Rozprawy doktorskie na temat „Frank Stella”

There are two inter-related parts to the hypothesis explored in this research. The first is that it is significant to employ fabric as a medium in a fine art context, and the second aspect argues that female artists who choose fabric as their medium should be recognised as 'artists' rather than as crafts practitioners. I propose that in choosing fabric as a medium and sewing as my method of making art, I am working within the framework of contemporary fine art practice. In his essay 'To Cut is to Think' Germano Celant succinctly described the 'cut' made by artists who choose cutting as their process: The cut of the scissor is like the click of a camera or the whirr of a movie camera, like a stroke of the pencil or paintbrush: all these acts decisively isolate a form or representation, marking a surface that generates a reality. The cut puts an end to the traditional representation of the image, dissolving it and then restoring it as a testimony to the artist's vision and understanding. In this light, the cut confers meaning, and its use unites artists, photographers, designers and tailors, who cut their visions from the magma of their materials, whether these be colour or bronze, fabric or film, metal or wool, wood or canvas (1996, p. 31). My own use of the cut, as the bespoke tailor, reinterpreted fabric as paint and utilized pinstriped fabric as a visual metaphor for relationships of power, pink satin as a symbol of the female inclusion and Frank Stella's Black Paintings as a tool to position my work. Therefore, I would claim that I am working towards a conceptual repositioning of fabric as a medium in fine art.

There are two inter-related parts to the hypothesis explored in this research. The first is that it is significant to employ fabric as a medium in a fine art context, and the second aspect argues that female artists who choose fabric as their medium should be recognised as 'artists' rather than as crafts practitioners. I propose that in choosing fabric as a medium and sewing as my method of making art, I am working within the framework of contemporary fine art practice. In his essay 'To Cut is to Think' Germano Celant succinctly described the 'cut' made by artists who choose cutting as their process: The cut of the scissor is like the click of a camera or the whirr of a movie camera, like a stroke of the pencil or paintbrush: all these acts decisively isolate a form or representation, marking a surface that generates a reality. The cut puts an end to the traditional representation of the image, dissolving it and then restoring it as a testimony to the artist's vision and understanding. In this light, the cut confers meaning, and its use unites artists, photographers, designers and tailors, who cut their visions from the magma of their materials, whether these be colour or bronze, fabric or film, metal or wool, wood or canvas (1996, p. 31). My own use of the cut, as the bespoke tailor, reinterpreted fabric as paint and utilized pinstriped fabric as a visual metaphor for relationships of power, pink satin as a symbol of the female inclusion and Frank Stella's Black Paintings as a tool to position my work. Therefore, I would claim that I am working towards a conceptual repositioning of fabric as a medium in fine art.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O trabalho examina a especificidade das relações culturais e das intermediações sociais instauradas pelas obras de Tony Smith, Frank Stella e Donald Judd, pelos eventos performáticos do Grupo Fluxus, pelas Aktionen de Joseph Beuys, e pela Pop Art de Andy Warhol. O texto é conduzido pela hipótese de que tais poéticas foram fundamentais para uma renovação estatutária da arte, obtida, principalmente, via sucessivas inaugurações de modos inéditos de trocas públicas. Os anos seguintes ao fim da Segunda Guerra Mundial exigiram sérias reavaliações e respondem até hoje pelos mais díspares comportamentos. A seleção pressupõe, em segundo plano, a incidência de um significativo ápice poético estimulado pelas urgências morais. As obras de arte resultantes desse aperto existencial distinguem-se, dentre outras tantas inovações estéticas, por uma extravagante apresentação e uma controvertida índole: fermentaram a contracultura do final da década de 1960, encaminharam os movimentos da seguinte e alimentaram os debates pós-modernistas dos últimos vinte anos.
The present work examines the specificity of the cultural relations and social intermediations established by Tony Smith's, Frank Stella and Donald Judd works, by Fluxus's Grup performatic events, by Joseph Beuys's Aktionen, and by Andy Warhol's Pop Art. The text is driven by the hypothesis that such poetics were fundamental for a statutory renewal of the art, obtained, mainly through successive inaugurations of completely new ways of public exchanges. The following years after the end of the World War II demanded serious revaluations which answers until today to the most disparate behaviors. This present selection of works and authors presupposes, in a second plan, the incidence of a significant poetic apex stimulated by moral urgencies. The resulting works of art of this existential configuration stand out, among other so many aesthetic innovations, by an extravagant presentation and a controverted disposition: they fermented the counterculture of the end of the decade of 1960, guided the movements of the following years and fed the post-modernists debates of the last twenty years.

