarin? How do the artists' texts make sense? These are specified with a question common to both: to what extent are the artists in their own words?

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22

Brakefield, Kathleen Heather. "Promoting community an artists' residence /". Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1114105112.

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23

Cole, Anne. "Partnerships : dance artists in education". Thesis, University of Surrey, 1993. http://epubs.surrey.ac.uk/804777/.

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24

Stephens, Christopher Buckingham. "'St. Ives' artists and landscape". Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336327.

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25

Schmitt, Mary Donatelli. "Ohio Quilt Artists as Teachers". University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1124400161.

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26

Stevelt, Kelly A. "Professionalization of Studio Glass Artists". The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253978421.

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27

BRAKEFIELD, KATHLEEN HEATHER. "PROMOTING COMMUNITY: AN ARTISTS' RESIDENCE". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1114105112.

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28

Mészáros, Flóra. "Hungarian Artists in Abstraction-Creation". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.

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Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus large
This dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background

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RoÌˆder, Birgit. "Artists, lovers and madmen : the representation of art and the artist in E.T.A. Hoffmann's KuÌˆnstlernovellen". Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312332.

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30

Laube, Jacob M. "Understanding artist development: How do producers support the development of artists through the production process?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107899/2/Jacob_Laube_Thesis.pdf.

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This thesis examines the concept of 'artist development' in music, identifying how musicians develop through the production process, and the role that the producer can play in such development. The study outlines the history of artist development in the music industry and the role of the record producer as an auteur figure, connecting this broad context with creative practice through the production of two EP recordings. Reflecting on artist development from the perspective of producer, the author identifies key elements of the production process that can contribute to the development of artists in a studio setting.

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31

Zanti, Niki. "Artists' identities : a study of the living and working conditions of visual artists in Cyprus". Thesis, Birkbeck (University of London), 2015. http://bbktheses.da.ulcc.ac.uk/159/.

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This study investigates visual artists’ experiences of becoming and being artists in the Republic of Cyprus, providing a missing link between the notion of artistic identity and professional practice. It identifies and analyses the contextual factors that influence their living and working conditions, and develops an understanding of their careers. A grounded theory analysis of visual artists’ experiences and interpretations showed that artistic identity is an integrative element of an individual’s overall sense of identity. This identity is reinforced by the reproduction of the artist myth, which helps artists position themselves in the artworld. The findings suggest that although their conditions have changed significantly over the last decades, a number of visual artists in Cyprus still reproduce the myth in order to make sense of their individual identity. The study makes a significant contribution to the understanding of how artistic identity is influenced by artists’ transitional experiences abroad. It shows that several of them experience a form of reverse culture shock when they return to Cyprus after being abroad for their studies, exhibitions or residencies. It suggests that the current model for re-acculturation is insufficient to illustrate visual artists’ experiences and proposes an adapted theoretical model that more suitably describes them. This model redefines the phases of reverse culture shock and suggests that it is a recurring process instead of an isolated experience. Furthermore, the study proposes a framework for conceptualising visual artists’ career development in Cyprus that can serve as a base for future studies on artistic career trajectories. This framework has generated a composite diagram that illustrates the fluctuant and heterogeneous nature of visual artists’ careers and visualises their individual trajectories in relation to an informally organised infrastructure of services and resources that exerts various influences over the artist’s identity and career development. The analysis concludes that such an understanding is useful in informing how private and public support systems are structured, what mechanisms, policies and practices are most appropriate and when support is needed most.

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Jacobs, Rachel. "The artists' footprint : investigating the distinct contributions of artists engaging the public with climate data". Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14450/.

