Tesi: "Themes in art"

1

Menon, Chitra Lekha. "Holocaust themes in Israeli art". Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313818.

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2

Preira, Jamie. "Indoor Nature-Based Art Activities| The themes students discuss while creating nature-based art". Thesis, Prescott College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10276991.

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Abstract (sommario):

When children can understand their surrounding environments (whether it be the natural environment or their built environment) it is said that they can connect more deeply and have a heightened awareness of their surroundings (Kelly, 2013). This connection and heightened awareness can open their eyes to prevalent environmental issues, increasing their sense of social responsibility. The research on this type of learning generally occurs in formal institutions (i.e., a school), non-formal centers (i.e., at an outdoor education center), or informal meeting places (i.e., at a park with a parent). I conducted a primarily qualitative study?utilizing arts-based research (ABR) methods and environmental art education theory?to better understand school-aged children?s (5-10 years of age) engagement with nature during indoor nature-based art classes. I observed children within a small, mountain-town school (Kindergarten ? 5th grade) while they engaged in various artistic activities such as drawing, finger painting, and watercolor. My purpose was to gauge whether indoor nature-based art activities compelled elementary aged children to engage in meaningful conversation about nature. I assessed meaningfulness by the structure of their sentences and topics of their discussions that ensued. This assessment included looking for changes over time in students? reaction to the art they were creating and the subsequent connections they were making. Results demonstrate that students are deeply engaged in their artwork and talk mostly about memories related to nature and what aspects of nature their artwork inspires. Given that these activities provoked students to be thinking about nature, schools may want to consider conducting similar activities if they are unable to provide quality time outdoors for their students but want to help their students maintain a nature connection.

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3

LEWIS, MELANIE BETH. "ART EDUCATION: A SURVEY OF THE CURRENT TRENDS AND THEMES IN K-8 ART CLASSROOMS". Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190679.

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4

Carmel-Arthur, Judith. "Rosenthal ceramics : themes in company and product identity reconfiguration". Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20744/.

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Abstract (sommario):

This thesis investigates Rosenthal's high-design identity and image construction primarily, although not exclusively, through the post-World War II period and into the era of the post- modern. Empirical study of Rosenthal carried out by Bernd Fritz (1984, and 1989) situates Rosenthal's commitment to high design to 1950. The present thesis isolates and discusses important threads of continuity between Rosenthal's pre- and post- World War II identity construction strategies, looking at how these asserted continuity with ceramics, familial and national pasts. As Lampugnani has observed, in many features of Germany's sweep towards renewal after World War II, tradition and continuity competed with modernism for pre-eminence in the reconstruction of the nation.' This thesis academically embeds and investigates Rosenthal within this cultural interpretation. It argues that the predominant and richest reconstruction strategy enlisted was modernity, and that Rosenthal reconstructed itself after 1945 via a range of discernable strategies informed by styles and ideologies of the modern. In this way, Rosenthal constitutes a significant case study in postwar reconstruction because it represents the second generation of industrial enterprises within Germany to look towards typologies of modernity for product and identity solutions. After critically introducing its subject in Chapter One, Chapter Two interrogates existing literature covering Rosenthal. Chapter Three states the inter-disciplinary research methodology of the thesis, commenting upon interpretive paradigms and significant influences that informed the study. From Chapter Four onwards, the thesis adopts a thematic investigation, each chapter concentrating upon an individual focal examination. Chapter Four embeds Rosenthal within the comparatively newer academic perspectives of narrative analysis; looking for the first time at the firm's development and manipulation of mythbiographical text. Chapter Five enlists hitherto unrecognised documentary evidence to offer a new contextualisation of Rosenthal's aryanisation, interpreting its product, family and manufacturing identity under the management of the infamous Deutsche Arbetisfront (or DAF, the Nazi-run, German Labour Front) during the battle to create 'model' industrial enterprises throughout Germany by 1939. Chapter Six looks at discourses of aesthetic modernity, and at an Americanisation of Rosenthal's design during the 1950s, also acknowledging the importance of Scandinavian design in the post-war German design climate. Chapter Seven addresses Rosenthal's uneasy relationships with Germany's Gute Form movement of the 1960s and 1970s, and identifies the company's prominent participation in the German cultural repatriation of a Bauhaus legacy. Chapter Eight examines Rosenthal's association with ideologies and cultural statuses of fine art, while Chapter Nine proposes both the ideologies and realities of exhibition and display served significant, strategic roles in Rosenthal's post-war identity mantle. Chapter Ten concludes the thesis by examining and interpreting Rosenthal's aspirational relationship with institutional statuses of the museum, presenting a case study in the firm's relationship with the Victoria & Albert Museum.

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5

Tupper, Denise. "My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.

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This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.

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6

Stowell, Steven. "The mystical experience of art : Medieval Christian themes in the literature on art of the Italian Renaissance". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517020.

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7

Nordstrom, Catherine Simke. "Heinrich Zille's Berlin: selected themes from 1900 to 1914 : the triumph of "art from the gutter"". Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc798079/.

