Дисертації з теми "Art and photography – Canada – 20th century"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-22 дисертацій для дослідження на тему "Art and photography – Canada – 20th century".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
Повний текст джерелаBellettiere, Giovanna Marie. "AMERICAN FEMINISM: THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.
Повний текст джерелаM.A.
This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.
Temple University--Theses
Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.
Повний текст джерелаHellman, Michel. "Art, identité et Expo 67 : l'expression du nationalisme dans les oeuvres des artistes québécois du Pavillon de la Jeunesse à l'Exposition universelle de Montréal." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98928.
Повний текст джерелаWe will also look into the artworks presented by young Quebecois artists in the more marginal "Youth Pavilion" situated on Ile Sainte-Helene, and will explain how this new generation of artists was able to take advantage of the particular context of the Universal Exhibition in order to implement its own concept of national identity, an identity closely related to popular culture, and thus very different from the image projected by the Quebecois elite of the time.
Baert, Renee. "Poetics of the body in feminist art : three modalities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0022/NQ29882.pdf.
Повний текст джерелаSymons, Suellen, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Rememories/imagetexts." THESIS_FPFAD_SD_Symons_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/731.
Повний текст джерелаMaster of Arts (Hons)(Visual Arts)
Villares, Mónica Ferrer 1982. "Arte fotografica e liberdade de expressão = um dialogo entre Brasil e Cuba (1960-1990)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281783.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-15T14:24:13Z (GMT). No. of bitstreams: 1 Villares_MonicaFerrer_M.pdf: 4737397 bytes, checksum: eb971cf5e2273525e932fb659df9af9e (MD5) Previous issue date: 2010
Resumo: ¿Arte fotográfica e liberdade de expressão: um diálogo entre o Brasil e Cuba ¿ aborda o desenvolvimento da fotografia latino-americana na segunda metade do século XX, a partir de um estudo comparativo e da análise de obras de fotógrafos cubanos e brasileiros, atuantes durante o período 1960-1990. O texto se divide em três grandes partes, correspondentes, cada uma delas, a um decênio, tomando como ponto de partida os gêneros de destaque em cada etapa e as relações destas produções com o contexto histórico e sócio-político em que se desenvolvem. No primeiro capítulo, a partir do conceito de 'fotojornalismo' são analisadas as obras dos artistas cubanos Alberto Díaz Gutiérrez (Korda) e Raúl Corrales, conjuntamente com as dos criadores brasileiros Antônio Luiz Benck Vargas e Evandro Teixeira. No segundo capítulo, tomando como base o conceito de 'fotografia antropológica¿ são submetidas à análise as obras dos artistas brasileiros Walter Firmo, Assis Hoffmann e Claudia Andujar, assim como a produção da fotógrafa cubana María Eugenia Haya (Marucha). Por fim, o terceiro e último capítulo da dissertação parte do desenvolvimento de poéticas de autor por parte dos artistas da câmera na década de 80, e a partir de diversos critérios se aproxima de forma crítica à obra dos fotógrafos cubanos Rogélio López Marín (Gory), Ramón Martínez Grandal e Mario García Joya (Mayito), assim como do artista brasileiro Clóvis Loureiro Junior.
Abstract: ¿Photographic art and freedom of expression: a dialogue between Brazil and Cuba ¿ discusses the development of Latin American photography in the second half of the twentieth century, from a comparative study and the analysis of works of Brazilian and Cuban photographers, working in the period of 1960-1990. The text is divided into three major parts, corresponding, each of them, to a decade, taking as a starting point the notable genres featured at every stage, and the relationship of these productions with the historical and socio-political context in which they develop. In the first chapter, from the concept of 'photojournalism' the works of the Cuban artists Alberto Díaz Gutiérrez (Korda) and Raul Corrales, together with the Brazilian creators Luiz Antônio Vargas Benck and Evandro Teixeira are analyzed. In the second chapter, building on the concept of 'anthropological photography' the works of the Brazilian artists Walter Firmo, Assis Hoffmann and Claudia Andujar, as well as the production of the Cuban photographer Maria Eugenia Haya (Marucha) are put under analysis. Finally, the third and final chapter of the dissertation is based on the development of author poetics by the artists of the camera in the 80's, and using several criteria, we approaches critically to the work of the Cuban photographers Rógelio López Marín (Gory), Ramón Martínez Grandal and Mario García Joya (Mayito), as well as the Brazilian artist Clóvis Loureiro Junior.