The decorative and the textual have a complex and uneasy entanglement within the history and practice of modernist art. Sometimes celebrated as critical modernist strategies, sometimes denigrated or repressed as the opposite of Art, the decorative and the textual were understood as "foreign" forms that variously endangered, or, in turn, invigorated the power of art. My creative practice, which includes installation, painting, photography, text and an exhibition catalogue, exploits and explores this decorative and textual instability within modernist art practice. In my work, (visual) codes conventionally associated with the fields of writing and pattern, are re-examined and problematised by placing them within the context of visual art. When writing and pattern become the subject of painting there is an intriguing oscillation, complication and dialogue between the spaces and codes of reading and seeing, writing and pattern, the decorative and the abstract. The thesis also explores the decorative and textual instability within modernism by analysing some key contradictory moments in aesthetic thought and arts practice. In the writings of Clement Greenberg, a "decorative" painting is deemed the highest achievement of modernist abstract painting but to arrive at this goal, the decorative must be used against itself. In Frank Stella's early abstract paintings, decorative patterns structure the work, and yet the artist and his commentators only see the work as a kind of pure, abstract painting. In Lawrence Weiner's statement-sculptures, the terse, laconic text, that nominates materials and processes, is thought to be a "direct" form of art information that would remain unchanged even in reproduction. But as Weiner's work is reproduced in journals and magazines, this "direct" form of art is complicated through a variety of reproductive forms - documentary photographs, transcription errors and differences in the visual format and typography of the text. In these key moments of contradiction, concepts such as the decorative and the textual, that have often been regarded as peripheral to visual art, will be shown to have central significance in analysing its specific qualities.

Cette recherche tente de comprendre toute l‘importance de l'absence de cadre autour des toiles peintes à partir des années 1940 par les peintres américains Mark Rothko et Barnett Newman. En symbiose avec cette pratique, une esthétique nouvelle était en train de se constituer ; grâce à l'examen de l'œuvre de Robert Ryman (qui offre la démonstration du plein développement de cette esthétique externe) il s'agit d'en déplier la démarche. Celle-ci est fondée sur le rejet d'un modèle qui avait besoin du cadre comme synecdoque : une esthétique illusionniste où le tableau était une fenêtre donnant accès à un monde fictif. Mais, l'absence de cadre visible n'équivaut pas à une absence de cadre, car l'objet empirique ou ornemental n'était que la forme visible d'un ensemble de fonctions, d'un système sémiotique que la thèse s'efforce de formuler, qui travaille l'œuvre et qui en détermine l'adresse. C'est ce cadre invisible qu'il s'agit de rendre perceptible. Les manifestations de cette invisibilité du cadre sont repérées et analysées dans les impulsions iconoclastes et contradictoires de Newman et Rothko, les résistances pratiques de Ryman et les brillantes stratégies d'impact de Stella et de Kelly. Mais, elle se trouve également à l'œuvre à la fin du XXe siècle dans la pratique de l'installation. Le questionnement du cadre, c'est le questionnement (si grisant pour le spectateur contemporain, petit-fils de Duchamp) de la limite et du regard. C'est aussi la performance invisible de la main de l'artiste
This research began out of a desire to fully understood the importance of the absence of the picture-frame around the paintings of Mark Rothko and Barnett Newman. Such an absence was a descision which participated in the creation of a new aesthetic turned outwards from the canvas. This external aesthetic was fully developed, and indeed is still being developed, in the work of Robert Ryman. What was abandoned was an aesthetic for which the frame was a synecdoche, the model which supposed the painting to be a window onto an illusion. But the absence of a visible frame is not an absence of frame since the ornamental frame is but the visible form of a set of functions, a semiotic system which this dissertation attempts to reconstruct and analyse. This system of the frame forms the work and determines its address, both enunciative and manual. It is this invisible frame which the study tries to render perceptible through an analysis of the iconoclastic and contradictory impulses running through the work of Barnett Newman and Mark Rothko, through the pragmatic resistances to reproduction and to appropriation in that of Robert Ryman, and through the bold brightness strategic to the paintings of Frank Stella and Ellsworth Kelly. It is also to be found at work in the installations current at the end of the twentieth century and at the beginning of the twenty-first. The questionning of the frame therefore is a questionning of the limit and of the gaze such as the contemporary viewer is accustomed to enjoying since Marcel Duchamp. It is also the questionning and renewal of the performance of the artist's hand which forwards the work and gives it edge and energy

