Rozprawy doktorskie na temat „Art, modern – 21st century – congresses”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Art, modern – 21st century – congresses”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
Knezevic, Nina. "Interpreting the autobiographical archive". Phd thesis, Sydney College of the Arts, 2009. http://hdl.handle.net/2123/13893.
Pełny tekst źródłaFletcher, Lauren Jean. "Adaptive realities : effects of merging physical and virtual entities". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.
Pełny tekst źródłavan, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement". Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.
Pełny tekst źródłaWilliams, Court. "Sensitive skin". Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
Pełny tekst źródłaHaines, David Sean. "Osmologies : towards aroma composition". Phd thesis, Sydney College of the Arts, 2012. http://hdl.handle.net/2123/14423.
Pełny tekst źródłaWise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House". Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
Pełny tekst źródłaAbdullah, Sarena. "Postmodernism in Malaysian art". Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/9457.
Pełny tekst źródłaGawronski, Alex. "No new Utopia? : the crisis of art as critique under globalisation". Phd thesis, Sydney College of the Arts, 2005. http://hdl.handle.net/2123/3967.
Pełny tekst źródłaRoche, Judith D. "The role of the artist at the beginning of the twenty-first century: An exploration of dialectical processes in art and science with particular reference to biologically based art". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/1571.
Pełny tekst źródłaWedderburn, Michael Roderick. "Living in the Shadow of death: purging the unconscious for the creation of a personal visual language". Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13250.
Pełny tekst źródłaHaviland, Maya. "Side by side? : practices of collaborative ethnography through creative arts". Phd thesis, Canberra, ACT : The Australian National University, 2012. http://hdl.handle.net/1885/109596.
Pełny tekst źródłaHeymans, Simone. "Habitual transience : orientation and disorientation within non-places". Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013141.
Pełny tekst źródłaEwin, Glenda. "Being and circumstance". Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/23387.
Pełny tekst źródłaWillacy, Eric. "The search for "self" in a fragmented mind". Thesis, The University of Sydney, 2011. https://hdl.handle.net/2123/28928.
Pełny tekst źródłaRauber, Rogério [UNESP]. "Do bagaço da pintura às pictocartografias". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/131959.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Nesta dissertação descrevo as experiências da série O Bagaço da Pintura, que procuram responder ao problema da morte da arte e investigam a linguagem pictórica em campo expandido. No ambiente acadêmico, esta pesquisa abriu uma nova vertente poética, também aqui descrita e analisada: as Pictocartografias
In this dissertation I describe the experiences of series The Bagasse of the Painting, which seek to respond to the problem of the death of art and investigate the pictorial language in expanded field. In academic environment, this research has opened a new poetic dimension, also described and analyzed here: the Pictocartografias
Rauber, Rogério 1960. "Do bagaço da pintura às pictocartografias /". São Paulo, 2015. http://hdl.handle.net/11449/131959.
Pełny tekst źródłaBanca: Lucimar Bello Pereira Frange
Banca: José Paiani Spaniol
Resumo: Nesta dissertação descrevo as experiências da série O Bagaço da Pintura, que procuram responder ao problema da morte da arte e investigam a linguagem pictórica em campo expandido. No ambiente acadêmico, esta pesquisa abriu uma nova vertente poética, também aqui descrita e analisada: as Pictocartografias
Abstract: In this dissertation I describe the experiences of series The Bagasse of the Painting, which seek to respond to the problem of the death of art and investigate the pictorial language in expanded field. In academic environment, this research has opened a new poetic dimension, also described and analyzed here: the Pictocartografias
Mestre
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.
Pełny tekst źródłaAndres, Kelly Jaclynn, i University of Lethbridge Faculty of Arts and Science. "Desiring machinations of Matertekhnologi". Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2008, 2008. http://hdl.handle.net/10133/729.
Pełny tekst źródłavii, 161 leaves : ill. ; 29 cm. --
Albuquerque, Ricardo Bezerra de 1963. "Auké - A Ilha Invisível : pintura e dramaturgia /". São Paulo, 2017. http://hdl.handle.net/11449/151137.