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This thesis investigates the distinct contributions of artists who engage the public with climate data, exploring the role of the artists and the value of their contributions by focusing on two studies of artist-led projects. The first investigates how the author’s own artist led collective, Active Ingredient, engaged the public with climate data through a touring interactive artwork. The second study explores the design of an online platform for capturing, authoring and ‘performing’ climate data. This platform was developed and tested by Active Ingredient in collaboration with researchers from the University of Nottingham, and then used by other artists to engage with climate data. The studies reveal how the artistic projects were designed and experienced, through a mixed methods approach requiring the author to shift perspectives in order to investigate her own arts practice alongside the work of other artists in this field. The findings from these studies suggest that the artists adopt a distinctive voice that fosters an emotional engagement with climate data, rather than an informative or persuasive one, that goes beyond ‘environmental knowing’ towards human-scale, embodied, localized and personalized sense making. This research reveals how the artists use the key strategies of performing data, sensory experience and multiple interpretations to provoke these emotional responses. Highlighting the challenges and opportunities of engaging temporal structures and narratives to represent climate data; treating the data as a new material that is embedded into the artworks and embodied in various sensory forms; abstracting and juxtaposing multiple, contrasting and yet related datasets so as to invite comparisons, while opening up spaces between them for interpretation and dialogue. This results in a discussion of the role of technology within the artistic process, how the artists walk a line between authenticity and emotional engagement in their interpretations of climate data and the importance of an ongoing dialogic collaboration between the artists, researchers and climate scientist that support authentic and meaningful engagements with climate data. The research presents rich descriptions of the artists’ strategies for engaging the public with climate data and revealing that artists have a distinctive and powerful role to play in relation to climate change and sustainability; one that Human Computer Interaction (HCI) and Climate Science need to understand as they continue to move into this territory, and where HCI in particular might ultimately learn about how to bring an emotional treatment to many other forms of data.

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Janicke, Susan Beth. "Visual Arts and Chronic Pain: Thematic Analysis to the Artistic Statements of Visual Artists". ScholarWorks, 2015. http://scholarworks.waldenu.edu/dissertations/1689.

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The relief of pain is an essential element of nursing practice. Nursing has begun to successfully use art to assess and reduce pain among hospitalized children, surgical patients, and oncology patients. Structured art projects have been used to provide distraction from pain and patient drawings have allowed nurses to assess pain. This project employed grounded theory and thematic analysis to uncover significant concepts in the artists' statements. The Roy adaptation model and Saunders' total pain theory provided the project theoretical framework. The artistic statements and the art of chronic pain patients were examined using thematic analysis to identify recurrent themes. This project explored the insights to chronic pain in the adult patient as evidenced in the posted work. The project also considered how the content of the posted artistic statements informed individual nursing practice and facilitated the reduction of pain in the adult patient suffering from chronic pain. Emergent concepts were used to develop artistic nursing interventions. Suggested modification of nursing practice included drawing as a tool in pain assessment, exploring the meaning of color choices, encouraging mask making, providing distraction, and using art to identify spiritual distress. The proposed nursing actions will allow more effective communication of pain, provide meaningful distraction, intervene in spiritual distress, and encourage creation of an artistic product. Expected outcomes include more effective pain control, greater patient autonomy, and reduced healthcare costs. The application of this new knowledge and skill will make a difference in the lives of chronic pain patients and will therefore promote positive social change.

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Moura, Inês [UNESP]. "Entre Portugal e São Paulo: um percurso artístico em construção". Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/86966.

