Tesi sul tema "Kreis (Group of artists)"
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Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India". Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.
Testo completoDuran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.
Testo completoThorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.
Testo completoRoza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.
Testo completoCass, Jeremy Leeds. "FASHIONING AFROCUBA: FERNANDO ORTIZ AND THE ADVENT OF AFROCUBAN STUDIES, 1906-1957". Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukyhpst2004d00216/cassdissertation.pdf.
Testo completoTitle from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).
Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.
Testo completoStokes, Justine Frances. "We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry". Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.
Testo completoDessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences". Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.
Testo completoOutre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique". Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.
Testo completoNous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture.
Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX.
Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /
This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.
This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.
The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.
The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists". Thesis, 2010. http://hdl.handle.net/1959.13/928250.
Testo completoBeginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action, is used as a framework to examine the success of the Low Show group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. Newcastle’s background as a convict settlement and an industrial centre had developed a working class culture with a strong masculine influence. While some individual women artists were able to develop a career in fine arts, there was a long battle to establish a city art gallery and in 1961 there were no commercial galleries. The formation of the Low Show Group is shown to be as much about the society in which they lived as their artistic ambitions. The development of the Newcastle Technical Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show artists first as students of this school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and a promising future of the fine arts in Newcastle.
De, Vries Jetteke. "An investigation of cultural dislocation in the work of selected artists". Thesis, 2015. http://hdl.handle.net/10321/1434.
Testo completoThis dissertation sets out to investigate cultural dislocation in the work of Leora Farber (1964), Viviane Sassen (1972), George Alamidis (1954) and my art practice. The paper begins by highlighting the importance of this study and defines terminology for the purpose of this research. In addition an explanation of the research methodology used is provided. The study is contextualised through a discussion of writings by Stuart Hall (1997), Edward Said (1987), Heidi Armbruster (2010), Chloe Sells (2011), Katheryn Woodward (1997), Michel Foucault (1967), Leora Farber (2012) and Lorin Friesen (2013). An analysis of the selected artists’ work reveals an investigation of cultural dislocation within diverse cultural contexts. Farber investigates her position as a second generation Jewish woman in post- colonial, post-Apartheid South Africa through the use of three protagonists. She does this in an attempt to create a lasting Jewish / South African hybrid identity. She explores not only her Jewish heritage and its connotations, but also the changing notions of white identity in post 1994 South Africa. Sassen, in her photographic depiction of obscured African subjects, challenges the viewer’s perceptions of Africa and positions herself as being ‘in-between’ Africa and the Netherlands, where she “will always be the stranger … and will never be part of the culture” (Sassen in Jaeger 2010). Alamidis’ work explores cultural dislocation in the context of migration, eloquently expressed through the use of the identity cards of 1950s Greek immigrants as visual metaphors for the loss of identity. I explore cultural dislocation through the history of three female protagonists (my grandmother, mother and myself) and their migration between the Netherlands and Southern Africa. The protagonists’ cultural narratives provide an historical context for a discussion of my art practice in the form of an exhibition titled Discovering Home. The conclusion outlines the research findings and identifies possible areas of future research. The main research finding reveals that the formation of a new subject identity, post migration, is dependent on a specific (historical) time and (geographical and psychological) space. An area of possible future research, in the context of cultural dislocation, is the use of Foucault’s (1967) theory of heterotopias to explore the idea of the ‘third space’ functioning as a personal heterotopia.
M
McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists". Thesis, 2010. http://hdl.handle.net/1959.13/1048161.
Testo completoBeginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action are used as a framework to examine the success of the Low Show Group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. The development of the Newcastle Technical College Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show Group artists first as students of this new art school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and promising future of the fine arts in Newcastle.
Maurel, Nicolé. "An investigation into the interrogation of Afrikaner culture and identity in the work of selected artists". Thesis, 2015. http://hdl.handle.net/10321/1439.
Testo completoThe purpose of this research was to investigate the interrogation of Afrikaner culture and identity in the work of Andries Botha (1952) and Marlene de Beer (1957) in the context of Afrikaner nationalism. Anthony Smith’s theory of ethno symbolism (2010) and writings on nationalism by Montserrat Gibernau (1996, 2004a, 2000b) are used as a theoretical framework for an analysis of Afrikaner culture and identity, in the form of Afrikaner nationalism. A qualitative research methodology was used, within an art historical, theoretical and practice led investigation into the interrogation of Afrikaner culture and identity. A reflective approach clarified and made meaningful concepts which relate to both my theoretical and practical work, which are interlinked. De Beer makes use of cultural symbols, in interrogating the position of the female in Afrikaner identity and culture, in the context of South African history. Botha interrogates masculinity and patriarchy in Afrikaner culture and identity through a reference to his father and events and imagery from South African history. A personal exploration of Afrikaner culture and identity, in the context of my family history and life experiences, reveals a persistent questioning of Afrikaner culture and identity, resulting in the formation of an individual identity. Arising from this research, it is evident that there is a need for further research into the possible formation of a multicultural identity post 1994 in South Africa.
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jen, chen shu, e 陳淑真. "The Dream of Six Young Taiwanese Graffiti Artists: A Case Study of “VIRUS NO.6” Graffiti Group". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/59971023168510522369.
