Дисертації з теми "Sculptural practice"
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1
Allen, Kate. "To investigate and demonstrate through my sculptural practice the relation between 'virtual' and 'real' sculpture." Thesis, University of Wolverhampton, 2001. http://hdl.handle.net/2436/96307.
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2
Farrugia, John Michael Joseph. "Incredulity in practice : sculptural investigations into faith and doubt." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7822.
Повний текст джерелаАнотація:
My research considers one way in which contemporary sculptural art practice might reinterpret sculpture and painting, primarily from Catholicism as represented in Italian and Spanish Renaissance and Baroque art. The themes that are explored include: faith and doubt, divinity and human nature, miracles and materials. How can sculptural practice delve into the nature of faith and doubt through materials and processes, interpretative strategies, and a consideration of contexts? Can any sense of faith or belief in the unphysical be evoked in audiences through this practice-led research? The research employs inductive means and methodologies that are fundamentally practice-led and iterative. Rather than starting with a problem-based enquiry, a careful analysis of existing artworks, primarily by the painter Michelangelo Merisi da Caravaggio and the sculptor Gian Lorenzo Bernini, was undertaken. This study has led to the production of creative work that in turn has initiated further questions and more sculptural objects. The production of sculptural artefacts creates a snowballing effect that is a self-reflective, investigative cycle. This method draws upon the sculptural process itself and takes into account external and contextual considerations. My studio-based investigations have given rise to the sculptural work. These case studies reinforce an understanding that methods that are primarily based on the assessment of haptic means relating to touch, sight and other sensory perceptions can contribute to knowledge in meaningful and unique ways. The iterative process used in this research has thematic and metaphoric parallels to the ways in which Catholic stories are retold, interpreted, and examined – narratives that have themselves been continuously readapted to suit changing contexts and intended audiences. Such narratives have been disseminated throughout the history of Christianity, and continue to be circulated in modern-day Christianity. In our post-enlightenment world, the core theme of incredulity, as imagined through art, is explored. To this end, and to make wider connections with this enquiry, philosophical writings regarding ideas of truth and subjectivity, particularly the work of Søren Kierkegaard, are investigated. The historical sculpture and painting referenced and utilised as source material are themselves reinterpretations of pre-existing narratives and stories. This research strives to explore and expose the correlative relationship that exists between understandings of past and present day contexts and employs an examination of both historical and contemporary art works and practitioners. Rather than perceiving this research project primarily in the context of other contemporary art practices, the main focus is on how European artists from the early 17th century wrestled with imagining and imaging these stories and, in that context, how the same narratives might be reinterpreted today. A selection of contemporary artists has been used throughout the research in order to help situate this work within a contemporary cultural context. The primary output from the research is a selection of three sculptural groupings, referred to as case studies, presented in chronological order, taken from the larger body of sculptural artefacts created over the course of the entire research project. The three selected case studies encapsulate the key findings and principle discoveries. The case studies are supplemented by photographs of installed site-specific work, as well as the contextual and critical analysis contained in this thesis.
3
Stansbie, Lisa. "Zeppelinbend : Multiplicity, encyclopaedic strategies and nonlinear methodologies for a visual practice." Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533350.
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4
Tong, Kim Christina. "The sur(real) sublime : Bourgeois, Hesse and contemporary sculptural practice." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314306.
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5
Huber, Robert. "Arranged space : the arrangement of spatial interrelations as sculptural practice." Thesis, University of Ulster, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.593876.
Повний текст джерелаАнотація:
This PhD project aims to investigate the use of social formats in the realm of sculpture and consists of a theoretical reflection on my artistic practice. Since 2008, I run a company called PaintSyndicate, which produces oil paintings in the People's Republic of China. This thesis is an attempt to explain how setting up and running a company can be considered as sculptural practice. Within this research, PaintSyndicate stands exemplarily for my practice and serves as rationale and context. Sculpture today is an ambivalent term describing specifically three-dimensional, artistic objects in the tradition of the statue, while a somehow expanded concept of sculpture is used as an umbrella term to cover a wide range of spatial related art. My argument aims to contribute to a conceptual clarification and develops alongside two main references: firstly, Rosalind Krauss' 'Sculpture in the Expanded Fie/d', as a main reference in a 'post-formalist' discourse, and secondly, Joseph Beuys' 'Social Sculpture', as an example for an expansion of the concept of sculptw-e in the practical realm. Using Niklas Luhmann's systems theory, I define sculpture as social system, considering space as the medium of sculpture and sculptural form as an arrangement of spatial relations. Such a definition of sculptural form shifts the focus from materiality or programmatic tasks to the observer's understanding of space. During the last century, the conception of space has undergone fundamental changes, from being defined as an absolute value, to the existence of a plurality of 'species of space' today. If sculptural form is the result of an engagement of sculptor and space, the existence of multiple 'species of space' corresponds to the actual variety in sculptural form. In this context, my research aims to contribute to a reconsideration of sculpture as a category of contemporary art practice.
6
Hopkins, Ana Rosa. "Back-story in contemporary sculptural practice : from materials to incorporation." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617733/.