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Heinrich Zille (1858-1929), an artist whose creative vision was concentrated on Berlin's working class , portrayed urban life with devastating accuracy and earthy humor. His direct and often crude rendering linked his drawing and prints with other artists who avoided sentimentality and idealization in their works.

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8

Valleriani, Marco. "Religious themes, storytelling in Christian art and anticlerical strands in Dario Fo's Mistero Buffo". Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531313.

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9

Vülser, Ingrid. "The theme of death in Italian art : the triumph of death". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33944.

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This paper focuses on the evolution of the theme the Triumph of Death, the representation of the personification of death and the dead in the late Middle Ages. The first part of this thesis represents different points of view of art historians and historians concerning the death and the afterlife. There follows a short description and analysis of the cultural environment especially regarding literature which closely relates to the visual art and the representation of death. The last part describes three themes of death and the most important representations in frescoes, panels, bas-reliefs of the Triumph of Death evincing the main idea and the underlying structure and composition. Two different ways of representation can be distinguished: the Triumph of Death in the shape of the apocalyptic rider as appearing in the Revelation of Saint John the Evangelist and the Triumph of Death based on Petrarch's poem the Trionfi.

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10

Puls, Jonathan D. "Regenerative themes in selected child bather paintings by Joaquin Sorolla from 1899-1909". Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1524150.

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Joaquín Sorolla (1863-1923) painted numerous works of children bathing and playing on Spain's Mediterranean shores. This life-affirming subject allowed Sorolla to participate in the broad cultural discourse in Spain concerning cultural regeneration. Sorolla's work with the subject of the child bather intensified in the decade following the Crisis of 1898. Sad Inheritance! , his first monumental work on a child bather subject, directly engages the Theory of Degeneration, and the degeneration of Spain itself. While creating this work, Sorolla also developed paintings of child bathers that moved decisively toward a vision of regeneration. It was this regenerative vision that the artist would pursue in a number of complex and shifting ways, until creating a series of large child bather paintings in 1909. This thesis takes an episodic approach, studying key works from a decade of Sorolla' s output.

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11

Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.

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This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.
Department of English

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12

Amatokwu, Buashie. "An Afrocentric Analysis of Hip Hop Musical Art Composition and production: Roles, Themes, Techniques, and Contexts". Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/16261.

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African American Studies
Ph.D.
This thesis investigates the roles, themes, techniques and contexts of composition in hip-hop. It seeks to explain how hip-hop artists view and define their work, while also taking into consideration the viewpoints of other participants in the marketing pool of hip-hop production and consumption. The conceptual plan on which the study is based is Afrocentric; coupled with Ethnographic method of data processing and interpretation. This method is comprised of personal interviews, participant observation, sonic analysis and the use of bibliographic entries and notes that allows for sense and meaning in text. Also used are documented data, which contain descriptions of hip-hop lyrics, interviews, opinions, journalistic notes, and scholarly reports as a means of evolving a cohesive sense of the message's intent, opinion, knowledge of its roles, themes, techniques, images, and contexts The study found that the issues and themes that dominate hip-hop include bondage impairment, concern over currently warped social values and trends, and challenges over oppressive cultural values and social institutions. The artists whose compositions and renderings were used for the purpose of this study not only demonstrated an ability to isolate and construct themes about issues, but were also familiar with the issues that reveal them as agents for the liberation of the minds of their Diaspora Africa peoples and communities. Their music and grassroots commentaries were found to be appropriately designed to persuade their targeted audience to greater awareness. They conveyed messages that encouraged positive attitude and behavioral change in respect to addressed themes that were, in the main, issues of disenfranchisement. They addressed negative, disapproving behaviors which the atmosphere of disenfranchisement has spurned, and were being expressed through the media of the hip-hop rap musicals. The study also highlights the connection between classical African musical expressions and postmodern Diaspora African musical innovations.
Temple University--Theses

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13

Hasenkam, Amanda. "A study of recurrent themes in the art of alcohol and drug dependent individuals in art therapy groups at a medical detoxification centre". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1994. https://ro.ecu.edu.au/theses/1476.

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Abstract (sommario):

This qualitative study uses an existing body of data derived from weekly art therapy groups conducted as part of a treatment programme at a medical detoxification facility. The design for this study relies on phenomenological and heuristic model of research. Previous art therapy researchers have suggested the recurrence of themes in the art work of particular client groups. This study examines themes previously observed in the art of substance abusers which are also present in the current data as well as additional themes that emerged in this study. These additional themes include the sun, the island paradise, the journey, cross roads and split-self images. These themes are examined in the light of a number of therapeutic models for change and in terms of the myth of the hero journey. An outline is proposed for a series of groups based on the hero’s journey to be used with substance misusers in recovery. Identifying the characteristics of the work produced by substance abusers in the early stages of their recoveries can be valuable aid for those who work with such clients in art therapy or substance use counselling. The images produced may give some indication of the client’s progress and in turn an indication of how effective the intervention strategies have been.

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14

Hopkins, David. "Hermeticism, catholicism and gender as structure : a comparative study of themes in the work of Marcel Duchamp and Max Ernst". Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328353.