The decorative and the textual have a complex and uneasy entanglement within the history and practice of modernist art. Sometimes celebrated as critical modernist strategies, sometimes denigrated or repressed as the opposite of Art, the decorative and the textual were understood as "foreign" forms that variously endangered, or, in turn, invigorated the power of art. My creative practice, which includes installation, painting, photography, text and an exhibition catalogue, exploits and explores this decorative and textual instability within modernist art practice. In my work, (visual) codes conventionally associated with the fields of writing and pattern, are re-examined and problematised by placing them within the context of visual art. When writing and pattern become the subject of painting there is an intriguing oscillation, complication and dialogue between the spaces and codes of reading and seeing, writing and pattern, the decorative and the abstract. The thesis also explores the decorative and textual instability within modernism by analysing some key contradictory moments in aesthetic thought and arts practice. In the writings of Clement Greenberg, a "decorative" painting is deemed the highest achievement of modernist abstract painting but to arrive at this goal, the decorative must be used against itself. In Frank Stella's early abstract paintings, decorative patterns structure the work, and yet the artist and his commentators only see the work as a kind of pure, abstract painting. In Lawrence Weiner's statement-sculptures, the terse, laconic text, that nominates materials and processes, is thought to be a "direct" form of art information that would remain unchanged even in reproduction. But as Weiner's work is reproduced in journals and magazines, this "direct" form of art is complicated through a variety of reproductive forms - documentary photographs, transcription errors and differences in the visual format and typography of the text. In these key moments of contradiction, concepts such as the decorative and the textual, that have often been regarded as peripheral to visual art, will be shown to have central significance in analysing its specific qualities.

Les aciers inoxydables austénitiques sont très utilisés dans l’industrie nucléaire comme structure interne. Ces structures se retrouvent en grande majorité dans la cuve du réacteur et, du fait de leur proximité avec les assemblages combustibles, sont soumis à de rudes conditions d’utilisation. Ces éléments sont donc exposés à des doses d’irradiation élevées et peuvent atteindre 100 dpa après 40 ans d’utilisation, à une température proche de 350°C. Ces conditions d’utilisation modifient la microstructure de l’acier et son comportement mécanique, ce qui entraîne une dégradation de leurs propriétés mécaniques et de leur résistance à la corrosion. L’objectif de cette thèse est d’établir à l’échelle atomique une loi de comportement décrivant le déplacement d’une dislocation coin dans une solution solide Fe-Ni10-Cr20, d’apporter une compréhension des mécanismes d’interaction entre une dislocation coin et une boucle de Frank et d’investiguer l’effet de la température, du générateur aléatoire d’alliage, de l’orientation et du diamètre de la boucle sur la contrainte mécanique. Pour atteindre ces objectifs, des simulations en dynamique moléculaire sont réalisées, basées sur potentiel FeNiCr récemment développé pour imiter le comportement de l’acier austénitique inoxydable. Les simulations sont réalisées en conditions statiques, à 300 K, 600 K et 900 K et les interactions effectuées pour des tailles de boucle de Frank de 2 nm et 10 nm. nous proposons une loi de comportement où sont incluses la température et la vitesse de déformation; l’interaction entre la dislocation coin et la boucle de Frank révèle trois types de mécanismes d’interactions : le cisaillement simple, le défautement et l’absorption de la boucle. L’absorption est le mécanisme le plus stable ; Les analyses des propriétés mécaniques résultantes ont montré que le mécanisme de défautement requiert la contrainte la plus élevée pour que la dislocation franchisse l’obstacle. D’autre part, contrairement aux études précédentes, le défautement de la surface de la boucle n’a lieu que lorsque celle-ci entre en contact avec la dislocation coin ; dans le cas de la boucle de Frank de 2 nm, la corrélation entre la probabilité du mécanisme d’interaction et la force moyenne de l’obstacle constitue des données utiles pour les simulations en Dynamique des Dislocations. Les observations des configurations résultantes de la boucle de Frank suite à l’interaction avec la dislocation permettent de justifier l’apparition de bandes claires observées au MET. Ce travail a été partiellement soutenu par la Commission européenne FP7 par le numéro de subvention 232612 dans le cadre du projet PERFORM 60