Pełny tekst źródłaBanca: Lúcia Regina Vieira Romano
Banca: Joasé Paiani Spaniol
Banca: Rosa Gabriella de Castro Gonçalves
Banca: Alvaro Seixas
Resumo: O trabalho apresenta o processo de criação do texto dramatúrgico Auké - A Ilha Invisível e a produção pictórica criada especificamente para ele. O texto dramatúrgico discute os desdobramentos que a comunicação cria a partir do encontro entre personagens oriundos de mundos diferentes e os desentendimentos relacionais consequentes. O trabalho busca integrar a pintura com a dramaturgia teatral para compor uma nova sintaxe estética tanto visual quanto teatral a partir das afinidades e diferenças entre as duas linguagens. A tese aborda também a transformação da pintura ao estar nesse novo lugar que não é o espaço expositivo tradicional público e/ou privado. A pesquisa revela o processo de escrita do texto dramatúrgico e o resultado obtido dessa inter-relação com a pintura. Assim, a dramaturgia e a pintura ao se fundirem num propósito comum criam um campo conceitual e experimental que se desdobra em uma nova práxis artística.
The work presents the process of creation of the dramaturgic text Auké - A Ilha Invisível ( Auké - The Invisible Island) and the pictorial production specially created for it. The dramaturgic text discusses the unfolding ways that communication creates from the meeting of the characters coming from different worlds and the consequent quarrels in their relationship; The work aims at integrating the painting with theatrical dramaturgy to compose a new aesthetics syntax both visual as well as theatrical starting with the similarities and differences between the two languages. The thesis also approaches the transformation of picture by being in that new place which is not the private and or public traditional space for exhibition. The research reveals the process of writing the dramaturgic text and the result obtained out of that interrelation with the painting. Therefore, the dramaturgy and the painting when merging in a common purpose create a conceptual and experimental field that unfolds into a new artistic practice.
Doutor
Wasserman, Minke. "'Becoming animal': motifs of hybridity and liminality in fairy tales and selected contemporary artworks". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1019759.
Pełny tekst źródłaMorelatto, Felipe 1989. "Pintura e apropriação : a ação poética na interface entre o pessoal e coletivo /". São Paulo, 2019. http://hdl.handle.net/11449/190954.
Pełny tekst źródłaBanca: Agnaldo Valente Germano da Silva
Banca: Mônica Soares Tinoco Sanovicz
Resumo: Esta dissertação consiste numa análise de minha produção plástica preexistente do corpo de obras realizadas no período de dois anos do curso do mestrado. Esse estudo tem como foco um aprofundamento na investigação da apropriação de imagens prontas como procedimento artístico, tema extremamente relevante para produção artística atual, pois consiste como um dos eixos que norteiam a minha produção artística, já se fazendo presente em meus primeiros estudos e trabalhos artísticos, realizados desde a época da graduação. Para explorar todo esse panorama optei por focar no pensamento de críticos que se aprofundam no estudo dessas práticas como Douglas Crimp e Nicholas Bourriaud, bem como na obra de Marcel Duchamp e Andy Warhol, que são artistas que inauguram aspectos chave para esse contexto
Abstract: This dissertation consists of an analysis of my preexisting plastic production of the body of work done during the two years of the Master's degree course. This study focuses on deepening the investigation of the appropriation of ready-made images as an artistic procedure, witch is a extremely relevant theme for the current artistic production, and it also consists of the axes that guide my artistic production, and has been present since my first studies and artistic works as a graduate student. To explore this whole panorama, I have chosen to focus on the thinking of critics who delve deeper into the study of such practices as Douglas Crimp and Nicholas Bourriaud, as well as the work of Marcel Duchamp and Andy Warhol, who are artists who inaugurate key aspects of this context
Mestre
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.