Повний текст джерелаАнотація:
This ‘by practice’ research project explored the function of back-story in contemporary sculptural art. It was driven by an ongoing artistic practice and resulted in a series of new artworks accompanied by an analytical commentary. Gérard Genette’s concept of analepsis within narrative literature was taken as an initial theoretical framework to test to what extent it might be applied to sculpture. Analysis of selected works by Joseph Beuys, Felix Gonzalez-Torres and Doris Salcedo, artists who used back-story in the context of trauma, led to modifications of the theory to account for the relationship between artwork and its back-story, notably its expression in materials. The use of narrative in sculptural art to provide a storied reading acts in combination with the work’s biography, although the work remains non-narrative in form, even lacking a ‘main’ narrative. The study discusses the ways the selected artists disclosed their ‘authored’ back-story, through title, paratext, public biography and reiteration of themes within an oeuvre. Back-story invoked what Genette called retroception – compelling the viewer to look again from a different perspective. Here, the autonomy of the artwork from its back-story is upheld. However, I posit that reading the art work in conjunction with its back-story alters the viewers’ experience by offering a storied entry into the work, situating the viewer at the ‘right’ distance in terms of emotional connection, and extending the reading time allowing more complex meanings to emerge. Investigation through making was prioritised, conducted through a process of ‘improvisation’ that explored various storied connections within original glass sculptures. As a result of reflecting on the results of a traditional glass inclusion process in my work, a new approach surfaced which I call incorporation: the partial embedding of a material within another as it solidifies. This process is seen to embody the concept of retroception and signal the connection to back-story. The research contributes to knowledge by providing a framework for an understanding of back-story in contemporary sculptural practice; demonstrating how incorporation can evoke and embody back-story; and, creating a body of original work that provides material for further investigation of back-story.
7
Sanders, Anne E. "Studies in contemporary Australian sculptural practice: Hilarie Mais and Fiona Hall." Thesis, Canberra, ACT : The Australian National University, 2011. http://hdl.handle.net/1885/8756.
Повний текст джерелаАнотація:
The subject of this thesis is contemporary Australian sculptural practice. Within the limitations of a Master of Arts sub-thesis, it aims to provide an analysis of developments in contemporary Australian sculptural practice since 1980. This analysis is conducted within the context of the theoretical frameworks of postmodernism, feminism and postcolonialism.
The first chapter seeks to establish a general overview and context, both nationally and internationally, for the significant changes and developments in contemporary sculptural practice in Australia. Specifically, three key theoretical concepts are identified as major protagonists of these changes. The second and third chapters seek to provide specific examples of these theoretical concepts identified in chapter one within the context of two monographic case studies of mid-career sculptors, Hilarie Mais and Fiona Hall.
8
Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." University of Sydney, 2006. http://hdl.handle.net/2123/1692.
Повний текст джерелаАнотація:
Doctor of Philosophy‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
9
Corcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.
Повний текст джерелаАнотація:
This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.
10
Osborn, Lisa. "Encountering statues : object oriented ontology and the figure in a sculptural practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/13070.
Повний текст джерелаАнотація:
This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.
11
Tuxill, Wendy Patricia. "A re-conceptualisation of contemporary sculptural ceramics practice from a post-minimalist perspective." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5333.
Повний текст джерелаАнотація:
This thesis examines the extent to which the 1960s process art strand of post-Minimalism can provide an analytical template for critical writing around contemporary ceramic art. A dearth of critical writing is an acknowledged problem in all types of ceramics practice and some of the reasons for this situation will be explored. In the past decade frequent calls have been made by artists, critics, academics, and curators for a body of critical writing to underpin contemporary work and connect with wider cultural debates. During this period, artists have begun to use the process of making the work to form part of the content. Such work has no relationship to traditional studio pottery, and critics have described it as difficult to write about and classify in normative ceramic terms. However, this area of ceramic practice shares characteristics with post-Minimalism, a movement of the 1960s that emphasised the behaviour of materials and the act of making. In The Archaeology of Knowledge the French philosopher Michel Foucault suggests that a new critical language may emerge from the appropriation of other discourses, providing new interpretations for subject areas not yet theoretically mapped out. Foucault’s notions on the formation of discourse are used as a methodological approach to investigate how process-led sculptural ceramics may be articulated by an understanding of post-Minimalist critical writings. A substantial body of critical writing developed around post-Minimalist process art, providing a context for radical new approaches which broke with modernist traditions and which expanded and changed traditional definitions of sculpture. Key post-Minimalist texts are investigated as an analytical template for a new critical discourse for process-led ceramic art. A study of the sculptural ceramics of Richard Deacon and Kosho is undertaken as a means of identifying process-led tendencies and the possibility of a re-conceptualisation from a post-minimalist perspective. An analysis of the role of process within my own practice is used to provide visual evidence of contemporary ceramic work that can be re-conceptualised from a post-Minimalist perspective. After twenty years of stagnant debate in the ceramics field, this research might provide a new critical context for process-led ceramic art. The project shows a way that artists may be empowered to develop a critical literacy in a field that has traditionally lacked a research based approach. It is hoped that it may well encourage other ceramics practitioners to explore new ways of presenting an academic critique of their own area of practice. The contribution to knowledge identifies a new critical context and approach to writing for the process-led area of ceramics practice that is currently described as being difficult to write about, as having no appropriate critical language of its own, and of being difficult to categorise in standard ceramic terms.