Austenitic stainless steels are widely used in the nuclear industry as internals. These structures reside mainly in the reactor vessel and, due to their proximity with fuel assemblies, are subjected to severe operating conditions. These elements are exposed to high irradiation doses which can reach 100 dpa after 40 years of operating, at a temperature close to 350°C. These operating conditions affect the microstructure of steels and their mechanical behavior, which leads to the deterioration of their mechanical properties and their corrosion resistance. The objective of this PhD research work is to establish at the atomic scale a constitutive law describing the edge dislocation motion in a random Fe-Ni10-Cr20 solid solute solution, to bring a comprehensive understanding of the interaction mechanism between the edge dislocation and the Frank loops and to investigate the effect of temperature, alloying random generator, orientation and size of the Frank loop on the mechanical stress. To achieve these objectives, molecular dynamics simulations were conducted with a recently developed FeNiCr potential used to mimic the behavior of austenitic stainless steels. These simulations have been performed in static conditions as well as at 300 K, 600 K and 900 K and the interactions realized for loop sizes of 2nm and 10nm. A constitutive law taking into account the temperature and strain rate is proposed; the interaction between the edge dislocation and the Frank loop revealed 3 kinds of interaction mechanisms: simple shearing, unfaulting and absorption of the loop. Absorption is the most stable mechanism; the analyses of the resulting mechanical properties have shown that the unfaulting mechanism requires the highest stress to make the dislocation overcome the obstacle. On the other hand, contrary to previous studies, the unfaulting of the loop surface occurs only when the dislocation comes into contact with the edge dislocation; for the 2 nm Frank loop size, the coupling between the probability of the outcome of the reaction and the average strength of the obstacle constitutes useful data for Dislocation Dynamics simulations. The observations of the resulting Frank loop configurations following the interaction with the dislocation allow justifying the emergence of clear bands observed in TEM. This work has been partially supported by the European Commission FP7 with the grant number 232612 as part of the PERFORM 60 project

This thesis work focuses on the dynamical properties of two-component galaxy models characterized by a stellar density distribution described by a Jaffe profile, and a galaxy (stars plus dark matter) density distribution following a r^(-3) shape at large radii. The dark matter (hereafter, DM) density profile is defined by the difference between the galaxy and the stellar profiles. The orbital structure of the stellar component is described by the Osipkov-Merritt (OM) radial anisotropy, and that of the DM halo is assumed isotropic; a black hole (BH) is also added at the center of the galaxy. The thesis is organized as follows. In Chapter 2 the main structural properties of the models are presented, and the conditions required to have a nowhere negative and monothonically decreasing DM halo density profile are derived; a discussion is also given of how the DM component can be built in order to have the same asymptotical behaviour, in the outer regions and near the center, as the Navarro-Frenk-White (NFW) profile. In Chapter 3 an investigation of the phase-space properties of the models is carried out, both from the point of view of the necessary and sufficient conditions for consistency, and from the direct inspection of the distribution function; the minimum value of the anisotropy radius for consistency is derived in terms of the galaxy parameters. In Chapter 4 the analytical solution of the Jeans equations with OM anisotropy is presented, together with the projection of the velocity dispersion profile at small and large radii. Finally, in Chapter 5 the global quantities entering the Virial theorem are explicitly calculated; these can be used for energetic considerations that are briefly mentioned, and allow us to determine the fiducial anisotropy limit required to prevent the onset of Radial Orbit Instability as a function of the galaxy parameters. The main results are summarized in Chapter 6, and some technical details are given in the Appendices.