Testo completo國立彰化師範大學
藝術教育研究所
98
The art of Graffiti has been developing since late 1960s. It has already become a part of subway culture in America. However, from the perspective of the development of 60th and 70th subway Graffiti in New York, the behavior of youth who go public for their own creation and their Graffiti works are treated as “vandalism.” Graffiti has been elevated as an art form. It contains some kinds of stray spirit and also stands for unique attributes and meanings despite art itself. When it comes to “Graffiti,” our stereotype is often related to some children who are not capable of using words well, but choose to express themselves through Graffiti. This applies even more to juveniles who presented their disruptive behavior, when they are dissatisfied with their environment. To discuss Graffiti works, we need to discuss with the original creators in order to get closer to the beliefs they intend to express. To avoid being over-subjective, it is better to seek their original perspectives. The research in this paper is different from previous studies which only focus on the overall considerations and ignores the key voice constructed in a single case. The researcher interviews a popular Graffiti crew, and lets the members of the crew tell their own stories through which readers can clearly understand their Graffiti. This article mainly discusses the establishment of Virus No. 6 and their consensus for art creation. It analyzes their motivation, purpose, faith, and the artistic dream by interviewing the six graffiti artists. After the observation, interviewing, photographing, video recording, and even material collecting on the spot, the six members of the crew are interviewed. The findings are as follows: First, sketch-loving children: The case study shows that all of the six have been so fond of sketching since their childhood. They have a fancy for Graffiti even without professional art training background. Their devotion towards Graffiti has increased along with time. Second, the transformation before becoming famous: Each Graffiti artist used to undergo the stage of a novice (toy). Before they gain publicity, the six artists experience lots of frustration and disappointment. The period of transformation would likely take longer if there are no experts to guide them. To this crew, fame is V not their first goal. However, once one has devoted time, energy, and money, one always hopes that the society will recognize the art in the end. Third, “Revolution” is fine: “Revolution” is fine because “illegality” does not equate “badness.” Even if Graffiti itself is one kind of art, the illegality is a solid fact in the laws of Taiwan. However, its artistry actually provokes visual impact in the majority, and also coexists with a unique esthetic experience. Fourth, from pains to gains: Especially, to the members of Virus No. 6, they insist Graffiti is one kind of artistic creation. In recent years, those who tend to create their Graffiti works secretly in Taiwan have emerged from the dark by combining art and the commercial market. In the future, the “street spirit” will inevitably face the challenges of mutual influences among self-recognition, social impact, and fine art.
Kuo, Bou-Yi, e 郭柏毅. "A Study on the Application of Enterprise Business Model by Chorus Group in Taiwan─ A Case on Taipei Artists Chorus". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/54806866976717753704.
Testo completo國立臺灣師範大學
表演藝術研究所
100
The performing arts and cultural environment has entered a crucial transformation. Setting programs of public art were developed, National Culture and Arts Foundation was established, local art seasons and minor international performance activities flourished, national culture and art agencies founded. Followed with the promotion to “culture industrialization, industry culturalization” concept, the commercialized management in the industrialization progress to performing art, part of the culture, is an important topic. Most of performing arts groups in Taiwan are facing financial difficulties, although the size but lack of the related concepts of corporate management, such as treating performances of a performing art group as a product. A performing arts group provides their product and also a good environment to enjoy it, therefore from the product research-design, shelves, and provides services to customer; the whole process has created a simple supply-demand value chain system of a corporate operation. An enterprise creates service quality, improves the service degree, thus creates customer satisfaction and corporate value, in the end the enterprise earns profit. However most of the performing arts groups in Taiwan are weak in financial structure and poor in turnover ability, and are commonly at the edge of deficit or even in the red. From the view of enterprise management, an enterprise must attach great importance to its profit pattern and management, so it can provide more services to its product and meanwhile let customers to buy more, pay reasonable or higher prices, and bring more customers through public praises. However, when an enterprise reached a certain maturity, the target will not be only stable profit but a rise of its value. To achieve the target an enterprise will have to adjust its operation pattern or become multi-direction operation. “Taipei Artists Chorus” has set the “art industralized arts group, industry full of artistic breath” at its early stage of establishment in 1987. In the periods of corporate support and government counseling, it dedicated to not only the striving in the expertise in music, but also the strength in management, hoping to devote to culture creativity industry based on performing arts, and extend to businesses by the integration to performing arts. Through contacting and integrating the upper, middle, and lower reaches of performing arts industry, TAC will step into a business-nature business model from performing arts. This study attempts to explore the operation of chorus groups from business operation perspective, and analyze and explore the feasibility of use of business model on performing arts, using “Taipei Artists Chorus” case, through internal and external analyses to find relative operation method, and then to conclude specific operation strategies. Hope the study to provide excellent business model for performing arts and bring performing arts to a new realm, to promote performing arts into part of the public life, and reach the target of “family full of artistic breath”, in then and “art industralized arts group”.
Chamberlain, James Colby. "George Maciunas and the Art of Paperwork". Thesis, 2016. https://doi.org/10.7916/D8R49QR6.
Testo completoKoh, Jinyoung. "Cross-Cultural Experiences, and Perceptions: A Selected Group of South Korean and Chinese Artists Who Received an MFA Degree in the United States". Thesis, 2019. https://doi.org/10.7916/d8-tzxc-hm51.
Testo completoNell, Wendy Desre. "Afrikaanse liedtekste in konteks : die liedtekste van Bok van Blerk, Fokofpolisiekar, the Buckfever Underground en Karen Zoid". Diss., 2014. http://hdl.handle.net/10500/18832.
Testo completoDie doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is.
The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians.
Afrikaans & Theory of Literature
M.A. (Afrikaans)