12
Tajeddin, Zahed. "Egyptian faience : ancient making methods and consideration of technical challenges in sculptural practice." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/98936/egyptian-faience-ancient-making-methods-and-consideration-of-technical-challenges-in-sculptural-practice.
Повний текст джерелаАнотація:
This practice-based research deals with an archaeological material known today as 'Egyptian faience'; it was described as 'the first high-tech ceramic' (Vandiver and Kingerey, 1987). Faience has long been overlooked and yet it played a significant role in the development of the art and science of both ceramics and glass. Faience objects were made mainly from the early fourth millennium BC until the late Roman period in the 7th century AD, though a few rare faience workshops survive today. The friable nature and the poor plasticity of the faience paste presented major challenges to craftsmen in terms of their ability to produce successful faience artefacts. Nevertheless, ancient craftsmen managed to overcome these problems and created fabulous objects of art by using and developing various making methods, that they adapted to the material. This study attempts to shed light on these manufacturing techniques, particularly through close examination of archaeological artefacts from a sculptor/ceramicist's perspective. It also considers issues of the raw materials, their preparation and their processing, as well as the technological choices and challenges faced by the faience-makers. The project combines fundamental and structured experimental work with analytical studies of the faience samples. The cross sections of the samples were studied under a scanning electron microscope, which supplied the research with significant information on the microstructure of the material and the chemistry of its glaze formation. The artwork created for this research project was informed by the research findings and was designed to explore the characteristic elements of the faience material and to investigate its potentials and its limitations in contemporary ceramic practice. The ethno-archaeological study of a surviving faience workshop in Iran, which was carried out during this research, provided a rare opportunity to explore and document the cementation method of faience production within the context of a traditional workshop. This was especially valuable in the light of our new understanding of faience technology.
13
Harrison, Jessica Emily. "Back to front and inside out : thinking through the body in a sculptural practice." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7823.
Повний текст джерелаАнотація:
In this research, I unthread the role of the body in sculpture by applying a model of thinking through the body to generate alternative ways of thinking about and working with the body sculpturally. Breaking away from a dominance of the figure over the body in sculptural practice, I deconstruct the figure through a consideration of the senses and the relationship between interior and exterior spaces of the body. Looking neither inwards towards a hidden core, nor outwards from the subconscious, I instead look orthogonally across the skin as a way to overcome the figure, using the surface of the body as a mode for both looking and thinking. To achieve this, I start by undertaking a re-‐description of skin based upon an interaction between artist, object, space, and viewer rather than as something that divides or contains these elements, assuming an equality and equilibrium of the body between maker and viewer. Moving beyond a bi-‐directional model, I propose a multi-‐directional and pervasive model of skin as a space in which body and world mingle. I explore this mingling through a reconsideration of tactility in sculpture, drawing on the active body in both making and interpreting sculpture to address processes of imaginative touch and proprioceptive sensation in sculptural practice. I argue that imaginative touch is a key aspect in engaging the body of the viewer that can be manipulated by the way in which materials are handled, generating proprioceptive sensation. This project re-‐describes tactility within sculpture as something ultimately more complex than the touching of artworks, as a process intertwined with the visual. Mapping out the projection of the tactile body, this research follows the tracing process of the body rather than the trace of the body itself, exploring touch as revealing the way in which we perceive sculpture.
14
Chan, King Lun Kisslan. "IGolf : contemporary sculptures exhibition 2009 /." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3508.pdf.
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15
Kovac, Amber M. "Sculpture & practice finding a way here and now /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/A_Kovac_041410.pdf.
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16
Lyons, Patricia. "Mimesis in practice : an investigation into the employment of the mimetic faculty in fine art practice." Thesis, Open University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287022.
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17
Mason, Miranda Eve. "Making love/making work : the sculpture practice of Sarah Bernhardt." Thesis, University of Leeds, 2007. http://etheses.whiterose.ac.uk/4710/.
Повний текст джерелаАнотація:
The question this thesis asks is: What does it mean to make the statement 'Sarah Bernhardt, sculptor' based on a massive archive of text and image on one of the nineteenth and early twentieth century's most famous actresses whose sculpture practice has often been dismissed as the work of a part-time amateur? In undertaking to answer this question, I have focussed entirely on what was required for Bernhardt to become a sculptor, to be a sculptor, and to remain a sculptor from c. 1869 until her death in 1923. I examine all these forms of evidence, together with the works Bernhardt produced, under the terms of sculpture history, and not those of biography or visual culture analysis, the usual rubric under which Bernhardt is considered. As such, the thesis aims to distil a substantive analysis and history of one practice of sculpture in nineteenth-century France. The thesis is constructed by asking a series of seemingly simple questions: Did Bernhardt make work? Did she have a dedicated place in which to make work? How was she trained to make work? Did she exhibit and sell or otherwise distribute her work? These questions are answered by paying close attention, in turn, to: one work, the Bust if Louise Abbema (1878, musee d'Orsay, Paris); Bernhardt's studios and homes and the particular function these had as spaces of work and shared, creative and intimate same-sex SOciality; and Bernhardt's training and daily practice as a sculptor, her oeuvre, and exhibiting and sales strategies. Fundamental to Bernhardt's artistic practice was her relationship with the painter Louise Abbema. I consider how the making of Abbema's bust and the reciprocal character of these artists' relationship can be read for, and with, difference in a tripartite configuration of 'living, loving, and working'. The method I use, scholarly lesbian desire, is informed by feminist art history and theory, the social history of art, and queer studies. This method seeks to explore the archive with, and for, desire in an effort to find new ways to research and write that are at once historically and theoretically rigorous and acknowledge the important cultural contribution that 'lesbian' makes to the histories of art.