This thesis examines the history of Commonwealth Government higher education policy in Australia between 1958 and 1997 and its impact on the development of two groups of academic librarians: the Association of Librarians in Colleges in Advanced Education (ALCAE) and the Committee of Australian University Librarians (CAUL). Although university librarians had met occasionally since the late 1920s, it was only in 1965 that a more formal organisation, known as CAUL, was established to facilitate the exchange of ideas and information. ALCAE was set up in 1969 and played an important role helping develop a special concept of library service peculiar to the newly formed College of Advanced Education (CAE) sector. As well as examining the impact of Commonwealth Government higher education policy on ALCAE and CAUL, the thesis also explores the influence of other factors on these two groups, including the range of personalities that comprised them, and their relationship with their parent institutions and with other professional groups and organisations. The study focuses on how higher education policy and these other external and internal factors shaped the functions, aspirations, and internal dynamics of these two groups and how this resulted in each group evolving differently. The author argues that, because of the greater attention given to the special educational role of libraries in the CAE curriculum, the group of college librarians had the opportunity to participate in, and have some influence on, Commonwealth Government statutory bodies responsible for the coordination of policy and the distribution of funding for the CAE sector. The link between ALCAE and formal policy-making processes resulted in a more dynamic group than CAUL, with the university librarians being discouraged by their Vice-Chancellors from having contact with university funding bodies because of the desire of the universities to maintain a greater level of control over their affairs and resist interference from government. The circumstances of each group underwent a reversal over time as ALCAE's effectiveness began to diminish as a result of changes to the CAE sector and as member interest was transferred to other groups and organisations. Conversely, CAUL gradually became a more active group during the 1980s and early 1990s as a result of changes to higher education, the efforts of some university librarians, and changes in membership. This study is based principally on primary source material, with the story of ALCAE and CAUL being told through the use of a combination of original documentation (including minutes of meetings and correspondence) and interviews with members of each group and other key figures.

碩士
國立屏東師範學院
視覺藝術教育學系碩士班
92
In 1959, Frank Stella who was famous for black-stripe paintings in the world of America Art influenced the creation of modern and post-modern painter, and the visual experience and artistic attitude of art commentator by his specific style and characteristics of art. This research is going to discuss the development of Frank Stella’s art works and the analysis of his product’s style deeply. In order to achieve the purpose of research, this research will be proceed in the way of combining the analysis of history, style model, and art sociology. By the discussion of this research, we will discover that the difference of variation of style is massive in the present creation created by Frank Stella. Each of his serial creation shows that he emphasizes on the essential---“space” in his works. We also find out that the modern-art environment inspires his creation of art very much. After he visited the retrospective show of Jasper Johns’ America flag and Pablo Picasso, he had a lot of inspiration on his creation of art. Besides, his traveling experience and the favorite hobby of automobile race sport also influences some of his serial theme creation and thinking. The artistic style of Frank Stella can be divided into four periods, and the appellation and characteristics of each period are listed as below: (1) Period of student (period of imitation and Abstract Expressionism) - 1954~1958: In this period, Frank Stella reformed imitation more than creation. The direction of creation was stressed on the abstract painting. Abstract Expressionism was so popular at that time, therefore the most of style of painting was emphasized on the way of performance of the ism of Abstract Expressionism. (2) Early period (period of shaped-canvas) - 1959~1970: This period was began from the famous “Black Painting Series” to “Protractor series”. In this period, he developed eleven kinds of flat “stripe” paintings, and the main style was performed by the way of two-dimensional space. Besides, one of most manifest characteristics in this period was the changeful variation of the shape of canvas. (3)Middle period (period of half 3-D embossment painting) - 1971~1987: The creation in this period got into the 3-D idea of performance formally that had been pursued by Frank Stella. Therefore, most of works presented the complicated variation of space. Besides, the works were totally different from the early period on the application of color. He started to use colorful and splendid colors to present his works. (4) Recent period (huge three-D creation) - 1987~2002: The works in this period are created by using computer and other metal medium material. The kind of creation is developed from embossment to independent 3-D work, then the designed sample of public art, art of environmental decoration, and the mold of construction are invented, the application of color is more colorful and has more splendid effect of decorative pattern in Baroque style than the past serial works. In this period, no matter what skills used on the application of technic, colors, embossment, or piece together ＆ stick, he is proficient to use them. In the same way, we can say this period is the mature period