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15

Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.

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Abstract (sommario):

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.

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16

Cliffe, Gregory Laurence, University of Western Sydney, of Arts Education and Social Sciences College e School of Contemporary Arts. "Can an illusionary object such as a painting express the essence of change in values of the artist and their society?" THESIS_CAESS_CAR_Cliffe_G.xml, 2001. http://handle.uws.edu.au:8081/1959.7/457.

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The initial intention of this thesis was to amalgamate two distinct tendencies that evolved in the author's art work over the period of twenty-four years. The illusionary and corporeal qualities of his painting and sculpture had become amalgamated with social concerns, which emerged from his installation and performance work between 1975 and 1985. The moment the artist makes a gesture on a painting surface is a culmination of memory, the immaterial and the corporeal. That moment expresses his judgement about himself, and the world in illusionary form. By bringing together of the self and one's worldview, the corporeal and the immaterial, the past and present, the artist is provided with the authority to make judgements and to change themselves and their surrounding community, as well as gaining insights into changes in values in his community and family. The emphasis of the everyday in the artist's work has become an expression of universal social issues.
Master of Arts (Hons) Contemporary Arts

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17

Alexander, Sandra Kaye. "Form, flesh and art's historicity : the themes of human embodiment and visual art in the work of Merleau-Ponty". Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288906.

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18

Hall, Nancy. "Personal drawings as a political statement". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724955.

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Abstract (sommario):

This creative project entailed the creation and display of ten drawings. These drawings were to be the result of research into the lives and artistic styles of a number of visual artists who explored political and social themes. The goals of the artist of the creative project were to develop and extend her ability to produce a personal visual language, to communicate by way of her drawings certain feminist and social concerns, and to relate her treatment of the drawn figure to the treatment other artists have traditionally given these concerns.Within the context of the ten drawings submitted for this creative project, it became clear that the artist had begun to develop a personalized visual language. The human figures were indicated by outlines which suggested the three dimensional form in a manner that was distinctive to the artist while fitting into the realm of contemporary feminist and political art. Furthermore, these drawings described the humanist/feminist concerns of the artist.
Department of Art

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19

Du, Plessis Carla (Carla Susan). "Reconsidering the conventions employed in comix and comix strips". Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21211.

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20

Zoeller, Anthony. "“Song of Myself”: Themes of Identity and Context in Selected Early Twentieth-century Settings of Walt Whitman". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276951594.

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21

Oberlander, Erin Marissa. "Reaching Arcadia: Rural and Agricultural Themes in Vocal Art Music including Plans to Introduce this Music to a Rural Audience". Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/29768.

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Abstract (sommario):

Throughout the history of Western Music, composers have written works on rural and agricultural subjects. The first half of this dissertation examines a number of important works from the Baroque era through the present day and the composers who have chosen this specialized subject matter. Rural communities are underserved where the arts are concerned. Yet, rural audiences have perhaps the best chance at identifying with the subjects of this particular subset of vocal art music. The second half of this dissertation examines reasons why it is important to reach rural communities with vocal art music. Four sample recital programs appropriate for rural audiences are included.

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22

Munson, William Donald. "Rites of passage". Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124882.

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Abstract (sommario):

Portrait painting is an art form that has been used by artists for years. I am using the portrait to convey a story. The story follows a boy's process of becoming a man. The discovery of old family photographs initially inspired the project. The rite of passage theme stems from this inquiry into the process of growing up. Several artists inspired my work in the formal and conceptual aspects of my portraits. Those artists include Paula Rego, Chuck Close, and Robert Henri. "Rites of passage" is a phrase that carries with it many meanings and issues. This creative project is both a consideration of the rites of passage theme and an investigation of the painted portrait.
Department of Art

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23

Bakhoum, Soheir. "Les themes isiaques a alexandrie sous les antonins : recherches numismatiques et historiques". Paris 4, 1986. http://www.theses.fr/1986PA040067.

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Le temoignage apporte par les monnaies imperiales emises dans l'atelier d'alexandrie est primordial pour l'etude de l'histoire et la vie religieuse de la ville. Cette recherche a pour cadre chronologique le regne des antonins (96-192) c'est a dire l'age d'or de l'empire romain, caracterise par la paix, la prosperite, l'extension territoriale et l'integration des provinces dans l'empire. A cette epoque, la vie religieuse a alexandrie est marquee par un syncretisme particulier entre cultes egyptiens, grecs et romains. Tels qu'ils apparaissent a travers les revers monetaires a themes isiaques, les cultes traduisent la complexite et l'originalite du second siecle alexandrin. L'atelier d'alexandrie, administre par rome, permet d'apprecier les modalites de la domination romaine en egypte, de reperer les themes de la propagande imperiale et de constater l'attachement des alexandrins a leurs traditions religieuses
The evidence provided by the imperial coins issued in alexandria's mint is essential for the study of the historical and religious life of the city. The antonine dynasty (96-192), the golden age of the roman empire, which was characterized by peace, prosperity, teritorial extension and the integration of the provinces into the empire, serves as our chronological framework. The religious life of this period in alexandria is marked by the syncretism of egyptian, greek and roman cults. As they appear on the isiac reverses, the cults express the complexity and the originality of the alexandrian second century. The study of the alexandrian mint, which was under roman administration, enables one to understand the modalities of roman rule in egypt, the themes usued in imperial propaganda, and the attachment of the alexandrians to their religious traditions

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24

Bailey, Trenton. "Kemetic Consciousness: A Study of Ancient Egyptian Themes in the Lyrics and Visual Art of Earth, Wind & Fire, 1973-1983". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/106.

