Teses / dissertações sobre o tema "Australian Centre for Contemporary Art"
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Veja os 50 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Australian Centre for Contemporary Art".
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Devrome, Kelly. "The Oneiric Veil in contemporary Australian art". Thesis, University of Ballarat, 2012. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/41170.
Texto completo da fonteDoctor of Philosophy
Foster, Susanne. "Contemporary indigenous art reflecting the place of prison experiences in indigenous life /". Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmf7541.pdf.
Texto completo da fonteCoursework. "March 2005" Bibliography: leaves 179-190.
Aydemir, Cigdem. "Image and Voice: Muslim women in Contemporary Art". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15723.
Texto completo da fonteShiel, Erin Patricia. "Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15995.
Texto completo da fonteSouliere, Rolande. "Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada". Phd thesis, University of Sydney, 2019. http://hdl.handle.net/2123/21193.
Texto completo da fonteRups-Eyland, Annette Maie, University of Western Sydney, of Arts Education and Social Sciences College e School of Social Ecology and Lifelong Learning. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual". THESIS_CAESS_SELL_Rups-Eyland_A.xml, 2002. http://handle.uws.edu.au:8081/1959.7/771.
Texto completo da fonteDoctor of Philosophy (PhD)
Fries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art". Connect to full text, 2008. http://hdl.handle.net/2123/5709.
Texto completo da fonteTitle from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual". Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/771.
Texto completo da fonteWenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity". Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
Texto completo da fonteRups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /". View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.
Texto completo da fonteA thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
McLeish, Amelia. "Artist-run initiatives and community: A practice-led examination of how artist-based communities are formed and understood in contemporary Australian art". Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/234043/1/Amelia_McLeish_Thesis.pdf.
Texto completo da fonteSorenson, Peter David, e peter sorenson@rmit edu au. "Signs of mid-life: images from the contemporary Australian mid-life male psyche". RMIT University. Applied Communication, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20060428.113457.
Texto completo da fonteRakhsha, Layli. "Diaspora and home: contextualizing the idea of home in Australian contemporary art as visualised by selected Iranian artists". Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/74952.
Texto completo da fonteWilliamson, Naomi, e naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing". RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.
Texto completo da fonteWest, Kim. "The Exhibitionary Complex : Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977". Doctoral thesis, Södertörns högskola, Estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32143.
Texto completo da fonteSpace, Power, Ideology
Van, der Merwe Leana. "Sacrificial and hunted bodies : ritualistic death and violence in the work of selected South African female artists". Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46213.
Texto completo da fonteDissertation (MA)--University of Pretoria, 2014.
tm2015
Visual Arts
MA
Unrestricted
Joumaa, Jamal. "Australian artists of Arabic origin : identity and hope". Thesis, View thesis, 2009. http://handle.uws.edu.au:8081/1959.7/41020.
Texto completo da fonteFernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
Texto completo da fonteSargeant, Amy. "Semiotics of disillusionment: Protesting and Reframing Australia's political spectacle through détournement". Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206454/1/Amy_Sargeant_Thesis.pdf.
Texto completo da fonteMorton, Felicity. "Valuing difference : A visual investigation of the contemporary depiction of Down syndrome". Thesis, University of Ballarat, 2008. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/45208.
Texto completo da fonteMaster of Arts (Visual Arts)
McComas, Magers Robyn. "Interactions in the space of one tree". Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/25847.
Texto completo da fonteCarmichael, Elisa J. "How is weaving past, present, futures?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108051/1/Elisa_Carmichael_Thesis.pdf.
Texto completo da fonteMillhouse, Llewellyn David. "Fantasy in Public". Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380458.
Texto completo da fonteThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
Young, Amanda M. "Several interpretations of the Blue Mountains : a juxtaposition of ideas over two hundred years". Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/607.
Texto completo da fonteSantiago, Restoy Caridad de. "Los museos de arte moderno y contemporáneo: historia, programas y desarrollos actuales". Doctoral thesis, Universidad de Murcia, 1999. http://hdl.handle.net/10803/10881.