Mestrado
Historia da Arte
Mestre em História
Becker, Anne Lynn. "The layout of the land : the Canadian Pacific Railway's photographic advertising and the travels of Frank Randall Clarke, 1920-1929." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83171.
Повний текст джерелаThe CPR's tourist brochures established a visual vocabulary of the travelling experience, which was readily employed by individuals such as Montreal journalist Frank Randall Clarke. Clarke was sponsored by the CPR to travel across the country in the summer of 1929. His journalistic writing and personal photograph album allow for a rich analysis of the visual culture of the period, and they will be used to illustrate the ways in which the CPR represented Canadian progress, immigration, and tourism.
Mulley, Elizabeth. "Women and children in context : Laura Muntz and representation of maternity." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36781.
Повний текст джерелаLiu, Yu-jen. "Publishing Chinese art : issues of cultural reproduction in China, 1905-1918." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:284f18b9-a0ce-4a4a-bdb4-6a1c1ece44ce.
Повний текст джерелаSwensen, James R. "Dorothea Lange in Utah, 1936-1938: A Portrait of Utah's Great Depression." BYU ScholarsArchive, 2000. https://scholarsarchive.byu.edu/etd/5157.
Повний текст джерелаSouza, Fernando Artur de. "A construção cultural da fotografia como discurso na arte contemporânea." Universidade Tecnológica Federal do Paraná, 2013. http://repositorio.utfpr.edu.br/jspui/handle/1/680.
Повний текст джерелаThis work presents a discussion of relations between photography and contemporary art, where the artistic production dialogue with the photography in the family field. the photograph is assumed as a mediating process culturally constructed, taking into account its technological aspects, as well as their social uses, both dimensions considered preponderant for the production of meaning to these images. to establish these relationships through an interdisciplinary perspective, the text seeks to integrate views of areas of knowledge that contributed towards a more complex comprehension of photography in his dialogue with society, with the technology, with the history and the visual arts. finally, we list some works of contemporary artists nan goldin, rosangela rennó and sascha pohflepp that demonstrate these relationships between the visual arts and snapshots of daily family life, either through the photographic image, the materiality of the photograph or the new circuits and new practices coming of digital technologies.
Seniuta, Isabella. "Histoire du Eye Club : les valeurs de la photographie : Paris-New York (1960-1989)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H004.
Повний текст джерелаThis thesis questions the invention of a phrase : The Eye Club. Invented by the American historian Eugenia Parry, it has been designating a grouping active in the 1960s-1980s composed of : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff and Robert Mapplethorpe. These twelve characters lived between France and the United States and are connected and related by several cultural and temporal factors. This grouping is not, strictly speaking, a circle of sociability, it is rather a constellation or a nebula made of scattered cultural positions and diverse artistic projects. The main question that guided this survey is the following: in what way does the Eye Club and its individual actors contributed to the re-evaluation of the commercial, aesthetic and institutional value of photography between the early 1960s and the late 1990s among Paris and New York ? The chronology begins with André Jammes' involvement in the world of photography and ends in 1989, the year of Mapplethorpe's death. An inquiry of archives and key players has brought to light some well-known names, and others that remained in the shadow of history. This study aims at unveiling an interdependent network of actors, whose common interests in photography have made it possible to establish, in one generation, the photography market as we know it today. The first volume of the thesis offers, from a transatlantic perspective; an investigation and analysis of this based on photographs and correspondences. The second volume brings together twenty-four interviews conducted over my five years of doctoral research. First with the main protagonists of The Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare and Alain Paviot), then with the families of The Eye Club and finally with various personalities from the world of photography (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hamburg, Susan Kismaric, Hans Peter Kraus Jr, Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma and Daniel Wolf). Together, the two volumes sketch a history of encounters between photography enthusiasts that has, up to now, been mainly articulated in oral form between France and the United States in the 1960s and 1980s
Rolim, Iara Cecília Pimentel. "Primeiras imagens: Pierre Verger entre burgueses e infrequentáveis." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-04022010-145711/.