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Abstract (sommario):

By the mid-1970s, Earth, Wind & Fire (EWF) became one of the most commercially successful pop music bands in the world. Their dynamic sound thrilled listeners and their elaborate concerts captivated audiences. EWF stood out from other artists with their philosophical messages and their use of ancient Egyptian symbols and imagery in their visual art. The ancient Egyptian themes intrigued fans but drew criticism from others. This study examines the ancient Egyptian themes incorporated into the lyrics of the songs recorded by the band. This study also examines the ancient Egyptian symbols used in the EWF’s visual art, including album covers, music videos, and concerts. A content analysis was conducted to study the lyrics and identify themes related to ancient Egyptian spirituality. A content analysis was also used to study the visual art and decipher what the symbols may signify. This research was based on the premise that Earth, Wind & Fire used their artistry to be a positive influence. When the lyrics and visual art were examined, the researcher found that they both contain themes of ancient wisdom and universal truths. The conclusions drawn from the findings suggest that EWF’s mission was to raise the consciousness of the world, and the way people responded is an indication that the mission was accomplished. The findings also suggest that the negative criticism EWF has received is unjustifiable.

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Earles, Bruce, University of Western Sydney e School of Contemporary Arts. "Inquiry into the appeal of anonymity to the artist". THESIS_XXX_CAR_Earles_B.xml, 1998. http://handle.uws.edu.au:8081/1959.7/499.

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This paper, in conjunction with a series of paintings and drawings, attempts to outline the theme of anonymity. The work contains images portraying the feeling of remaining anonymous within a city. The inquiry not so much records the necessity of remaining anonymous for the purpose of urban experience but examines whether the subject matter of the artwork could be communicated to a group of spectators. During an exhibition of the artworks, 20 subjects were surveyed for their opinions. Questions relating to subject matter and aspects of anonymity were posed to the spectators in a questionnaire and structured interview format. In a large majority of cases, spectators of the artworks isolated the multiple-choice answer that most described the subject matter of the artworks. This study gave a strong indication to the artist that the group of spectators could comprehend the subject matter of the paintings exhibited
Master of Arts (Hons) Visual Arts

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Theunissen, Justin Robin. "Film music : the synthesis of two art forms - a case study of themes and characters in Alfred Hitchcock's and Bernard Herrmann's Vertigo". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86555.

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Thesis (MMus)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis investigates the impact that a musical score can have on the visual component as well as the final product of a film. This is achieved by the use of a systematic analytical approach that covers the most important aspects of the visual and musical elements within Vertigo. The film is regarded as one of cinema’s greatest examples of excellence. The many levels of meaning, inspired use of cinematographic techniques, meticulously crafted narrative and dynamic score combine to create a film unlike any other. The analysis of Vertigo is achieved by selecting specific scenes that contain important visual and musical elements essential to the narrative. The visual and musical aspects of each scene are analysed separately before the relationship between them is studied. Following this, the results of the analysis are summarised within the larger context of the narrative and conclusions are drawn regarding the music’s influence on the visual aspects of the film as well as its role in the ultimate narrative success of Vertigo.
AFRIKAANSE OPSOMMING: Hierdie verhandeling kwantifiseer die impak wat ‘n partituur kan uitoefen op die visuele aspekte en eindproduk van ‘n film. Dit word bereik deur die gebruik van ‘n sistematiese analitiese benadering wat die hoofaspekte van die visuele en musikale elemente in Vertigo ondersoek. Vertigo word beskou as een van die filmkuns se beste voorbeelde van uitnemendheid. Die komplekse betekenisvlakke, die geïnspireerde gebruik vakinematografiese tegnieke, die uitmuntende storielyn en die dinamiese partituur kombineer om ‘n unieke film te skep. In die ontleding van spesiale tonele met visuele en musikale elemente wat ‘n noodsaaklike bydrae lewer tot die sukses van die storielyn, kan Vertigo analiseer word. Die visuele en musikale aspekte van elke toneel word eers individueel bestudeer voordat die verhouding tussen die elemente analiseer word. Daarna word die resultate saamgevat binne die raamwerk van die storielyn en kan daar tot ‘n gevolgtrekking gekom word oor musiek se invloed op die visuele aspekte van die film en die rol wat musiek gespeel het in die beslissende sukses van Vertigo.

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Reed, Kesayne. ""I've always known this place, familiar as a room in our house" : engaging with memory, loss and nostalgia through sculpture". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020022.

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Abstract (sommario):

My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.