Texto completo da fonte1- In the first place, a historic perspective of the modern art museum has been concisely elaborated, that is to say, since institutional grants to artists are created with the celebration of the Halls and the creation of the first museum of living world artists at the Luxembourg Palace of Paris.2- Subsequently, we focus on the birth of the Museum of Modern Art in New York, MOMA, created in 1929 with only thirteen pieces of art. This museum became an obliged reference from a museological point of view for the creation of the future modern art museums all over the world for almost six decades. The work concludes with the model created in the 1960s, the factory "Beaubourg", the postindustrial period museum, and the postmodern museum of the 1880s and its repercussions in the new museology. If the MOMA in New York created an encyclopedic collection of the art of the 20th Century, the "Musée National d'art Moderne", achieved to involve the citizens with the modern art. The collections showed inside were as important as the flow of visitors and curious that crowded outside. It ends with approximation to the "Fonds Regionaux d'art Contemporain" and the birth of the Centres of Contemporary Culture.
Sanders, Anne Elizabeth. "The Mildura Sculpture Triennials 1961 - 1978 : an interpretative history". Phd thesis, 2009. http://hdl.handle.net/1885/7452.
Texto completo da fonteBarker, Heather Isabel. "A critical history of writing on Australian contemporary art, 1960-1988". 2005. http://repository.unimelb.edu.au/10187/7134.
Texto completo da fonteChapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model.
Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.
Pelser, Anro Zaan. "The design of a contemporary art and design centre in Central Pretoria". Thesis, 2011. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000548.
Texto completo da fonteThe aim of the thesis is to design a contemporary art centre in the inner city of Pretoria in the museum district of the Tshwane Metropolitan Municipality, to provide space for South African artists to exhibit and to expose more people to the arts.
Deeth, Jane Alexandra. "Extracting meaning from strangeness : strategies to enhance viewer engagement with contemporary art in the public art museum". Thesis, 2009. https://eprints.utas.edu.au/19876/1/whole_DeethJaneAlexandra2009_thesis.pdf.
Texto completo da fonteCochrane, GD. "Truth or trap: the Australian contemporary crafts movement's pursuit of art ideals". Thesis, 1998. https://eprints.utas.edu.au/9975/15/Cochrane_whole_thesis.pdf.
Texto completo da fonteCheney, Jacqueline Patricia. "The mythology of the uncanny : as theory and practice in Australian contemporary art". Phd thesis, 2012. http://hdl.handle.net/1885/150841.
Texto completo da fonteSlocum, Catherine. "Beyond the Aesthetic: A Study of Indigeneity and Narrative in Contemporary Australian Art". Phd thesis, 2016. http://hdl.handle.net/1885/136433.
Texto completo da fonteHsu, Ya-Chi, e 許亞琦. "The Contemporary Art Turn of Centre Pompidou: A Study on the “Contemporary Collections : From the 1960’s to Today” of the National Museum of Modern Art". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/fevhb2.
Texto completo da fonte國立臺北藝術大學
博物館研究所碩士班
103
This thesis takes Contemporary Collections : From the 1960’s to Today, a permanent collection exhibition of the Musée National d’Art Moderne in Centre Pompidou, as object of study. We aim to explore how this art institution embodied the contemporary art turn through its institution positioning, art history constructing and its exhibition thinking. The Centre Pompidou is not a museum dedicated exclusively to fine arts. It combines various fields including Musée National d’Art Moderne, Centre de Création Industielle, Département du Dévéloppement Culturel, Institut de Recherche et de Coordination Acoustique/Musique and Bibliothèque Publique d’Information. It has been a cultural complex that had redefined the boundaries of the museum walls. The Centre Pompidou has collected a considerable number of modern and contemporary art works. It parallels with the Musée du Louvre (collecting artworks from ancient art to 1850) and the Musée d''Orsay (collecting artworks from 1848 to 1914) as the top three typical national art museums bearing distinguished tasks in constructing art history. The Musée National d’Art Moderne conceived the year 1960 as the watershed from which the arts had turned from modern toward contemporary and declared the contemporary implication of interdisciplinary art through collecting not only the plastics arts but also works of creative and multi-dimensional categories and carriers, such as photography, experimental films, videos, new media, industrial creative works, designs and architectures. This thesis tries to demonstrate that the permanent exhibition of contemporary art collection proves its museum task shifting toward contemporary art. In interpreting this permanent collection exhibitions, we explore three perspectives: its definition of temporality, its composition of spaces, and its historical narratives of contemporary arts. And we’ll see there exists continuing contradictions between modern art museum and contemporary art exhibition. By this study, we propose a further discussion of the neccecity of an art institution for contemporary art.