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Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-10-15Bitstream added on 2014-06-13T18:49:19Z : No. of bitstreams: 1 moura_i_me_ia.pdf: 12266897 bytes, checksum: 8f0cf7f50cfaf34176b18623a9bffed8 (MD5)
Cette recherche a comme point de départ le besoin de comprendre certains éléments d’actualité en rapport avec les concepts de frontière, lieu, identité, langue, émigration et immigration qui jouent un rôle fondamental sur le plan social, politique, économique, culturel et qui, dans les dernières années, ont aussi été appropriés par le milieu artistique, se glissant dans les débats sur la littérature, le cinéma et les arts visuels. L’objectif du travail vise à comprendre l’importance de l’inclusion de ces concepts dans les débats et les pratiques artistiques contemporaines en ayant recours à une perspective qui part du particulier vers le général fondée sur une expérience autobiographique de déterritorialisation identifiée dans les travaux de cette chercheuse. Cette recherche présente une réflexion sur les concepts énoncés, soutenue par la perspective de théoriciens et artistes dont le travail théorique et pratique se centre sur les questions de l’identité de l’étranger, de l’espace-frontière, du métissage culturel e/ou sur les transformations du concept de culture, une réflexion soulignée par ma propre voyage expérience d’artiste étrangère.
A presente pesquisa parte da necessidade de compreender determinados factores da actualidade relacionados com os conceitos de fronteira, lugar, identidade, língua, emigração e imigração que desempenham um papel fulcral na esfera social, política, económica, cultural e que, nos últimos anos, têm vindo a ser debatidos e explorados no meio artístico, como a literatura, o cinema e as artes visuais. O objectivo é compreender a importância e a inclusão destes conceitos nos debates e nas práticas da arte contemporânea através de uma perspectiva que parte do particular para o geral e que assenta numa experiência autobiográfica de desterritorialização identificada na produção de obras desta pesquisadora. Esta investigação apresenta uma reflexão sobre estes conceitos, fundamentada na perspectiva de teóricos e artistas que se têm debruçado sobre a questão da identidade do estrangeiro, do espaço-fronteira, do indivíduo como mestiço ou sobre as transformações em torno da designação de cultura, reflexão pontuada pela minha experiência de viagem como artista-estrangeira.
The present research work arises from a need to understand certain present-day factors that are related to the concepts of border, place, identity, language, emigration and immigration, all concepts that have a central role on the social, political, economic, and cultural spheres, and which, lately, have been more and more debated and explored in the artistic world, through literature, cinema, and visual arts. The purpose here is to understand the importance of the concepts, as well as their inclusion in the art debates and art practices of contemporary art, through a perspective that moves from the particular to the generic, and which is based on an autobiographic experience of deterritorialization identified in the production of works of this researcher.. This research present a reflection about the concepts, based on the perspectives of theoretics and artists who have focused on the subject of the foreigner’s identity, the subject of the border-space, the individual as halfbreed, mestizo, or about the transformations around the designation of culture, a reflection that is punctuated by my own trip experience as foreign-artist.

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Hill, Colin. "Leonard Cohen's lives in art, the story of the artist in his novels, poems, and songs". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29547.pdf.

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36

Cameron, Ross Douglas. "Our ideal of an artist, Tom Thomson, the ideal of manhood and the creation of a national icon, 1917-1947". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq31184.pdf.

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37

Moura, Inês (Inês Maria de Moura Lourenço) 1984. "Entre Portugal e São Paulo : um percurso artístico em construção /". São Paulo, 2013. http://hdl.handle.net/11449/86966.

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Abstract (sommario):

Orientador: Rosangela da Silva Leote
Banca: José Paiani Spaniol
Banca: Maria de Fátima Lambert
Resumo: A presente pesquisa parte da necessidade de compreender determinados factores da actualidade relacionados com os conceitos de fronteira, lugar, identidade, língua, emigração e imigração que desempenham um papel fulcral na esfera social, política, económica, cultural e que, nos últimos anos, têm vindo a ser debatidos e explorados no meio artístico, como a literatura, o cinema e as artes visuais. O objectivo é compreender a importância e a inclusão destes conceitos nos debates e nas práticas da arte contemporânea através de uma perspectiva que parte do particular para o geral e que assenta numa experiência autobiográfica de desterritorialização identificada na produção de obras desta pesquisadora. Esta investigação apresenta uma reflexão sobre estes conceitos, fundamentada na perspectiva de teóricos e artistas que se têm debruçado sobre a questão da identidade do estrangeiro, do espaço-fronteira, do indivíduo como mestiço ou sobre as transformações em torno da designação de cultura, reflexão pontuada pela minha experiência de viagem como artista-estrangeira.
Abstract: The present research work arises from a need to understand certain present-day factors that are related to the concepts of border, place, identity, language, emigration and immigration, all concepts that have a central role on the social, political, economic, and cultural spheres, and which, lately, have been more and more debated and explored in the artistic world, through literature, cinema, and visual arts. The purpose here is to understand the importance of the concepts, as well as their inclusion in the art debates and art practices of contemporary art, through a perspective that moves from the particular to the generic, and which is based on an autobiographic experience of deterritorialization identified in the production of works of this researcher.. This research present a reflection about the concepts, based on the perspectives of theoretics and artists who have focused on the subject of the foreigner's identity, the subject of the border-space, the individual as halfbreed, mestizo, or about the transformations around the designation of culture, a reflection that is punctuated by my own trip experience as foreign-artist.
Résumé: Cette recherche a comme point de départ le besoin de comprendre certains éléments d'actualité en rapport avec les concepts de frontière, lieu, identité, langue, émigration et immigration qui jouent un rôle fondamental sur le plan social, politique, économique, culturel et qui, dans les dernières années, ont aussi été appropriés par le milieu artistique, se glissant dans les débats sur la littérature, le cinéma et les arts visuels. L'objectif du travail vise à comprendre l'importance de l'inclusion de ces concepts dans les débats et les pratiques artistiques contemporaines en ayant recours à une perspective qui part du particulier vers le général fondée sur une expérience autobiographique de déterritorialisation identifiée dans les travaux de cette chercheuse. Cette recherche présente une réflexion sur les concepts énoncés, soutenue par la perspective de théoriciens et artistes dont le travail théorique et pratique se centre sur les questions de l'identité de l'étranger, de l'espace-frontière, du métissage culturel e/ou sur les transformations du concept de culture, une réflexion soulignée par ma propre voyage expérience d'artiste étrangère.
Mestre