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Stiebeling, Detlef. "Traditional iconographic themes in a Victorian context : paintings by Sir John Everett Millais between 1848 and 1860". Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73982.

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29

Ballas, Guila. "Themes et composition chez paul cezanne : les series thematiques des baigneuses et des baigneurs". Paris 4, 1987. http://www.theses.fr/1986PA040251.

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Abstract (sommario):

Vers 1875, cezanne invente deux schemas de base symbolisant, par leur forme, l'idee qu'il se fait de la feminite et de la virilite, schemas qu'il developpera tout au long de sa vie en deux series thematiques concomitantes de baigneuses et de baigneurs. Cette etude consacree a la composition chez cezanne vue sous l'angle de l'apparition et de l'evolution dans son oeuvre de ces deux series, comprend trois parties. La premiere examine la genese de la separation des sexes dans l'oeuvre de cezanne, ainsi que les sources d'inspiration - litterai- res et visuelles - du sujet meme des baigneuses et des baigneurs. La seconde, et la plus importante, est une etude systematique et detail- lee de l'evolution de chacune de ces series de tableaux, et propose un historique des baigneuses et des baigneurs individuels. Cette etu- de s'appuie sur une analyse graphique de la composition et prend en compte les nombreux travaux preparatoires executes par cezanne au crayon et a l'aquarelle. La troisieme partie, consacree au dessin et a la couleur comme elements de la composition dynamique, est suivie d'un catalogue - refletant l'argument de cette these - des toiles, des aquarelles et des dessins de cezanne, ainsi que des oeuvres d'autres artistes lui ayant servi de sources d'inspiration. Cette etude montre comment s'effectue la demarche creatrice de cezanne, non seulement a l'interieur de chacun des tableaux de baigneuses et de baigneurs, mais aussi dans l'enchainement des va- riantes a l'interieur des deux series ; on voit egalement comment, en depassant le particulier, cezanne a reussi a elever ses images, issues de la nature, au rang de notions abstraites, anticipant par la-meme les tendances conceptuelles de l'art contemporain
Around 1875, cezanne developed two basic schemes, symbolizing by their forms his personal idea of femininity and virility, schemes which he would evolve throughout his life in two concomitant thematic series of male and female bathers. This thesis, consecrated to composition in cezanne's work and examining the appearance and evolution of these two series, comprises three parts. The first examines the genesis of the separation of the sexes in cezanne's work, as well as the sources of inspiration - literary and visual - for the subject of bathers. The second and most important is a systematic and detailed study of the evolution of each of these series of pain- tings and proposes a history of each individual bather. This study is based on a graphic analysis of composition and takes into account the many preparatory works executed by cezanne, both drawings and watercolours. The third part, dealing with line and colour as dyna- mic elements of composition, is followed with a catalogue - reflec- ting the argument of this thesis - of oils, watercolours and dra- wings by cezanne, as well as works of other artists having served as sources of inspiration. This study demonstrates the creative procedure of cezanne, not only in each painting of bathers, but also in the sequences of variants throughout the two thematic series ; it also shows how, by going beyond the particular, cezanne succeeds in elevating his images, stemming from nature, to the rank of abstract notions, thereby anticipiting the conceptuel tendances of contemporary art

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30

Fletcher, Lauren Jean. "Adaptive realities : effects of merging physical and virtual entities". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.

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Abstract (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.

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31

Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing". Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

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Hartigan, Patrick Art College of Fine Arts UNSW. "Within words, without words". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43083.

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Abstract (sommario):

This paper centres in and around words. I have incorporated words into my recent work in a variety of ways including drawing, Letraset, sound and fiction writing. The philosophical questions which arise through any use of language and the various ways of adopting these questions and words within a 'visual art' context is considered in a number of ways. These include The Voyager Interstellar Space Mission which was humankind's first attempt to communicate with other hypothesized populations, conceptual word-incorporating artists, writers of fiction and philosophers within whose work can readily be found an extreme vigilance towards language. Alongside this word exploration I will consider other processes through which I've made and continue to make, works of art. These processes include drawing and film/video. My drawings (which sometimes include words) will be addressed in terms of a crossover between the drawn line and words found in Raymond Carver's story Cathedral. This story made me think about what it means to 'be led' by somebody and how I'm led (by myself or perhaps those mysterious 'populations' the Voyager team of thinkers had in mind) when drawing. It also marks an interesting point in my discussion of a state of being 'without words.' In addition to words an important focus in this paper are the windows through which I've spent a lot of 'my life' looking at 'life pass by' (which are in many ways a physical reality corresponding to the metaphorical 'frame of language'). The time I've spent looking out windows over the past few years has resulted in. several film and video pieces in addition to my latest work (presented as the appendix of this paper) which comprises of a series of short stories. The paper opens with a quote by German philosopher Martin Heidegger: "Language is the house of Being. In its home man dwells." The enigmatic broadness of this statement is appropriate to the apprehensive and cautious attitude towards words found throughout the paper (also it mentions 'house' which immediately brings to my mind 'windows')

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33

Bolgun, Oya. "A study of technology and human relations developed in a series of paintings". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230600.