18
Murphy, Amanda Marie. "Because of you I know gratitude." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4704.
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Henley, Marty Clinton. "Figurative Sculpture and Social Commentary." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2215.
Повний текст джерелаАнотація:
This thesis supports the Master of Arts exhibition entitled "Figurative Sculpture and Social Commentary" at the Slocumb Gallery located on the campus of East Tennessee State University in Johnson City, Tennessee, from April 10 - April 14, 2006. This is an exploration of human form in sculpture and the use of representational human form to make comments about society.
20
Peterson, Donovan. "Seven dyads." PDXScholar, 1987. https://pdxscholar.library.pdx.edu/open_access_etds/3466.
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21
Katz, Sharon. "Animated Video Projection on Objects – a Studio Art Practice." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31543.
Повний текст джерелаАнотація:
This thesis support paper is the trajectory of my search to uncover what constitutes an aesthetic for my current practice and to unpack what I think the work is about. In this paper I trace the development of my process, identify primary aesthetic preferences, elucidate inspirations, and finally present several interpretations of the work.
I came into the MFA program with the intention of moving my practice in animation to an art form that was non-linear and free of a flat projection screen and story arc. Working with materials is important to me and I also wanted to find a way to integrate time-based media with material art forms.
What I discovered early in the MFA program is that making this shift in my practice involved understanding how object art generates meaning differently than the animated film does.
In the Thesis Exhibition I take ordinary household objects, disrupt them so they are unfamiliar then project animated video of other ordinary objects made strange onto them. The illogical objects and their juxtaposition generates a tension – a cognitive stretching – that gives rise to various readings of the work.
Perceptually engaged, I am immersed in a cognitive puzzle trying to make sense of the paradoxes I am experiencing and bring them to a resolution. It continues to astound me to what degree the household objects that I make strange can generate sensation, feeling, and meaning through the amalgam of their motion, gesture, and form, through the way in which they are situated in space and the way in which they relate to one another.
22
Nalls, Gayil. "World Sensorium : theory, practice and significance of the world social olfactory sculpture." Thesis, University of East London, 2007. http://roar.uel.ac.uk/1242/.
Повний текст джерелаАнотація:
In this practice-based Ph.D. thesis, a new theoretical framework for examining the olfactory social sculpture World Sensorium (Nalls 1999/2000) is applied which establishes the fields of Olfactory Art, Olfactory Aesthetics, and Olfactory Art Informatics. The case study begins with an examination of historical aesthetic theory (influenced by Kant and Adomo) and a discussion of the philosophical influences of Joseph Beuys (Social Sculpture) and Marshall McLuhan (Mass Communication), and posits World Sensorium in a new contextual basis for understanding the relationship of the human brain and the environment: the meaning and impact of aesthetics, phytogenics, human memory and culture. The work draws upon artistic practice (characterised by interpretive analysis) and scientific (or positivistic) methods, in defirting the relationship between botanical scent and cultural identity. This thesis locates its main argument and evidence base in the field of art,, with four major overlapping disciplines: e. g., Olfactory Art, related to Olfactory Science (including Behavioural and Evolutionary Sciences); Neuro-aesthetics, related to Neuroscience; the Philosophy of Aesthetics; and Social Sculpture, as drawn from Art and Cultural Studies. The work of more than 35 contemporary artists who have made distinctive Olfactory Art is presented as a set of contextualising examples, within an examination of key scientific research in a broad range of sub-disciplines including psychology, neuroscience, behavioural and evolution studies, media ecology, and anthropology, as well as the new field of neuro-aesthetics. It is argued that there is a molecular relationship, of primordial origin, that birthed both the environment and the landscape architecture of the human mind-that the mind and the environment are one ecosystem. The thesis concludes by exploring the implications of the findings in relation to the future of Olfactory Informatics, and in particular, to the potential ubiquitous technological (mobile and Web-based) disbursement of synthetic scent.
23
Richardson, Jean Catherine. "And there were green tiles on the ceiling." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1179.
Повний текст джерелаАнотація:
In this document I shall explain my art process, and reflecting on my work, will explore the themes and emotions that evolved. I shall accompany the images of my MFA exhibition with personal poetic vignettes. These vignettes are memories and thoughts that surfaced both while making the art and while viewing the final exhibition. While the primary experience is looking at and being with my art, I hope these anecdotes and stories give some insight into my motivations and actions as an artist. In these stories I shall use my own voice; I am Scottish and will tend to use local vernacular.