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38

Morgado, Claudia. "Getting to know the artist : understanding why artists are important contributors to the climate change conversation". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43185.

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Abstract (sommario):

Finding avenues of communication to get different members of society to commit to engage in personal actions to determine the outcome of climate change is of great concern and priority to all communicators. The academic literature suggests that research has demonstrated that in order to access a people’s desire to change is most successfully reached if they are given different alternatives and decision-making power in addition to addressing their emotions using images and the imagination. Art, as history has demonstrated when it engages in a dialogue with its viewer, has tremendous power to encourage people to reflect on their thoughts and actions, and can act as a catalyst for change. Art is also an intrinsic tool for human communication and education. The purpose of this research was to achieve a deeper understanding in the importance that art can play in engaging people in climate change action by delving in an analysis of the inquiry process of the artist. This research employs a qualitative methodology. One on one interviews were conducted with nine artists working in different artistic medium, but share the need to dialogue with their audience their concerns for the environment. Secondary source data was added by interviewing three scientists working in fields of study that concerned climate change issues. The research analysis gives insight into the importance of considering artists as key communicators when looking for effective strategies to educate, raise awareness and encourage pro-environmental action. The process of getting an idea and realizing it into an art piece that is to be viewed by an audience is directly connected to the artist’s participation and expressing issues of society, which climate change is. Even though further research with a larger segment of the artistic population may yield a more thorough approach, the results do suggests that finding solutions of engaging people in pro environmental action may consist in getting the communicators to create cross-over relationships between disciplines that includes the arts, and engaging in polymathic problem solving strategies that motivate different people to commit to actions and adaptive practices to reduce GHG and build a brighter future.

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Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /". Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.

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Abstract (sommario):

Thesis (Ed.D)--Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).

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40

Silver, Susannah. "The role of artists in the public realm : an investigation into artists' generative processes in context". Thesis, Robert Gordon University, 1999. http://hdl.handle.net/10059/447.

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A shift in practice towards a process-orientated and collaborative art practice within the strands of art practice in the public realm raises the question, ’what is the practical contribution artists make to society?’ which can only be answered by first understanding how artists work. Introducing the concepts of ‘context’, ‘artist-led’ and ‘residency’ with reference to the Artists Placement Group, the problematics of assessing the social contribution of context-specific art practices are presented as resting upon two difficulties, the conceptual gulf between the artworld and the public realm and the assumption that artists can or should not articulate their intentions for an artwork. Combining questions raised from practice with the problems outlined by Suzanne Lacy, the need for research into the generative process of public artists is established. The purpose of the research is to investigate and develop artists’ understanding of the generative process by examining the interaction of artists in contexts in the public realm and to make that information explicit. An appropriate methodology and theoretical framework is found by critically reviewing recent related practice-based research projects in Art and Design with special attention to the work of Ian Hunter on immersion strategies in rural contexts. The model of the artistic process as problem-solving, developed by J. Getzels and M. Csikszentmihalyi , is also examined against current theories in scientific research into creativity and theories of social policy problem-setting of Donald Schon and the pattern of inquiry by John Dewey and subsequently extended. Data was generated by recording the decisions and reflections of three artists carrying out an actual artist-led context-specific project in the public realm (‘Taming Goliath’). Data gathered by using a specially adapted method (‘Sweatbox’) were analysed by using the Generative Process Model. The results produced narratives which describe each artist’s experience and information on the methods artists use to interact with a context in the public realm, their intentions. The significance of the findings and the experience are discussed in relation to the work of Suzanne Lacy and Allan Kaprow with recommendations for further research. In conclusion, four areas contributing to knowledge are proposed: the extension of the Generative Process Model, the development of an methodology of analysis, the usage of the Sweatbox method and contributions to the body of knowledge of artists’ processes in the public realm.