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Abstract (sommario):

The ambition of this creative project was to portray the communication between individuals of our time, which is being made shabby by the effect of technological life. As an artist, I am dealing with the issue of our sense of respect for each other and how much we are aware of each other.This study includes the art works of artists Robert Motherwell and Joan Mitchell by whom I have been inspired. I have learned a lot from their art works and from their philosophies. I will describe my art works one by one in terms of the techniques that I have used, and the feelings behind them.
Department of Art

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34

Munro, Samantha Fawn. "Being for others : critical reflections on the stranger, the estranged and the self in participatory art". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017771.

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Abstract (sommario):

By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.

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35

Wise, Heather M. "A studio project in woodcarving : the symbolism of the buffalo in art yesterday, today, and tomorrow". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217379.

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Abstract (sommario):

This creative project interpreted and applied the buffalo in Native American culture - its symbolism, significance and virtues - to woodcarvings for the lives of people today. The carvings explored a range of styles, media and symbols but all use buffalo imagery and each piece represents how I have applied the buffalo to my life. Some pieces are based on historical events while others explore personal emotions. Wood surfaces differ from natural or bleached to painted. No style unifies the body of work. In each piece realism and abstraction, positive and negative space is handled differently. Buffalo facts and myths were interpreted to convey what white people can learn from the buffalo. It was a spiritual link and messenger from Native Americans to the Great Spirit. The buffalo was revered and respected as a vital in the life cycle. White man destroyed the buffalo during the nineteenth century through the acts of greed, disrespect and ignorance. It seems to have returned with a message for people of all races. This message is one that must be found within each individual.
Department of Art

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36

Lindley, Anne Hollinger. "Relating to relational aesthetics". Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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Abstract (sommario):

This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

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37

Behrens, Monika Art College of Fine Arts UNSW. "Silent bang". Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.

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Abstract (sommario):

The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

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38

Egan, Rachel K. "New perspectives on the quatrefoil in classic Maya iconography the center and the portal". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4759.

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Abstract (sommario):

The quatrefoil is a pan-Mesoamerican symbol with considerable time-depth. For the Maya, use of the symbol peaked during the Classic Period, reaching its highest frequency and largest geographical spread. Consequently, understanding its meaning has the potential to illuminate information about Precolumbian Maya worldview. While there have been several studies that focus on Preclassic Period quatrefoils, a similar study is lacking for Classic Period. Furthermore, the evaluations of the quatrefoil that do exist for the Classic Period are limited, often focusing on a select few examples. This thesis attempts to rectify the gap in extant research through an examination of the quatrefoil motif utilized by the Classic Period Maya. Specifically, the goal of the thesis was to determine whether the current interpretation of the quatrefoil as a cave is and also to investigate how the symbol communicated broader ideas about worldview and ideology. The approach that was utilized focuses on both archaeological and iconographic contexts. As an iconographic symbol, I attempt to understand the quatrefoil through the use of semiotics with particular emphasis on contextualization and analogy. The results of this study suggest that, while there were some patterns related to spatial distribution, the meaning of the quatrefoil motif was dependent on context and had considerable variations. I conclude that the analysis of the symbol, when based on specific usages and contexts, reveals that there is not enough evidence to support the current interpretation of quatrefoil as cave. Rather, the quatrefoil can be more accurately interpreted as a cosmogram that delineated information about how the Maya conceptualized, ordered, and accessed space that was appropriated by elites to reinforce and even legitimize political authority.
ID: 030646206; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Error in paging: p. 213 followed by p. 190-205.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references.
M.A.
Masters
Anthropology
Sciences
Anthropology

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39

Woolston, Rachelle M. "The Voice of Children in Art Song: A Study of Six Cycles Involving a Child's Perspective". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1353088912.

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40

Regan, Clarissa. "Transforming tales : fairy stories in a contemporary world". Thesis, The University of Sydney, 2009. https://hdl.handle.net/2123/21678.

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Abstract (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.

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Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso". Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.

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Abstract (sommario):

This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.

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42

Williams, Court. "Sensitive skin". Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.

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Abstract (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.

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43

Lecomte, Isabelle. "Joseph Cornell (1903-1972) et ses muses: étude monographique à partir des sources iconographiques et littéraires". Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210115.

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Abstract (sommario):

Joseph Cornell (1903-1972) est un artiste américain très connu dans son pays mais peu étudié en Europe. Le catalogue raisonné de son œuvre n'est toujours pas établi à ce jour.

Tout au long de sa vie, ses sources d'inspiration sont intimement liées à la femme. Cette thèse souhaite aller plus loin que les études existantes: d'une part en envisageant la femme dans tous ses rôles (danseuse, diva, écrivaine, amie, starlette,) et d'autre part, en étudiant la série qui lui est consacrée. Ce regard minutieux sur les variations au sein d'une série est l'un des points forts et totalement inédits de cette thèse. Il permet d’observer le renouvellement de l’obsession et le goût pour la collection, au sens où Baudrillard l’entend.