24
Damman, Erica L. "Watershed: collected thoughts." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/942.
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25
Wills, Benjamin Todd. "Making art while considering mass incarceration." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5682.
Повний текст джерелаАнотація:
Every day, I write letters to prisoners. I have done this for years now, and have written literally thousands of letters. Somewhere along the way the correspondence gave birth to an art vision—an aggregation of objects and content that has provided the source material for work that I have been creating since 2013.
26
Dussuchalle, Jérôme. "Traversées : Dessin, sculpture et pratiques d'atelier." Phd thesis, Université Jean Monnet - Saint-Etienne, 2013. http://tel.archives-ouvertes.fr/tel-00996997.
Повний текст джерелаАнотація:
Si l'amorce d'une recherche engage son auteur dans un cheminement dont il ne connaît pas vraiment l'issue, le place d'emblée face à des inconnus et à des possibles, il faut bien se rendre à l'évidence : la fin du travail -annonçant peut-être le début d'un autre - nécessite un retour sur la pensée qui s'est déroulée selon une temporalité qui semble alors nous échapper. La durée d'une telle entreprise ne parvient pas à se cristalliser en un point dont on pourrait faire le tour. Le cheminement de pensée qui s'est donc déplié selon le cadre spatial et temporel imparti, selon la répartition des pages et la structure d'un ouvrage qui pourrait bien apparaître comme un autre type de carnet, doit être repris et reconduit selon d'autres stratégies. Conclure reviendrait, en effet, à extraire d'un matériau donné -ici l'écriture d'un texte- les points de capitons où la pensée se condense. Travail proche du dégagement du bloc en sculpture, travail encore de découvrement mais aussi et surtout travail de synthèse et d'ouverture. Précipitation d'un chemin de pensée sur ce qui définit ses limites, le tracé de son parcours, son bornage, ses jalons tout comme ses traverses.Cet acheminement vers l'écriture aura donc pris pour origine une situation de pratique plastique définie par deux instances d'appréhension du réel, deux modes d'existence de l'œuvre, le dessin d'une part, la sculpture de l'autre. Telle était la place attribuée aux termes posés dès l'origine de ce projet de recherche sur la sculpture et le dessin. Mais, à ce point conclusif de l'ouvrage, pourquoi ne pas intervertir les termes par lesquels s'est énoncée, dans un premier temps, cette thèse ? Nous pourrions ici avancer une position bien différente : la sculpture puis le dessin. Il paraît en effet artificiel de vouloir donner la primauté à l'un des deux médiums tant ils fonctionnent ensemble. Configuration qui diffère donc de celle annoncée en exergue de ce travail, puisque la réflexion menée sur l'articulation de ces deux " objets de pensée " peut nous amener à formuler une première remarque : les deux médiums ne sont pas à prendre dans leur successivité mais bien dans leur entrelacement réciproque. Ce qui ne signifie pas que le dessin se confonde avec la sculpture. L'inverse n'est pas moins vrai. C'est à leur conjonction et à leur croisée que se situe donc le cœur de la recherche et c'est là, sans doute, qu'est le point de bascule permettant de relancer l'expérience poïétique de l'un à l'autre. Ici est le nœud du problème, son site. La circularité, et donc une récupération perpétuelle du dessin dans la sculpture et de la sculpture par le dessin, travaille notre œuvre plastique en profondeur, elle en serait le soubassement. La sculpture relance le dessin qui à son tour relance la sculpture...
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Bishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.
Повний текст джерелаАнотація:
This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence.Department of Art
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Poe, Rachel. "Architectural insomnia." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5603.
Повний текст джерелаАнотація:
My artistic practice addresses issues of how memory shapes our identity and how to use memory in order to better understand our perspective. Through the construction of liminal space I reflect upon the subconscious and conscious mind. These images address issues of identity and how longing and nostalgia affect the human psyche. Through photographs of sculptures, paintings and light installations I address the architectural spaces in the world around me as catalysts.
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Robb, Charles. "Cloud methodology: Objects, topology and practice." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/198041/1/Charles_Robb_Thesis.pdf.
Повний текст джерелаАнотація:
This practice-led research investigates how non-human agencies contribute to the art-making process. Using an object-oriented and material-semiotic approach, I propose that the reciprocity between objects and processes that occurs in art practice can be understood as a topological cloud: a self-generating hyperobject. This proposition is informed by the ideas of Graham Harman, Timothy Morton, and Hubert Damisch, and contextualised by contemporary artists Bruce Nauman (US), Didier Vermeiren (Belgium) and Gabriel Orozco (Mexico). It is my contention that this methodological model provides a useful way of understanding art practice as a network of object-based structures, while preserving its alien, emergent qualities.
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Bajec, Manca. "Claims of the monument : the counter-monument remains : the myth of the monument in former Yugoslavia : artistic practice as reconciliatory form." Thesis, Royal College of Art, 2019. http://researchonline.rca.ac.uk/3769/.