of the serial works of Frank Stella. We can summarized the characteristics of the four-period serial works as six points as below: (1) These creations are named after the name of place or city which has been traveled, or something is known well or interested (for example, bird’s or one of his friends’ name, or the title of chapter of literature novel). (2) Shaping canvas or canvas of shape. (3) Some works are presented in serial as produced by factory. (4) Attempt of diversiform skill: Combined creation of graphic arts, painting, and the painting of embossment； on the technic aspect, he use the computer imitational pattern, piece together ＆ stick, production of mold, corruption of metal board, and handed painting ； on the aspect of colors, he also use the “industrial” colors on painting. (5) Pursuing for the essential of space. (6) Enthusiasm for “lines and stripes”. Although the styles of each serial product were different massively after Frank Stella became famous in 1958, it is still not very difficult for us to discover that every of his creation has the essential of “stripe” in his artistic works. Except from the pure visual image, decorative ornament of stripe, or the representative of the shape of waves and streamline form, the essential of line plays a very important role in Frank Stella’s works. Moreover, we still have some additional discoveries in this research after we discuss about the style, growing background, and the creative idea of Frank Stella: First, in the serial creation of Frank Stella after middle-period, we could see that the characteristics of variation of colors and the irregularity of form are different from the Minimalism that promotes the extreme simple and pure. Therefore, it needs to think more in details about the most of critic of art to include Frank Stella as the artist of Minimalism. After all, the creative types of modern or post-modern artists are changed with the trend of time, so it will be more meaningful to classify Frank Stella’s works by the types of serial or period. Second, Frank Stella thinks his work is belonged to painting, not sculpture. If we classify by the definition of sculpture, the creation of Frank Stella is truly belonged to sculpture. But when we classify his works by the point of view of “idea”, we could classify his works into painting ； on contrary, if we just classify by general idea, it is sculpture without any questions. So we focus our points on what kind of meaning we could possess to obtain the meaning of artistic style rather than argue on weather the works of Frank Stella is belong to painting or sculpture. Third, Frank Stella emphasizes on “What you see is what I show” in his serial works of early and middle period again and again. Frank Stella doesn’t want the viewers to limit the meaning he wants to express in his works by image. On contrary, he hopes viewers just look, but do not “think” or “guess”. This point of view seems like practicable in the creation of stripe-painting before middle period. But in the creation of post-middle and recent period, the pattern and stripes on Frank Stella’s works are changed and represented according to some kind of image. So it is pretty difficult to demand viewers just look instead of thinking. Forth, although the name of works has no entire relationship with works itself, it is the essential of period and serial needs to be cared specifically on the discussion of style of work and serial works. Thus, I collect the relevant information that is named after works as possible as I could to supply more powerful point of view for the basis of period of works in this article. It is very obviously that Frank Stella plays the role of bridge between the modernism and post-modernism in the trend of development of modern art. Although there are two extremely different criticisms in his works, for example, “His works show the serious and ideal modernism” and “The painting deletes out the human nature”, however, they are both the main characteristics of Frank Stella’s works. By now, he has gotten rid of the humanism of theory of image entirely, and gets into the supreme post-modern territory. His complicated diversification is contrary to the Cubism of Pablo Picasso or Minimalism. His creation is not only impressive inner practice, but also the massive outer consumption of energy. He often describes his works as “physics is stronger than visual”, and his works are always finished under the powerful and tight control. The firm and careless materialism of Frank Stella is the most pure and extreme post-modern art.

The aim of this study is to identify the opportunities that currently exist in the Egyptian market in order for Franke to make a decision on the expansion of their business into this market. In order for the Board of Directors to make a quality decision they require good and accurate information. In line with the Franke growth strategy Franke South Africa was given the clear directive to grow the market share on the African continent. With this continent being as diverse as it is and suffering from many years of poverty, a focused strategy is required. With this in hand a study of the African continent was undergone and a couple of markets were identified as targets for either a take-over or new formation. With the information gathered on Egypt it became clear that this would be the ideal market to establish another Franke operation. Egypt has many positive issues that attract a decision like this of which the local market size, geographical position, COMESA membership and the fact that the market is well structured form the backbone. Based on this Business Plan, which researches all the relevant issues required to make a quality decision, an investment could be qualified and supported. It focuses on the possible target as well as elaborates on the medium term forecasted performance of the new setup.
Thesis (MBA)-University of Natal, Durban, 2003.