En première partie, l'angle d'approche consiste à observer, les stratégies de l'artiste qui tente de s'approprier la femme par la mise en boîte, en bouteille, en dossier,

En deuxième partie, nous observerons la manière dont il installe une distance qui permet à la muse de rester inaccessible – au sens romantique voire nervalien du terme. La distance peut-être d'ordre surnaturel: la femme prend alors les traits d'une fée ou d'une sylphide ;temporelle (la muse est imaginée enfant) ;spatiale (la muse prend vie sous forme de constellation). Autre stratégie d'évocation: "le portrait sans visage" où le corps de la muse est totalement absent, seul « un objet symbolique) fait référence à la femme désignée. Il peut s’agir d’une chambre ou d’une lampe de mineur pour évoquer Emily Dickinson ou une poupée pour évoquer La Belle au Bois dormant. Vers la fin des années cinquante, Cornell réalise des « boîtes-mémoriaux » en hommage à des jeunes trop tôt disparues.

La troisième partie tente d’étudier comment Cornell « transcende » l’idée de mort.

Enfin, en quatrième partie, nous dresserons un bref inventaire des collages des années soixante ayant comme thème central le nu féminin. Cornell quittant un matériel « nostalgique » afin de « charge d’innocence » des images qu’il considère comme érotiques.

Cette étude s'appuie, entre autres, sur une vingtaine d'œuvres analysées qui n'ont jamais été publiées, une trentaine d'autres qui n'ont jamais été commentées. Plus d'un tiers des œuvres choisies bénéficient d'une recherche de sources totalement inédites, se voyant ainsi placée sous un nouveau regard interprétatif. Et enfin, les œuvres sont mises en rapport avec les sources littéraires qui les ont nourries (Aurélia de Gérard de Nerval, Le Portrait de Jennie, la poésie d’Emily Dickinson, la biographie de Marilyn Monroe ou les écrits de Mary Eddy Baker, …).

Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Garisch, Margaret Isabel. "Consuming pasts : imaging food as Identity and (post)memory in post-apartheid South Africa". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018556.

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Abstract (sommario):

This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work

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45

Lake, G. Thomas. "The five paintings of the Adoration of the Magi by Sandro Botticelli /". Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61261.

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Abstract (sommario):

The thematic unit formed by the five versions of The Adoration of the Magi painted by Sandro Botticelli provide a special opportunity for studying his artistic development. An investigation of these five paintings shows that Botticelli aimed toward a goal of perfecting compositional techniques. He systematically made alterations to these works in order to create special point of view effects.
This thesis outlines the general trends in art with respect to the Adoration theme and then concentrates on a demonstration of Botticelli's attempts at correlating compositional devices and the unique features developed with respect to spectator involvement. This selected study allows for a careful examination which spans the artistic career of Sandro Botticelli. As a result, it can be shown that it was perhaps Botticelli, rather than Leonardo da Vinci, who was primarily responsible for the development of a compositional format which became a foundation stone of High Renaissance compositions.

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46

Hoffman, Jeanne. "Drawing near : inscribing urban spaces". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/4078.

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47

Van, Velden Christina Maryke. "'n Weg na betekenis : 'n gevallestudie van letterlike en figuurlike ikonografie van Bybelse eksegese". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20191.

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Abstract (sommario):

Thesis (MPhil)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This thesis comprises a critical analysis of the relationship between form and function in contemporary iconography that contains religious themes. From the theoretical stance of Visual Culture iconography can be defined as ‘context-specific visual language’. I suggest that meaning is created not only through material usage but also through the hermeneutic content of images. By means of a comparison between an example of what I deem literal iconography and another of figurative iconography, I explore two divergent methods through which religiously-inspired iconography can be employed in the construction of visual texts. The two examples comprise of the evangelical poster Die Smal en Breë Weg (The Broad and Narrow Way) and Willem Boshoff’s Bread-and-Pebble Road Map (2004).
AFRIKAANSE OPSOMMING: Hierdie skripsie omvat ‘n kritiese analise van die verhouding tussen die aard en die funksionering van kontemporêre ikonografie wat religieuse temas bevat. Vanuit die teoretiese hoek van Visuele Kultuur kan ikonografie gedefinieer word as ‘konteks-spesifieke visuele taal’. Ek stel voor dat betekenis nie alleen gegenereer word deur die materiële gebruik van beeldmateriaal nie, maar ook deur die hermeneutiese inhoud daarvan. Deur ‘n vergelykende analise tussen ‘n voorbeeld van wat ek as letterlike ikonografie beskou en ‘n voorbeeld van figuurlike ikonografie, ondersoek ek twee uiteenlopende metodes waardeur religieus-geïnspireerde ikonografie werksaam kan wees in die konstruksie van visuele tekste. Die twee voorbeelde bestaan uit die evangeliese plakkaat Die Smal en Breë Weg en Willem Boshoff se Bread-and-Pebble Road Map (2004).

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White, Claire. "Work and leisure in late nineteenth-century French literature and visual culture". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610774.

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49

Earles, Bruce. "Inquiry into the appeal of anonymity to the artist". Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/499.