Повний текст джерелаАнотація:
How can artistic practice become a valid method of observing counter-histories; the histories which are not included in the institutionally supported historical narrative? How can the counter-monument movement be re-adapted and re-visited through its original ideologies, in the context of post-conflict spaces in former Yugoslavia? This practice-led project positions the state of the monument today, and more specifically in societies existing in a state of unresolved conflict. In doing so, it examines the artwork as a counter-monumental form and as an approach to unravelling issues of a resistance which exist in sites where monument-building is not possible. Departing from a body of research that looks at how destruction or alienation of sites of memory enables the denial of history and creates formats for further manipulation of historical events, this project considers whether artistic practice can provide a method of confronting the state of memorialization of conflict through an auto-ethnographic critique of historical events. Furthermore, whether artistic practice can provide insight into a space where state facilitated symbolic repair is unstable. This project takes on an appropriated structure of a play. Presented in six Acts, and a Prologue and Epilogue, it delves into an observation, through a visual and non-visual critique, of three selected, different states of conflict that have appeared in the region of former Yugoslavia and their memorialization. The first examines the WWII conflict between the Partisans and Domobranci (Homeguard) in Slovenia, the second observes the historical narrative surrounding the WWII concentration camp Jasenovac, and the third looks at the problematic state of denial of 1990s atrocities, in Republika Srpska, in Bosnia and Herzegovina. Each Act unveils a methodological approach, which is considered an integral part of the artwork, and through which a different understanding of the counter-monument is appropriated. The Acts consist of reflections intertwining three different modes of presenting knowledge; through theoretical concepts surrounding conflict, memory, monuments, representations of violence in the arts and politics (considered as stage notes, giving context), interrupted by a series of narrative recollections (imitating diary descriptions, of events that are either encounters with places or people and treated as a scenography which creates the atmosphere), and the artworks (which are regarded as the script). Through a series of artworks, this project, appears almost as a gesamtkunstwerk, or complete body of the Acts, weaving through theoretical and historical constructs in order to challenge the premise of social and artistic representations of trauma, history, political power, and social injustice. In doing so, it positions the action of making research as the sculptural-visible and non-visible-form which attempts to redefine political sculpture as the re/de-construction of the counter-monument.
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Ingham, Mark. "Afterimages : photographs as an external autobiographical memory system and a contemporary art practice." Thesis, Goldsmiths College (University of London), 2005. http://ualresearchonline.arts.ac.uk/7465/.
Повний текст джерелаАнотація:
My proposition developed in this thesis is that photographs have changed the way the past is conceived and therefore the way the past is remembered. Just as the inventions of the telescope and microscope radically changed our understanding of distance and space on a macro and micro level, the invention of the photograph has radically altered our concepts of the past, memory and time. My starting point is a collection of photographs taken by my grandfather, Albert Edward Ingham, which is used both in my studio work and as a basis for my theoretical writing. My concerns as an artist are with the ways in which familiar photographs and their relation to ideas of personal memory can be incorporated in an art practice. The written element begins with a reflection into my motivation for using this collection and its usefulness to both my written and studio work. I include a short biography of my grandfather, leading me to consider biography and autobiography, and their relation through photography to autobiographical memory. This is followed by an in depth discussion on autobiographical memory and how it differs from other forms and processes of memory. With this I have placed a discussion of contemporary ideas on photographs. Finally I look closely at ‘external memory systems’ and how these relate to changes in the way autobiographical memory operates in relation to photographs. The emphasis of this thesis is to explore ways to elucidate my own practice as an artist and to offer a commentary on those issues which have been central to its development over the past several years. This has been, and continues to be, a process of making explicit and of clarifying those influences that have resulted in me pursuing autobiography as the major concern of my practice as an artist.
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Yandell, William P. "The Tricycle Gang." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/716.
Повний текст джерелаАнотація:
The story of the Tricycle Gang begins when I was in pre-school. At the young age of four, my three friends and I decided that we were going to be the only ones allowed to ride the four tricycles on the playground. Our small gang rode around the playground feeling powerful, swinging our shirts above our heads as we chased our classmates around the play structure.
As I have grown older, I have recognized the strangeness of my preschool experience. Why would a well to do four-year-old think to form a gang at such and early age? Without much exposure to gangs, where would this idea have come from?
My thesis tells the story of my little clique, and then moves to explore the motivations behind joining gangs, especially at a young age, and discusses children’s perceptions of them. I then go on to discuss power structures by looking at the philosophical works of Nietzsche and Machiavelli. Lastly, I put my art in historical and cultural context be examining artists with similar bodies of work.
My work is an installation piece in wood and plaster. In my first semester, I will be completing one of the tricycle gangsters sitting on his tricycle, modeled after myself. The tricycle is made of wood and the figure is a plaster cast. The plaster cast will be dressed in clothing reminiscent of the tricycle gang, and then painted one solid color, clothes and all. If my work makes it into the spring show, I will build out the gang to four figures.
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Dieffenbach, Angela Lena. "Corporeal curiosity: seeking salubrity." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/947.