Pełny tekst źródłaLima, Vera Ferreira 1967. "Espaços expositivos contemporâneos". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285317.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T17:02:44Z (GMT). No. of bitstreams: 1 Lima_VeraFerreira_M.pdf: 17948557 bytes, checksum: 19c248c3e9867a869c23cd112712c983 (MD5) Previous issue date: 2015
Resumo: Esta dissertação de mestrado busca identificar a configuração ideal dos espaços expositivos contemporâneos, mais especificamente museus, para exibição das criações artísticas realizadas a partir dos anos 1950. Durante o processo investigativo constatou-se a necessidade de, preliminarmente, conceituar esta tipologia arquitetônica para, na sequência, apresentar suas transformações ao longo dos anos, fruto da constante busca por adequar o continente ao conteúdo e a sociedade. Enfatizando que as produções artísticas foram as causadoras das diversas necessidades de alterações espaciais também foi dedicada uma parte da monografia para apresentação do experimentalismo existente no período de reflexão. Cabe ressaltar que as variações nos suportes artísticos criaram novos desafios para os arquitetos no desenvolvimento dos projetos de museus, além da contaminação do seu imaginário com uma gama de infinitas possibilidades criativas. Para a criação destes espaços, por vezes, devem-se ponderar demandas antagônicas tais como: grandes ou pequenas áreas, claridade ou escuridão, silêncio ou ruído, cores ou neutralidade. Com o propósito de melhor entender estas edificações foram analisadas três instituições que apresentam condições específicas para a exibição de arte contemporânea, destacando-se duas distintas exposições em cada para melhor avaliarmos a conformação dos espaços às atuais demandas
Abstract: This dissertation aims to identify the ideal contemporary exhibition space, specifically museums, for showing contemporary art produced since the 1950s. In the research process, we primarily conceptualize this architectural typology and then presented its historical development related to its adequacy to social and artistic alterations. Considering that exhibition spaces must be adequate to show the wide range of artistic creations we also dedicated a chapter to understand and analyze all that happened in arts universe during the period. It¿s necessary to highlight that artistic developments in addition to being a big challenge to architects design are also a huge inspiration, mainly due to presenting infinity new possibilities. To design these spaces sometimes one must deal with antagonist forces like: amplitude or cosines, clarity or darkness, silence or noise, colorful or neutral. In this dissertation three reckon contemporary art institutions were analyzed highlighting two different shows in each one. The objective was to study the space adequacy to the art it contained
Mestrado
Artes Visuais
Mestra em Artes Visuais
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.
Pełny tekst źródłaPereira, Adriana Camargo 1974. "Inhotim e sensorialidade : um estudo do corpo na arte contemporânea". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284628.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T11:20:26Z (GMT). No. of bitstreams: 1 Pereira_AdrianaCamargo_M.pdf: 5246882 bytes, checksum: cf0d620ec8d8535bb1019ffa7415bdf4 (MD5) Previous issue date: 2014
Resumo: Esta dissertação reflete sobre a necessidade de pensar, investigar e estudar o corpo na arte contemporânea. O local que se elegeu para abordar o objeto de estudo foi o Instituto Inhotim - Centro de Arte Contemporânea, que se encontra em Brumadinho - MG. O texto está dividido em quatro capítulos. O primeiro capítulo busca compreender de quais corpos se está tratando, das suas especificidades, dos seus entrelugares e de que forma esses corpos se manifestam na arte contemporânea. O segundo capítulo aborda a discussão do corpo, seus reflexos e sua duplicidade segundo as instalações das artistas Valeska Soares e Yayoi Kusama. No terceiro capítulo, trava-se uma discussão entre os artistas e as respectivas obras de Matthew Barney e Tunga, onde o corpo se coloca em constantes questionamentos e diálogos entre o híbrido e o metamorfoseado. E no quarto e último capítulo, referendam-se questões acerca do corpo e da tecnologia onde novas geografias sonoras e audiovisuais são pensadas e executadas como forma de incorporar os dispositivos e os meios eletrônicos quase inseparáveis e indispensáveis para os indivíduos, hoje, no espaço da arte e como prolongamento do corpo; para tanto foram selecionados o casal Cardiff & Miller e o artista Doug Aitken
Abstract: This essay shows the need that one has to think, investigate and study the body in contemporary art. Inhotim Institute - Center of Contemporary Art, located at Brumadinho - MG was the chosen place for this thesis. The text has been divided into four chapters. The first chapter searches to understand which bodies are being discussed; their specificities, their "in-between-places" and most of all how these bodies are manifested in contemporary art. The second chapter addresses the discussion of the body, its reactions and its duplicity; all in accordance with the installations of the artists Valeska Soares and Yayoi Kusama. The third chapter welcomes you into a debate between the artists Matthew Barney and Tunga, and their works. Where the body is put into questioning, and an open dialogue surges between the hybrid and the modified. The fourth and final chapter indorses questions about body and technology; where the new sound and audiovisual characteristics are thought and executed as a way to integrate gadgets and electronic media. Showing that it could become almost an inseparable and indispensable tool for anybody in today's art; where art is an extension of the body; for this, I've selected the couple Cardiff & Miller and the artist Doug Aitken