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Abstract (sommario):

This paper, in conjunction with a series of paintings and drawings, attempts to outline the theme of anonymity. The work contains images portraying the feeling of remaining anonymous within a city. The inquiry not so much records the necessity of remaining anonymous for the purpose of urban experience but examines whether the subject matter of the artwork could be communicated to a group of spectators. During an exhibition of the artworks, 20 subjects were surveyed for their opinions. Questions relating to subject matter and aspects of anonymity were posed to the spectators in a questionnaire and structured interview format. In a large majority of cases, spectators of the artworks isolated the multiple-choice answer that most described the subject matter of the artworks. This study gave a strong indication to the artist that the group of spectators could comprehend the subject matter of the paintings exhibited

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Wenman, N. R. "A space to house nothing : examining the spatial complexities of nothingness, emptiness, zero and void to define the space of nothing, through the adoption of architectural themes and forms of representation in selected conceptual art projects since 1958". Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1352736/.

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Abstract (sommario):

In reference to Yves-Alain Bois and Rosalind Krauss in Formless: A User's Guide, 1997, which maps out a third area between the traditional dichotomy of form and content in the visual arts as originally suggested by Georges Bataille, this thesis looks at the notion of the Space of Nothing as a third space between form and content through the case study of Yves Kleinʼs gallery-emptying Le Vide - The Specialisation of Sensibility in the Raw Material of Stabilised Pictorial Sensibility 1958. This thesis is based on the realisation that artists since the birth of the conceptual art movement in the late 1950s, with specific later reference to the dematerialisation of the art object as defined by Lucy R. Lippard in 1967, have continued to explore spatial definition by directly adopting themes and forms of representation taken from architectural practice to describe concept-based and often immaterial, artworks. This is exemplified by the title of Roberta Smithʼs review of Michael Asherʼs project for the Santa Monica Museum of Art for The New York Times, March 2008 titled How Art is Framed: Exhibition floor plans as a conceptual medium. “The gray volumes of conceptualism are filled with somber ciphers which express primarily the inexpressibility of socially critical thought in the form of art. They embody a terrible contradiction. These artists attempted to break out of the prison house of the art business, its bureaucracy and architecture, and to turn toward social life. But in that process they reassumed the very emptiness they wished to put behind them,” Jeff Wall, 1988 [i] The core interest of this thesis lies in a theoretical reading of the spatial within conceptual art, the art of the immaterial. Can the experience of an artwork that is immaterial become corporealized? The titular reference to the verb to house in A Space to House Nothing is to be understood directly as; to accommodate nothing; to store nothing; to shelter nothing. It does not reference notions of the domestic or the home, nor do gender politics or such readings of the home as a site of gender rules play any role. Can the Space of Nothing be defined as an architectural site? The adoption of architectural themes and forms of representation are evident in the career of Dan Graham, yet his work is overtly concerned with multiplicity and the multi-layering of psychosis and the interweaving of viewer and participant. Although there is a natural overlap with regard to the architectural form of his work, the motivation is oblique to the focus of this thesis, which is centred on the use of the Space of Nothing as an architectural device. Lines of enquiry are considered in reference to Yves Kleinʼs Le Vide - The Specialisation of Sensibility in the Raw Material of Stabilised Pictorial Sensibility, 1958 as the genesis on which the research is sited. Theoretical analysis is examined through four key terms - nothingness, emptiness, zero and void. These terms are surveyed through mathematics, philosophy and language to create a theoretical model; the Space of Nothing (Chapter I). The new term is further explored through a series of specific classifications that catalogue artistic approaches to the Space of Nothing: doing nothing, mapping nothing, framing nothing, occupying nothing and listening to nothing (Chapter II: Strategies Toward Nothing). Artworks of this nature are often misunderstood as an extreme form of pure abstraction based on reductivist and formalist tenets or simply considered nihilistic. However, through spatial theory and the contexts of experience, memory and occupation (Chapter III: Nothing within Spatial Theory), the thesis establishes that the Space of Nothing can be read as complex, emotive and multi-faceted. As a practicing curator of contemporary art, it became important to understand curating as a spatial practice (Chapter IV: The Practice of Nothing). The major project NOTHINGNESS, a touring European exhibition of work by 25 major international artists, examined the premise of this thesis and acted as a visual record of enquiry of selected art projects. The exhibition opened at Galerie Eugen Lendl in Graz, Austria (8 Oct - 27 Nov, 2004) and later toured to Galerija Gregor Podnar, Ljubljana, Slovenia (25 Feb - 2 Apr, 2005) and was accompanied by a hardback illustrated catalogue (English/German) and published and distributed by Revolver Books, Frankfurt. The design research is further supported by additional curated projects including DAN GRAHAM: PERFORMANCE at Lisson New Space (12 July - 28 Aug, 2004), and site-specific installations and theoretical models as contributions to academic conferences and symposia, that explore the temporal nature of materiality, interior, void, boundary and frame. Endnotes [i] Graham, 1991 p. 19.

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Tesi sul tema "Themes in art"

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