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Puc, Tihana. "The (in)visible artists: contemporary artists from Croatia in the post-1989 “globalized” contemporary art field". Thesis, IMT Alti Studi Lucca, 2014. http://e-theses.imtlucca.it/150/1/Puc_phdthesis.pdf.

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This research attempts to shed light on the processes of integration and recognition of contemporary artists from Croatia in the post-‐‑1989 “globalized” contemporary art field. Encompassing a twenty-‐‑year period (1991-‐‑2012), the study aims to understand and explain, how the internal developments in Croatia, after the dissolution of Yugoslavia, and the external modifications of the contemporary art field, after the fall of the Berlin Wall, impacted the international embeddedness of contemporary artists from Croatia. In contrast to most of the previous empirical studies on the globalization of contemporary art, which focused on Western Europe and the United States, and on the top-‐‑level of the contemporary art field, this study expands the empirical examination to include a non-‐‑Western zone and bring in an off-‐‑central perspective, while juxtaposing the occurrences within the top-‐‑level with those below that level. The generation of artists whose emergence paralleled the post-‐‑1989 developments is the epicenter of the study, while the analysis of the internationally most established artists from the previous generations provided a comparative context and an intergenerational perspective. The study brings together and maps all the exhibition activities of the past two decades for a representative sample of 61 artists and examines them en masse, comparatively and apiece. The exhibition data (6400 exhibition participations in 1905 institutions) is studied applying both the methods of close and distant reading, and both for artists’ collective movement and their individual trajectories. The quantitative analysis is complemented by semi-‐‑structured interviews with the artists, and a vast array of sources. The research provides novel insights into the post-‐‑1989 processes of inclusion and recognition of contemporary artists from Croatia, within the context of the globalization of contemporary art, and brings new knowledge on the construction of “international careers” of non-‐‑ Western contemporary artists. Moreover, the study – first of the kind for Croatian context – has very concrete implications for Croatian institutional and cultural policy strategists.

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42

Kehoe, Peggy. "Self discovery and personal creation /". Online version of thesis, 1991. http://hdl.handle.net/1850/11073.

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43

Grinols, Susan. "Mind states /". Online version of thesis, 1990. http://hdl.handle.net/1850/11308.

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44

Akin, Esra. "Mustafa Âli's Epic deeds of artists". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1181502871.

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45

Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /". Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.

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46

Prior, Robert A. "The imperative education of theater artists". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527577.

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Abstract (sommario):

David Mamet's book of essays True and False: Heresy and Common Sense for the Actor boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my MFA, Kira Obelensky's play Lobster Alice.

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47

Zussman, Na'ama. "Artists' Books---Both Map and Territory". Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1590433.

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Abstract (sommario):

The field of artists' books is a realm in which a phenomenon is mapped and territorialized. This is based on the human necessity to map the world and have a better grasp of it. Additionally, it is constructed on the understanding of the history of the book’s physicality as an important emblem in civilization. An artist’s book is an isolated realm, both a map and a territory. It is closed in itself, and has its own rules and dynamics, yet carries varied affinities with the outside world.

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48

Collins, Kate Ann. "Cultivating Citizen Artists: Interdisciplinary Dialogic Artmaking". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408661362.

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49

Farman, Nola. "The humours of the artists' book". View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/25097.

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Abstract (sommario):

Thesis (Ph.D.)--University of Western Sydney, 2007.
A thesis submitted to the University of Western Sydney, College of Arts, Writing and Society Research Group in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.

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50

Adsit, Melanie Hope. "Caught between worlds: urban aboriginal artists". Thesis, Boston University, 1997. https://hdl.handle.net/2144/27694.

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Tesi sul tema "Artists"

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