Mestrado
Artes Visuais
Mestra em Artes Visuais
Válio, Luciana Benetti Marques 1978. "Renata Lucas e os espaços públicos : intrincamento e fissura". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285212.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T17:11:03Z (GMT). No. of bitstreams: 1 Valio_LucianaBenettiMarques_D.pdf: 19188044 bytes, checksum: 89dc378e5989e4e90bc9d6f5cca49e49 (MD5) Previous issue date: 2014
Resumo: Pretende-se na tese "Renata Lucas e os espaços públicos: intrincamento e fissura" discutir o conjunto dos trabalhos da artista que se configuram como instalações e intervenções no espaço, com ênfase nas intervenções nos espaços públicos. Parte-se das premissas de que tais trabalhos se instituem como um intrincamento específico com o lugar onde se inserem, e de suas configurações enquanto potencial político. Assim, o objeto da pesquisa decorre das relações que o trabalho artístico estabelece com o espaço, seja em sua fisicalidade ou em sua discursividade. A análise do conjunto dos trabalhos de Renata Lucas, produzidos entre 2001 e 2013, baseia-se em teorias de áreas diversas (filosofia, antropologia, história e, fundamentalmente, nas teorias do campo da arte). Por meio de leituras distintas, tenciona-se ressaltar na poética da artista: a percepção corporal do espectador/participante no espaço; a possibilidade de irromperem-se socialidades; a tentativa de criar uma fricção com o espaço por meio da alteração dos códigos representacionais pré-ordenados. Investigam-se as problematizações decorrentes da intervenção no espaço pré-ordenado, que possibilitem novas leituras e percepções. Procura-se defender, inclusive, o potencial político do trabalho de Renata Lucas como contido em estado de latência, no sentido de um potencial a ser desencadeado para o político, tanto pela produção de novos espaços, quanto pela subversão da ordem espacial preestabelecida, assim como pela constituição de uma esfera pública. Conclui-se que os trabalhos artísticos de Renata Lucas contêm muito do estranhamento, da incerteza, da fragmentação, da irrupção. Portanto, desvelar as camadas dos trabalhos da artista possibilita também desvelar camadas subjetivas, não aparentes, aflorar a emergência da "situação na qual estamos imersos". Inferiu-se, com isso, que o trabalho de Renata Lucas concretiza-se na oscilação entre o intrincamento e a fissura, o imiscuir-se e o friccionar
Abstract: The purpose of the thesis "Renata Lucas and the public spaces: intricacy and fissure" is to discuss the collection of the artist¿s works that configure as installations and interventions of space, with emphasis on interventions of the public space. It is assumed that such works consist of specific intricacy of the space with which they deal, and of their configurations as to their political potential. Thus, the objective of the study results from the relationship that the artistic work establishes with the space, whether in its physicalness or its discursiveness. The analysis of the collective works of Renata Lucas, produced between 2001 and 2013, is based on theories in diverse areas (philosophy, anthropology, history, and, fundamentally, on theories in the field of art). By means of distinct interpretations, the aime was to highlight the poetical aspects of the artist: the corporal perception of the spectator/participant in the space; the possibility of interrupting socialities; the attempt to create a friction with the space through the alteration of pre-organized representational codes. An investigation was conducted of the problematics resulting from the intervention in the pre-organized space that permit new interpretations and perceptions. An attempt was also made to defend the political potential of Renata Lucas¿ works as contained in the latent state, in the sense of a potential to be released in its political aspect, as much through the production of new spaces as to the subversion of pre-established spacial order, as well as for the constitution of a public sphere. It is concluded that the artistic works of Renata Lucas contain much of the surprise, the uncertainty, the fragmentation, the irruption. Therefore, uncover the layers of the artist¿s works enables us also to reveal subjective layers, not apparent, to treat the emergence of the "situation in which we are immersed". It is inferred, as such, that the work of Renata Lucas is concentrated on the oscillation between intricacy and fissure, intromission and friction
Doutorado
Artes Visuais
Doutora em Artes Visuais
Stirling, Scott. "The neo-diaspora : examining the subcultural codes of hip-hop and contemporary urban trends in the work of Kudzanai Chiurai and Robin Rhode". Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002219.
Pełny tekst źródłaKnijnenburg, Nicholas. "What are the issues that arise in the creation and presentation of a hybrid art work?" Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/35838/1/35838_Digitised%20Thesis.pdf.
Pełny tekst źródłaBarbosa, Andrea Lombardi. "Narrativas do desencontro: o MAM e as novas mídias". Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20252.