Повний текст джерелаАнотація:
As a result of modern medical practices, our bodies are becoming increasingly transparent. This transparency not only adds to the perceived omnipotence of medicine, but to curiosities with these modes of bodily exploration. Even with this new visibility, many questions remain as curiosity continues.
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Aleto, Salvatore Gaetano Jr. "Impact." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4562.
Повний текст джерела
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Kim, Min Sun. "Transformational jewellery : practice-based research on the relationship between transformation and emotional attachment." Thesis, London Metropolitan University, 2015. http://repository.londonmet.ac.uk/918/.
Повний текст джерелаАнотація:
The chief aims of this practice-based research are to investigate the nature of attachment between person and object in respect to transformation; to find ways in which objects (jewellery) can be transformed to engender a wearer’s emotional attachment; and to demonstrate the different ways of applying such transformations that are pertinent to jewellery. This research has developed a certain type of transformation, which slowly makes traces on the surface of jewellery over time, and is used as an effective way to engender a wearer’s emotional response. The research is situated in the field of contemporary jewellery, and is specifically related to emotion and sentiment; a category of jewellery that relates to the wearer’s emotional feeling. The scope of the study extends to research on emotional design since this research focuses on user experiences in developing emotional relationships with the object and on how the designer/maker can promote the formation of such an attachment to the object. Two practical experiments have been conducted in this research to determine and construct appropriate and effective characteristics of transformation that engender an emotional relationship between the jewellery and its wearer, through the examination of the transformational character of emotional objects and the interactions that people have with transformational jewellery. These two experiments involve the process of making in order to provide a way of thinking through the hand manipulating a material. The use of this material thinking, develops a more broader understanding of the relationship between the transformational object and emotional attachment. Towards the end of the research, a definition of transformational jewellery is constructed that identifies its four important elements. It also provides two sets of practice work that demonstrate the findings and that facilitate the communication of the author’s tacit knowledge gained from the experiential knowledge. This research expands the field of contemporary jewellery by involving studies of emotional design and applying the element of transformation to create an emotional relationship between jewellery and its wearer. This specific transformation, which has been identified in both text and practical works, constitute the main contribution to knowledge in the field of contemporary jewellery.
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Riddle, Michael Julian. "Dancing with failure: Accident and control in contemporary art practice." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127301/2/Michael_Julian_Riddle_Thesis.pdf.
Повний текст джерелаАнотація:
This practice-led research project examines how sculpture can act as a site or medium for responding to slippages, interruptions and changes of state; and, in doing so explores the subjective connotations of form and material. By undertaking intuitive studio experiments informed by interwoven processes of chance and control and interpreting the outcomes through the metaphoric connotations of form, I seek to harness a range of tensions and contradictions inherent to the processes of making, and to realize a body of works that are reflective of personal biography, memory and the human condition. This research has been informed by the works of Michael Landy, Jimmie Durham and Robert Smithson as well as theories that relate to Synectics and the writing of Susanne Langer. Regarded as a whole, this project aims to identify and analyse the complex interactions of material and metaphor that can occur in the making of contemporary art.
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Lynch, Patrick. "Practical poetics : rhythmic spatiality and the communicative movement between site, architecture and sculpture." Thesis, London Metropolitan University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681225.
Повний текст джерелаАнотація:
My thesis is that urbanity is a function of the communicative movement between the natural and social conditions of a site, as revealed in architecture and sculpture, and most clearly in their continuity. In order to deal with the effects upon modern design and architectural thinking of dead metaphors like 'technology, 'form' and 'space', I critique and reject their use in architectural discourse, by returning to the philosophical tradition of 20th century phenomenology - Husserl and Heidegger, Merleau-Ponty, et al- in order try to reveal the power of spatiality in 20th century thought, and its central importance to modern art and architecture. This led to new ways of making site-specific, topographic and spatial sculptures, and in some cases led to brilliant and urbane syntheses of architecture with sculpture - revealing the potential communicative depth of spatiality. Central to characterizing this communicative depth was recovering the cultural - rather than formal or picturesque - continuity of Renaissance and Classical poetics. Whilst the iconographic, social and political aspects of this continuity arc standard features of interpretation, far less noticed is the tradition of Eurhythmia. Rhythm was traditionally seen as an aspect of measure - therefore invoking justice (cf. Plato's Divided Line in the Republic) and mediation; and these animate a rich geometric poetics that is more profound than the usual understanding. A vital aspect of the character of urban spaces - arguably the most communicative of architectural settings - is the rhythmic characteristics of situations and the natural world that are revealed in urban topography and architectural physiognomy, and often articulated most emphatically in sculptures. Crucially, the revelation of the structure of relationships between site, place, social life, the natural world, etc., which make up the architectural conditions for civic praxis, is the basis also of ornament and decorum in the arts generally. However, when architects confuse their work with sculpture - misunderstood as '(arm' rather than rhythmic spatiality - the philosophical and communicative potential of architecture is diminished. My thesis concerns the conditions of the possible recovery of this potential in urban terms.
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Cho, Man Ho. "Industries/ influence ceramics." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5440.