KO, I.-CHI, e 柯奕祺. "The Analysis of Curatorial Approaches of Contemporary Art in Pier-2 Art Centre, with reference to ‘Through the fingers…” Exhibition". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/b29vmc.
Texto completo da fonte國立高雄師範大學
文化創意設計碩士學位學程
105
In this research, the approaches of ‘how to curate a contemporary art exhibition’ were analysed by textual analysis and a real event in Pier-2 Art Centre. It is critical to establish a checklist for planning, organising, leading and controlling during the whole curatorial process. More importantly, it could provide a general rule to those curators and exhibition-related organisations to obey and to consider for their further curating plans. Furthermore, the visitor’s viewing motivations were divided into six different segments by factor analysis via the questionnaires, which collected during the exhibition: staff and service, facilities and environment, guided tours, self-improvement, reputation and information accessibility. Then, it uses multiple regressions for analysing the visiting factors from recommendation to revisit. After this, to use independent T-test and repeated measure of ANOVA for comparing the significance between different demographics. This is not only for understanding the audience’s thought, but also to apply it into exhibition marketing methods and curatorial planning.
(9874106), AJ Ash. "A local analysis of contemporary Chinese/- Australian art by Guan Wei, Wang Zhiyuan and Ah Xian using a global aesthetic". Thesis, 2005. https://figshare.com/articles/thesis/A_local_analysis_of_contemporary_Chinese_-_Australian_art_by_Guan_Wei_Wang_Zhiyuan_and_Ah_Xian_using_a_global_aesthetic/13422644.
Texto completo da fonteMay, Sally. "Karrikadjurren : creating community with an art centre in Indigenous Australia". Phd thesis, 2005. http://hdl.handle.net/1885/151351.
Texto completo da fonteTseng, Chien-Lin, e 曾建霖. "Production Mechanism in Contemporary Art Museums— A Study based on the New Media Department of Centre Georges Pompidou". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/n3ckpu.
Texto completo da fonte國立臺北藝術大學
藝術行政與管理研究所
98
Reliance on technology to create artworks is a growing trend on the development of contemporary art. The rise of new media art to create artworks is considered one of the reference indicators that signal that trend. Consequently, a response mechanism set up in art museums on addressing the demand in digital techniques hence emerges. Given that the built mechanism of new media art in Taiwan is relatively young compared with its foreign counterparts, this study will therefore use the New Media Department of Centre Georges Pompidou in France as the base of extended thinking. The New Media Department of Centre Georges Pompidou was founded on rich art resources as France was both socially and historically tumultuous. With the Centre as the thinking basis, this study may bring forth a more comprehensive research precondition than a view generated from a pure art museum in new media art. In other words, this study does not directly verify or inspect the model of new media art mechanism and on how it currently works, however, it aims to sort out the tangled aspects involved in new media art mechanism, and invite renewed debate and critical thinking over the mechanism of art museums and the production of artworks. This study is centered on the development positioning of the New Media Department of Centre Georges Pompidou and supported by the following three issues: (1) The logical nature of production mechanism; (2) The Alienation of production mechanism; (3) Strategic analysis of production mechanism. Each issue extends itself towards related aspects for further discussions. Contents are summarized as follows: On the issue of the “logical nature of production mechanism,” the study gradually clarifies that an art museum functions to display the interpretations of artworks. Through contradicting controversies often found in new media artworks and the concept of classic traditional collections, this study shall on the one hand shed light to how the New Media Department of Centre Georges Pompidou practices multi-track collections, and on the other, stress the equal importance rooted in both productions and classic collections. On the issue of the “alienation of production mechanism,” the context of how the art ecology or environment grows institutionalized incrementally is studied. It also traces back on the transitional sphere of influence created by salon-styled exhibitions and modernism. Going forward, it brings us to heart-searching and self-criticism which may be critical at a time when faced with the development of new media art. On “strategic analysis of production mechanism,” the model of commission-based productions employed by the New Media Department of Centre Georges Pompidou is analyzed strategically on hypothesis basis and how this model has brought forth the anticipated benefits for Centre Georges Pompidou in terms of its operations as a whole. In the end, research findings under each chapter are integrated and concluded into a reference package as a feedback to Taiwan’s production mechanism.