Pełny tekst źródłaMade available in DSpace on 2017-07-27T12:24:08Z (GMT). No. of bitstreams: 1 Andrea Lombardi Barbosa.pdf: 9398124 bytes, checksum: 98ce7398f49a670adefc80ffe05c928b (MD5) Previous issue date: 2017-06-21
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
The present research proposes to understand the narratives between the new media and the Museum of Modern Art of São Paulo, from a brief mapping of institutions that act at the intersection with the digital media as a confrontation production exercise, or in creative circumstances that explore new languages and approaches. In terms of functions, some issues stand out: how to create and implement new ways of performing museums? What are the changes necessary for the museum to account for the exposure and conservation of work in new media? What is the position of the museum in the face of new technologies, both in its use in the management and documentation of the collection and in the aid of education projects and support for visitation? For both the established museums and the museums being created today, the challenges that the new media present are enormous. They are ephemeral and dematerialized actions, works in process, built collectively, that manifest themselves in the direct clash with the ubiquitous time of cyberspace, generating strategies that subvert, recreate, amplify and deconstruct the meaning often anticipated by the digital context. In this way, the balance between conservation and exposure is threatened by the very dynamics of artistic production that stresses spatiotemporal distances, breaks with the paradigm of contemplation and calls for intervention, participation and intensifies mediation with works. In this sense, the present research addresses not only the productions and the experience of the museums in the context of the new media that cross the MAM-SP, but also points to questions to discuss the perspectives of the digital aesthetics in contemporary museums
A presente pesquisa propõe que se compreenda as narrativas existentes entre as novas mídias e o Museu de Arte Moderna de São Paulo a partir de um breve mapeamento de instituições que atuam na intersecção com as mídias digitais como exercício de produção de enfrentamento, ou em circunstâncias criativas que exploram novas linguagens e abordagens. No plano das funções, algumas questões se sobressaem: como criar e implementar novas formas de atuação dos museus? Quais são as mudanças necessárias para que o museu dê conta da exposição e da conservação dos trabalhos em novas mídias? Qual é o posicionamento do museu frente às novas tecnologias, no que se refere ao seu uso no gerenciamento e na documentação da coleção, bem como no auxílio aos projetos de educação e no apoio à visitação? Tanto para os museus já estabelecidos, como para os que atualmente estão sendo criados, os desafios que as novas mídias apresentam são enormes. São ações efêmeras e desmaterializadas, obras em processo, construídas coletivamente, que se manifestam no embate direto com o tempo ubíquo do ciberespaço, gerando estratégias que subvertem, recriam, ampliam e desconstroem o sentido muitas vezes previsto pelo contexto digital. Dessa forma, o equilíbrio entre a conservação e a exposição se vê ameaçado pela própria dinâmica da produção artística que tensiona as distâncias espaçotemporais, rompe com o paradigma da contemplação e solicita a intervenção, a participação, intensificando a mediação com as obras. Neste sentido, a presente investigação aborda não somente as produções e a experiência dos museus no contexto das novas mídias que atravessam o MAM-SP, mas também aponta questões no sentido de discutir as perspectivas da estética digital nos museus contemporâneos
Cardoso, Silvia Helena dos Santos. "Estrada, paisagem e capim - = fotografias e relatos no Jalapão". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284439.
Pełny tekst źródłaA biblioteca do IA acompanha 2 DVD-R
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T02:45:00Z (GMT). No. of bitstreams: 1 Cardoso_SilviaHelenadosSantos_D.pdf: 204143936 bytes, checksum: 8684d797a1436e3233a9c041032a67bb (MD5) Previous issue date: 2011
Resumo: Estrada, Paisagem e Capim - Fotografias e Relatos no Jalapão é uma pesquisa em Poética Visual constituída por viagens - como deslocamento e experiência estética - ao cerrado jalapoeiro, no interior do Estado do Tocantins. A fotografia digital e as anotações se constituem como expressão e desenvolvimento do percurso processual do trabalho realizado. As referências teóricas e visuais contaram com a Antropologia como essência, metodologia e inserção no campo de pesquisa e a Arte como espaço de reflexão e criação para o caminho poético. Diferentes questionamentos surgiram ao longo do desenvolvimento do fazer artístico e acabaram por delimitar o trabalho. Nesta pesquisa, arte, natureza e cultura tornam-se pares no processo de registro e percepção da intuição criativa fotográfica, enfatizando assim, o caráter de "work in progress". Um Livro de Fotografias e um DVD sonorizado com 170 imagens são apresentados como processo e resultado do trabalho poético
Abstract: Road, Landscape and Grass - Photographs and Reports in the Jalapão is a research in Poetic Visual consisting of travels - such as displacement and aesthetic experience - to the brazilian savannah, in the State of Tocantins/BR. The digital photography and the written summary notes are as expression and development of the proceedings of the visual work done. The theoretical and visual references counted with the Anthropology as well as essence, methodology and insertion in the field of research, and the Art to be a space for reflection and creation for the poetic way. Different questions have arisen in the course of the development of artistic making and ultimately define the work. In this research, art, nature and culture have become parts in the process of registration and perception of the creative intuition photographic, emphasizing the character of "work in progress". A book of photographs and a DVD with sound and 170 images are presented as a process and outcome of the research poetic
Doutorado
Artes Visuais
Doutor em Artes
Kühn, Carol. "Digital sculpture : conceptually motivated sculptural models through the application of three-dimensional computer-aided design and additive fabrication technologies". Thesis, [Bloemfontein] : Central University of Technology, Free State, 2009. http://hdl.handle.net/11462/50.