Повний текст джерелаThis doctoral (PhD) thesis is focused on Pierre Vergers life trajectory and searchs to analyse his integration in the photography world. Standing out the beginning of his career this work puts emphasis on a time not much knowing of the photographer life and for this the reasearch has privileged the understanding of Pierre Vergers relations with the core family, with the relations among the group of artists who were his friends and with the market demands. The family provides him the first entrance in the images world throughout his father business. Verger had some restrictions referring to the social obligations that the family status demanded from him in the bourgeoisie society. Verger had settled several contacts when he joined to the not recommended friends who lived in a different way which Verger was accostumed. He settled work groups and travels which had as result his initiation as a photographer. Photography market was in great increase in the between-wars period and had imposed so much competitions and disputes as also the wishing for some subjects which became photographal and, in this way, the images when didnt come from individual projetcs were, more often, produced according to some orders from customers: press, publicity, fashion and book publishers. Among the wish of releasing from the bourgeoisie family, his participation to the not recommended groups of friends and the market demands, Verger had found a path to stand out as profissional throughout the documental and humanist photography production, 14 years before his arrival to Brazil.
Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
Повний текст джерелаGoldsmith, Julie Ann. "The people's art the Chicago Tribune's transformation of visual journalism in the early 20th century /." Diss., 2008.
Знайти повний текст джерелаTitle from PDF t.p. (viewed on July 23, 2009) Includes bibliographical references (p. 218-234). Also issued in print.
"裝置無常: 從西方現代藝術發展探討藝術媒介的當代意義". 1998. http://library.cuhk.edu.hk/record=b5896354.
Повний текст джерела呈交日期"一九九八年十二月".
論文 (藝術碩士)--香港中文大學, 1999.
參考文獻 (leaves 36-37).
附中英文摘要.
Cheng jiao ri qi "Yi jiu jiu ba nian shi er yue".
Lin Xiaodong.
Lun wen (yi shu shuo shi)-- Xianggang Zhong wen da xue, 1999.
Can kao wen xian (leaves 36-37).
Fu Zhong Ying wen zhai yao.
目錄 --- p.1
前言 --- p.3
提要 --- p.4
Abstract --- p.5
Chapter 第一章 --- 現代藝術的起始與界定 --- p.6
現代藝術是甚麼 --- p.6
現代藝術起始之歧見 --- p.7
現代藝術之本文界定 --- p.8
Chapter 第二章 --- 藝術媒介的界定 --- p.11
傳統藝術品的功能指涉´ؤ´ؤ服務對象與之帶來的標準 --- p.11
藝術品的功能指涉之轉向與新媒體的出現´ؤ´ؤ媒介分劃的再界定 --- p.13
Chapter 第三章 --- 圖像的承繼與流傳一攝影術 --- p.18
圖象的特質與文字的關係 --- p.18
攝影術中的原物與複本 --- p.24
Chapter 第四章 --- 從一件藝術作品的完成:反思藝術媒介的本質 --- p.26
Chapter 1. --- 社會文化 --- p.28
Chapter 2. --- 作者 --- p.28
Chapter 3. --- 意念 --- p.28
Chapter 4. --- 製作 --- p.29
Chapter 5. --- 成品 --- p.30
Chapter 6. --- 命題 --- p.30
Chapter 7. --- 觀眾 --- p.31
Chapter 8. --- 觀賞 --- p.31
Chapter 9. --- 討論 --- p.32
Chapter 10. --- 紀錄 --- p.32
Chapter 11. --- 流傳 --- p.32
Chapter 12. --- 時間性 --- p.33
Chapter 第五章 --- 總結 --- p.34
參考書目 --- p.36
附圖 --- p.38
Howard, David Brian. "Bordering on the new frontier : modernism and the military industrial complex in the United States and Canada, 1957-1965." Thesis, 1993. http://hdl.handle.net/2429/2859.
Повний текст джерелаEwin, Glenda, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Being and circumstance." 2003. http://handle.uws.edu.au:8081/1959.7/23387.
Повний текст джерелаMaster of Arts (Hons)
Duganne, Erina Deirdre. "Looking in/looking out : the intersection of race, subjectivity, and feelings in 1950s and 1960s U.S. photography." 2004. http://hdl.handle.net/2152/12767.
Повний текст джерелаMellor, Danie. "Forming identities." Phd thesis, 2004. http://hdl.handle.net/1885/151477.
Повний текст джерелаDaňková, Lucie. "Čínská sbírka Ludvíka Kuby v kontextu doby a malířova díla." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-406268.
Повний текст джерела