Повний текст джерелаАнотація:
Cultivating the spatial relationship in between utility and sculpture generates my process. I deconstruct, reconstruct and assemble objects; bringing to them a new perspective that simplifies the structure while enhancing the surface and the unassuming nature of the forms.
Developing vessels for drinking or pouring serves as the foundation for my study of materials, architectural foundations and elements of utilitarian objects. The functional purpose of the objects becomes minimized due to the structure beneath the surface and the constructed role of the base blurring distinctions between function and form.
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Rappleye, Erin Elizabeth. "How to become real." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1733.
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Galbicka, Evan. "Path." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5476.
Повний текст джерелаАнотація:
Path is a collaborative system that developed over the course of five months of studio activity and continued through the duration of the exhibition. The system’s main collaborators were a land snail native to eastern North America (Neohelix albolabris), myself, and a digital cellular automaton. These prime agents interwove processes and exchanges between one another into a complex network of folded fractal feedback loops. Cyclic processes produced artifacts and infrastructures to support communication between the components and agents of Path. As a whole, Path spoke to the possibilities for interspecies, cyber-physical, and ecological collaboration to create an emergent landscape.
The iteration of Path that follows in this document extends the collaborative system onto the space of the page. Path.txt is a concrete poem drawn from personal notes and observations from field and studio research. The composition of the text was generated through one of the processes at play in the production of Path as a gallery installation. The arrangement of text follows an algorithmically determined sequence initiated by the slime trail of N. albolabris. Following this textual iteration, a section of images and text outline the processes that operated in Path as a gallery installation.
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Wolfe, Julia J. "Meet me in the sewers at dawn." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6522.
Повний текст джерелаАнотація:
I make installations, objects, paintings, drawings, prints, and arrangements of found words (which some have classified as poetry). I take note of ideas, imagery, and phrases from places that are commonly seen and heard but often go unnoticed. The work combines humor and innocence with an awareness of our culture of mass-production and consumption, resulting in an approachable, whimsical criticism.
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Haugaard, Dana. "I am real, I am here." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2888.
Повний текст джерелаАнотація:
My art practice as means to craft moments and to engineer experiences that will hopefully instigate some sort of heightened self-awareness, brief reminders of body, place, and existence.
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Whitman, Jacquelyn Dale (JD). "Confronting ecophobia: increasing ecoliteracy through art and marine science." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6881.
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Edvalson, Eric John. "Cozy Mart: Convenient Aesthetics." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6207.
Повний текст джерелаАнотація:
Convenience stores in their various forms are not only commercial outlets of foodstuffs and sundry items but are also experiential in nature; the act of going to a convenience store is a culturally shared experience. In homage to these spaces, Cozy Mart is a public art installation and performance which recreates this shared experience in an idealized form. Based on do-it-yourself culture, appropriation of public space, and artistic traditions of sculpture and printmaking, Cozy Mart invites interaction with art outside of the traditional gallery space and capitalizes on alternative methods of art distribution.
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Schneider, Mary Emily. "Material Witness: Doris Salcedo's Practice as an Address on Political Violence through Materiality." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11285.
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Johnson, Lisa Marie. "Back to back they faced each other." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/993.
Повний текст джерела
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Hanson, Alexander James. "Why the ocean's near the shore." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1619.
Повний текст джерелаАнотація:
The following pages are thoughts and ideas that go through my head when creating art that is intended to be seen, analyzed and somewhat understood by an audience. Though there are some aspects contained within that may touch directly on how I make sculpture on a practical and aesthetic level, my hope is that this document will function more as a work that will provide the reader with a sense of hope as it relates to art making, that while what we do as makers can often seem pointless, we must have some kind of faith that art can be useful, and we ought to try to make sense out of things if we can. If there is any reason at all why I continue to make things, beyond general foolishness or to prevent from being bored, it lies somewhere said or unsaid within this document.
The title of this document, “Why the Ocean’s Near the Shore” comes from the song the Scarecrow sings in The Wizard of Oz “If I Only Had a Brain”, stating that if only he were smart enough he could tell Dorothy something meaningful like why this is the case; this may not be so impressive to someone with a brain, but for someone without, it is certainly profound.
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Peets, Kyle Adam Kalev. "You are a maniac and you need to start changing your life." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1723.
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Williams, Matthew Earl. "Where time forgot : a bowlers guide." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3218.
Повний текст джерелаАнотація:
It's about living
It's about feeling incomplete
It's about nostalgia
It's about culture
It's about joy
It's about how life flashes before our lives
It's about sorrow
It's about what's hidden under the rug
It's about fitting in
It's about getting away
It's about a journey
It's about language
It's about class
It's about how something clean can leave a stain
It's about goodbyes
It's about fiction
It's about place
It's about blame
It's about obsession
It's about feeling stranded
It's about itching a scratch
It's about holding on
It's about being found
It's about how we all settle eventually
It's about desire
It's about conflict
It's about you
It's about me
It's about future
It's about community
It's about failure
It's about wondering which one of us is next
It's about the American dream
It's about right now
It's about the people we will become
It's about the search
It's about routine
It's about finding
It's about change
It's about living
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Renaud, Jason Lyle. "Happy to be here." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1737.
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