Pełny tekst źródłaRios, Edna Maria 1966. "A Finitude e seus Afetos : entre sabores e falas". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285324.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T09:40:46Z (GMT). No. of bitstreams: 1 Rios_EdnaMaria_M.pdf: 1169066 bytes, checksum: 9f2ceefed4050cc633a6ae7802e6de8a (MD5) Previous issue date: 2015
Resumo: A presente dissertação, apropria-se da experiência audiovisual do dispositivo-jantar como objeto de reflexão, perpassa as seis cerimônias realizadas entre as cidades de Salvador e São Paulo, e encontra, nos rituais instalados em situação de rua, a possibilidade tanto de situar-se no devir criativo do projeto aqui esboçado: Entre ruas e calçadas, como de penetrar diferentes territórios audiovisuais com montagens e apropriações de sua malha imagética. O que o presente texto oferece é o sopro de uma criação que tem a incompletude como condição, a incerteza como única certeza. Em seu começo, uma disposição primeira: a cerimônia do jantar. Em seu percurso, a escultura de uma força criativa que se fez e refez no encontro com seus intercessores. Da inoperância temática, a abertura de possibilidades de seu dispositivo de escritura em diferentes montagens, por entre diferentes domínios do audiovisual
Abstract: This present work is resulted by the reflection about the audiovisual experience acquired from using the dinner ritual as a dispositif. It passes through six dinner rituals that took place in São Paulo and Salvador, two of which being done in the street with homeless people. These two particular dinners opened the possibility to go through a more creative path, here drawn by the Entre ruas e calçadas project, or to get into other audiovisual territories with different settings and different uses of its imagetic grid. This text offers a glimpse of a creation having the incompleteness as a condition, the uncertainty as the only assurance. When the project began, there was just one thought: the dinner ritual. During its course: the sculpture of a creative strength that elaborates and re-elaborates itself while understands its intermediators; of its thematic ineffectiveness: the possibilities opened to fit the installation dispositif to other different settings and different audiovisual domains
Mestrado
Multimeios
Mestra em Multimeios
"傳統的擬像: 從當代藝術的混雜性反思傳統". 2007. http://library.cuhk.edu.hk/record=b5893235.
Pełny tekst źródła"2007年8月".
論文(藝術碩士)--香港中文大學, 2007.
參考文獻(leaves 46-48).
"2007 nian 8 yue".
Abstract also in English.
Liang Jiaxian.
Lun wen (Yi shu shuo shi)--Xianggang Zhong wen da xue, 2007.
Can kao wen xian (leaves 46-48).
Chapter (一) --- 前言:一覺之間的疑 惑 --- p.1
Chapter (二) --- 知覺:傳統的定義與印 象 --- p.4
Chapter 2.1 --- 神聖的規範
Chapter 2.2 --- 印象與符號
Chapter (三) --- 超越真實:傳統影像的再現與接 收 --- p.8
Chapter 3.1 --- 眼前的傳統
Chapter 3.2 --- 真實以外
Chapter 3.3 --- 符號慣性
Chapter (四) --- 相遇:當代藝術形態中的混雜模 式 --- p.17
Chapter 4.1 --- 從二元到多元的混雜
Chapter 4.2 --- 文化超市
Chapter (五) --- 再探:從混雜藝術中重拾傳統的意 義 --- p.25
Chapter 5.1 --- 傳統精神融合其他媒介,擴展傳統藝術思想
Chapter 5.2 --- 以傳統元素審視傳統
Chapter 5.3 --- 利用傳統的文化價値確立個人身分
Chapter 5.4 --- 傳統作爲創作材料的一部分
Chapter (六) --- 結論 --- p.40
Chapter 6.1 --- 創作者的起點
Chapter 6.2 --- 混雜藝術的位置
Chapter 6.3 --- 危與機的邊緣
參考書目 --- p.46
附錄 --- p.49
Pereira, Ana Isabel Morais Lavrador. "The perfect paint in modern art conservation: a comparative study of 21st century vinyl emulsions". Doctoral thesis, 2015. http://hdl.handle.net/10362/16840.