Dunt, Nerina Joy. "Investigating the aesthetic character of Australian urban Indigenous art: a socio-political fusion". Thesis, 2018. http://hdl.handle.net/2440/118123.
Texto completo da fonteThesis (Ph.D.) -- University of Adelaide, School of Humanities, 2018
Keller, Christiane. "'Nane Narduk Kunkodjgurlu Namarnbom' : 'This is my idea' : innovation and creativity in contemporary Rembarrnga sculpture from the Maningrida region". Phd thesis, 2006. http://hdl.handle.net/1885/151065.
Texto completo da fonteGreenhill, Fiona. "The stutter of recognition: re-visioning the baroque in contemporary painting". Thesis, 2013. http://hdl.handle.net/1959.13/1039658.
Texto completo da fonteThe major theme that runs throughout my work has always been the question of representation; where to draw the line between ‘real life’ and ‘art’, illusion and abstraction, transcription and composition. The line between illusion and truth, or to put it another way, “between the ontological and the epistemological – between ‘things as they are’ and ‘things as they seem”, was also a concern that preoccupied the seventeenth century. This research challenges the assumption that the ancients are fixed firmly and stably in a past in which the moderns are the victors and the ancients the losers. This research reconsiders the contribution the Baroque has made to Western thought, but in particular, to explain its ongoing appeal and its continuing relevance to painting in the late twentieth / early twenty-first centuries. And more importantly for the purposes of my own research as a painter in the digital age, is to pose the question: how to formulate a Neo-Baroque aesthetic adequate to addressing the problems and uncertainties specific to painting in the twenty-first century?
Welch, Andrew Ian. "Contemporary processes and historical precedents for handmade crafts practice in the context of technological change". Phd thesis, 2010. http://hdl.handle.net/1885/151659.
Texto completo da fonteSokhela, Andile. "Indigenous arts and crafts on contemporary South African architecture : the influence of culture and identity : a proposal for an arts and crafts centre in Pietermaritzburg". Thesis, 2012. http://hdl.handle.net/10413/9201.
Texto completo da fonteDoyle, Wawrzynczak Anni. "Transcending the National Capital Paradigm: The Evolution of Bitumen River Gallery/Canberra Contemporary Art Space". Phd thesis, 2016. http://hdl.handle.net/1885/118221.
Texto completo da fonteMassola, Catherine Anna. "Living the heritage, not curating the past: a study of lirrgarn, agency & art in the Warmun Community". Phd thesis, 2016. http://hdl.handle.net/1885/101039.
Texto completo da fonteHuang, Angelito Junior. "On Resurfacing: A Case for a Cultural Renaissance". Thesis, 2012. http://hdl.handle.net/10012/7267.
Texto completo da fonteChinnappa, Nidhi. "Biennial for biennial’s sake? : questions in the wake of their proliferating nature : the Venice Biennale and the European Cultural Centre as case studies". Master's thesis, 2020. http://hdl.handle.net/10400.14/33407.
Texto completo da fonteMoineau, Claire. "La construction des artistes femmes du Moyen-Orient dans les expocollections du Centre Pompidou : les cas de "elles@centrepompidou" et "Modernités plurielles de 1905 à 1970"". Thèse, 2018. http://hdl.handle.net/1866/21278.
Texto completo da fonteAllan, Michele Margaret. "‘LIQUID SPACE’: a visual investigation of the sea as an empirical, experiential and metaphoric space". Phd thesis, 2013. http://hdl.handle.net/1885/13491.
Texto completo da fonteLongley, Dianne Clare. "The Development of a Print Culture in South Australia Post-WWII to 2008: institutions, politics and personalities". Phd thesis, 2017. http://hdl.handle.net/1885/144594.
Texto completo da fonteTsai, Wendy. "A response to space in the natural environment : painting as a phenomenological study of the Blue Mountains, NSW". Master's thesis, 2015. http://hdl.handle.net/1885/150365.
Texto completo da fonte