Pełny tekst źródłaCheney, Jacqueline Patricia. "The mythology of the uncanny : as theory and practice in Australian contemporary art". Phd thesis, 2012. http://hdl.handle.net/1885/150841.
Pełny tekst źródłaNixon, Karla. "Re- an exploration of transience in the work of selected artists". Thesis, 2017. http://hdl.handle.net/10321/2497.
Pełny tekst źródłaThe aim of this research is to investigate the exploration of transience in the work of selected artists. This study used qualitative, practice-led research methodology. This research is practice-led as my art making plays an integral part in guiding my research. Process philosophy provides the theoretical underpinning and contextual framework for this dissertation. I focus on both contemporary artists and philosophers who explore the notion of transience. As my selected artists and I use paper as a predominant medium, I look at how paper is an ideal choice of material through which to explore themes of transience. The selected artists that I investigate include Peter Callesen (1967-), Mia Pearlman (1974-), Jodi Carey (1981-) and myself. Through this research I have found that artists expressed similar sentiments to that of process philosophers centuries before these theories existed, and continue to do so today. This validates transience as a relevant form of visual enquiry. Through the exploration of transience by contemporary thinkers and the selected artists, I briefly examine the scope of interpretations and possible meanings of transience. The investigation into paper as an art medium supports its appropriateness as a means to explore themes of transience. The exploration of the selected artists’ work highlights the various aspects of transience as a concept based on both subject matter and medium. This research resulted in a body of work, exhibited in partial fulfilment of the Master of Technology Degree in Fine Art.
M
Ewin, Glenda, University of Western Sydney, of Arts Education and Social Sciences College i School of Contemporary Arts. "Being and circumstance". 2003. http://handle.uws.edu.au:8081/1959.7/23387.
Pełny tekst źródłaMaster of Arts (Hons)
Vekony-Harper, Delia. "What defines a good work of art within the contemporary art word? theories, practices and institutions". Diss., 2010. http://hdl.handle.net/10500/4047.
Pełny tekst źródłaArt History, Visual Arts & Musicology
M.A. (Art History)
Coats, Elizabeth. "Organic growth and form in abstract painting". Phd thesis, 2012. http://hdl.handle.net/1885/151306.
Pełny tekst źródłaLahy, Waratah. "Painted objects : investigating the imagery of Australian iconic culture". Phd thesis, 2007. http://hdl.handle.net/1885/149626.
Pełny tekst źródłaFrederick, Ursula K. "On and off the road : creative intersections between cars and art". Phd thesis, 2013. http://hdl.handle.net/1885/156072.
Pełny tekst źródłaHoyne, Hanna. "Commitment, devotion and belonging in the world with particular reference to the work of two Indian contemporary artists". Phd thesis, 2009. http://hdl.handle.net/1885/150148.
Pełny tekst źródłav.1 Text -- v.2. Exegesis
Day, Elizabeth A. "Discontinued narratives of migration and an art practice with earth". Thesis, 2011. http://handle.uws.edu.au:8081/1959.7/uws:31338.
Pełny tekst źródłaGuth, Robert Ern-Yuan. "Engaging audiences to value and invest in participatory art practice through reciprocal and relational interactions". Phd thesis, 2012. http://hdl.handle.net/1885/151414.
Pełny tekst źródłaWepener, Daneille. "Conflicting conventions: space as a medium in the works of Gerhard Richter and Serge Nitegeka". Thesis, 2017. https://hdl.handle.net/10539/24581.
Pełny tekst źródłaThis dissertation aims to examine Gerhard Richter and Serge Nitegeka’s artistic practices, in order to understand and identify how artists can potentially use space as a medium and contextualise my own practice within this realm. I position the conventions and principles of space through reference to French theorists’ Henri Lefebvre, Michel de Certeau and Michel Foucault. The thesis begins with a brief overview of the window as a painterly motif and spatially familiar everyday device in the introduction. In the first chapter, I explore the surface and reflection of the medium of glass, the colour gray, the monochrome, as well as the pictorial, in Gerhard Richter’s Eight Gray (2002). The second chapter examines the role of the frame or line in Serge Nitegeka’s Black Lines (2012), as an environment of experience that relies on painted diagrams and the illusion of perspectival space. The third chapter observes a shift in the manner in which Richter and Nitegeka experiment and extend their practices through an engagement with the mirror and the door, respectively, as ways of exploring the threshold. Finally, I discuss my own practice and reflect on the exhibition Through the Extent (2015), which was submitted as the practical component of this research.
XL2018
Trapani, Alex. "Bruce Nauman : the true artist is an absurd fountain". Diss., 2017. http://hdl.handle.net/10500/23276.
Pełny tekst źródłaThe work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)
PETRÁŠOVÁ, Jitka. "Vlakové nádraží". Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-47975.
Pełny tekst źródłaWillemse, Emma Wilhelmina. "The phenomenon of displacement in contemporary society and its manifestation in contemporary visual art". Diss., 2010. http://hdl.handle.net/10500/4343.
Pełny tekst źródłaArt History, Visual Arts & Musicology
M.A. (Visual Arts)
Jirátová, Kristýna. "Samota uprostřed davu: Charles Baudelaire a umění 20. století a současnosti". Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-386502.
Pełny tekst źródłaCloete, Zelda. "Site-specificity in The educators new clothes by Mark Rautenbach". Diss., 2019. http://hdl.handle.net/10500/27031.
Pełny tekst źródłaThis study is an enquiry into how The educator’s new clothes by Mark Rautenbach is an example of site-specific art. The aim is to demonstrate how boundaries in TENC become blurred between site-specific performance, other art forms, and every-day activities. The key concepts explored are: Rautenbach’s approach to the concept of site, the connections that develop between his performance and each site that he travels to; his use of the art gallery and viewer participation. Through literature study relevant theory is explored, and several arguments are applied in a selective manner to my analysis of TENC. Various International and South African site-specific artworks are discussed as an indication of how site-specificity can be applied in alternative ways. In October 2017 I installed GREENER?, a site-specific exhibition in the UNISA Art gallery. The works on the show underline the theoretical findings and highlight the flexible application of theory relating to site-specificity.
Dinyakišišo tše ke phatišišo mabapi le seo se dirago bokgabo bja The educator’s new clothes (TENC) ka Mark Rautenbach go ba mohlala wa bokgabo bja lefelong le itšego. Maikemišetšo ke go laetša ka fao ka go TENC mellwane magareng ga mošomo wa ka lefelong le mehuta ye mengwe ya bokgabo le mediro ya ka mehla di thomago go se sa bonagala gabotse. Mareo ao a šomišwago ke: mokgwa wa Rautenbach go kgopolo ya lefelo, dikgokagano tše di hlamegago magareng ga phethagatšo ya ya gagwe ya mošomo le lefelo le lengwe le le lengwe leo a yago go lona, tšhomišo ya gagwe ya kalari ya tša bokgabo le go kgatha tema ga babogedi. Ka go diriša dingwalwa teori ya maleba e a utollwa, gomme dintlha tše mmalwa di a dirišwa ka mokgwa wa go kgetha go tshekatsheko ya ka ya TENC. Mešomo ya bokgabo ya ka lefelong le itšego ya mehutahuta e a ahlaahlwa bjalo ka kutollo ya ka fao bokgabo bja ka mafelong bo ka dirišwago ka ditsela tše dingwe. Ka Oktoboro 2017 ke hlomile GREENER?, e lego pontšho ya bokgabo ya ka lefelong le itšego, ka Kalaring ya Bokgabo ya ka Unisa. Mešomo ye e bontšhitšwego e laeditše dikutollo tša teori le go laetša tirišo ye e fetogago ya teori mabapi le mešomo ya bokgabo ya ka lefelong le itšego.
Hierdie studie behels ʼn ondersoek na wat van The educator’s new clothes (TENC) deur Mark Rautenbach plekspesifieke kuns maak. Die oogmerk is om aan te toon hoe die grense tussen plekspesifieke uitvoering, ander kunsvorme en daaglikse bedrywighede vervaag. Die kernkonsepte wat verken word, is Rautenbach se beskouing van die konsep van plek, die verband tussen sy uitvoering en elke plek waarheen hy reis, sy aanwending van ʼn kunsgalery, en kykerdeelname. Die tersaaklike teorie word aan die hand van ʼn literatuurstudie verken, en ʼn aantal argumente word op selektiewe wyse op my ontleding van TENC toegepas. Verskeie internasionale en Suid-Afrikaanse plekspesifieke kunswerke word bespreek as ʼn verkenning van hoe plekspesifisiteit op ander maniere toegepas word. Ek het in Oktober 2017 ʼn plekspesifieke uitstalling met die titel GREENER? in die Unisa Kunsgalery gehou. Die werke wat uitgestal is, onderstreep die teoretiese bevindings en vestig die aandag op die buigsame toepassing van die teorie in verband met plekspesifisiteit.
Art History, Visual Arts and Musicology
M.V.A.